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CHANDLER TRAVIS
Sonic Trout
After She Left
11-song CD
This ain’t your grandfather’s Chandler Travis, but it could be your grandfather, and that’s fine. Gone (just for the moment, mind yez) are the multiple horns, the whiplashin’ backbeat, the groan-inducing lyrical punnery (well, for the most part), the preposterous headwear, and overall circus vibe we commonly associate with Travis. Here instead is a more pensive (you heard me) side of the ol’ goofball, and it’s a hot oil massage for the soul. What’s often overlooked during the typical orgy of his Philharmonic shows is that Travis is one fuck of a songwriter. So here’s a quiet glimpse of that brilliance at work, stark raving naked. Under various keys and strings, there’s a wisp of woodwind here, a bop of bongo there, some harmonies so subtle they barely register as such, and precious little else that ain’t crucial, yet it’s still surprisingly layered. I was even all set to slag a cover of “My Bonnie” (yeah, that one), but the wily bastard even made that work. All you hipsters who think it’s just dahhling when, say, Elvis Costello does Burt Bacharach, would be fatally foolish to miss this. (Joe Coughlin)

MORPHINE
Rhino Records
At Your Service
35-song/ 2-CD set
When Morphine bassist /frontman Mark Sandman died in the summer of 1999, the iconoclastic band’s promising run was cut fatally short. The past decade has left fans with a lot of questions as to what could have, should have, would have happened to Beantown’s low rock heroes with few answers, save for a posthumous greatest hits collection and Dana Colley’s recent resurgence in Electric Waste Band. But as Sandman croons on the trio’s loaded new rarities retrospective At Your Service, “Have Patience. Everything will be alright.”

It’s a promise the album delivers on fully. Twelve years since the band’s last full-length, At Your Service pulls together 35 tracks of B-sides, alternate takes and live cuts in an attempt to fill the void left by the band’s demise. Fortunately the band rolled a lot of tape during its tenure, and much of the two disc set stands alongside the band’s best work. Tracks like “Women R Dogs” and “Come Over” will feel achingly familiar, basking in the band’s signature molasses-like blues sound, while the live cuts that make up much of the second disc are a cut above the Bootleg: Detroit release. As a rarities set it’s not the most consistent listen, but fans who have long been jonesing for a fix will find it pretty refreshing. (Ryan Bray)

SAND MACHINE
Conference
11-song CD
This has the Rolling Stones and the Beatles written all over it: just have a listen to the opener, “It’s Gettin’ Late” or “Noly-Noly Crimbellum.” Quite appropriate for a band claiming to be reminiscent of the British Invasion… and American roots rock. As music that is referred to as “both the forest and the trees,” I am rather fond of it. Conference is a testament to determination and commitment, and is more solidified than their previous releases. The sound is edgy and inventive. “Call Me Elvis Now” has the potential of being a mainstream radio hit. “Let the Demons Die” is entertaining and quirky with its country flavor, while “Noah’s Canon” is a well-crafted instrumental ode. Suitable for audiences of all ages, this disc is worthy of repeated listens. To put it simply, there is plenty to like here. (Julia R. DeStefano)

THE SUN LEE SUNBEAM
Beneath the Burning Sky
15-song CD
They tap the roots of indie rock, supplying a panacea of raw musical styles that remind the mind what it means to bleed for your craft.

Right out of the gate Jessica takes control lustily demanding “I want you naked” over a bed of blistering old school punk rhythms. “In the Silence” rolls out of the speakers nestling us down on an overstuffed red shag beanbag chair in the midst of a Warholian house party. But before we can truly get comfortable for an extended trip, the mania returns and the dream state is blown apart with “Mindless Distance” and “Modern Day Masquerade” to fill the soul.

The album is an energetic rollercoaster ride for the sonic sensors within ensorcing and energizing while offering some keen perspective on the human condition through Jessica’s fiercely strong yet tantalizingly feminine vocal stylings.

Bottom line. Taste it, test it and always blast it! (Rick Dumont)

VINTAGE FLESH
The Eyes That Glared at My Agonies
10-song CD
Although this leans heavily in the dark metal/hardcore side of goth, there are more than a few moments of theatre on this disc that deserves more than a passing ear of attention. Vintage Flesh is musically adventurous in a B-Movie horror flick sort of way. If you like your music with any major chords, you’re in for a profound disappointment, but if you want to hear horrid tales of corpse-ridden death and angst and over the top musical histrionics, then this is the album to own. Vocalist Raypissed is a singer of his own device, sounding like a cross between Jack Skellington and the Cryptkeeper. Every line of lyric sung like he is having his pubic hairs pulled out one at a time while getting his back waxed. This music is silly, stupid, heavy, dark, over the top and absolutely brilliant. I have never laughed so hard while at the same time being so creeped out. I can’t stop listening to this. Really. This album is fucking awesome! (Joel Simches)

DAMON AND NAOMI
20|20|20 Records
The Sub Pop Years
15-song CD
Is this the fabled music of the spheres? Be advised that I’m only half kidding here. Certain tracks are so sublime they almost constitute their own genre: call it classical psychedelia, as on the haunting “New York City,” the epic “The New World,” and the brilliantly hypnotic “Eye of the Storm.” Note also the curious fashion in which, by way of a vocal duet, Damon and Naomi impress their own classical approach and awareness onto their outstanding cover of Tim Buckley’s wrenchingly evocative “Song to the Siren.” On the whole, this music is the polar opposite of garishly commonplace, showboating rock and roll devoid of subtlety or purpose. The duet’s output for the Sub Pop label from 1995 to 2002 is well-represented here, and possibly only completists will want to hunt down the four original albums—though those who enjoy this highly-recommended compilation would also be advised to purchase the band’s first post Galaxie 500 album, More Sad Hits (1992), also recently reissued on CD. (Francis DiMenno)

LIQUID SHIT
Sin Giggles
9-song CD
I thought the last thing this “band” (guy) sent in was a terrific hoax. Turned out it wasn’t, which was even better. Home-studio fuckery at its most twisted, melding genres into whole new ones previously unimagined. This one ain’t quite as out-there, but still exists in its own universe, and that counts for much. Because like so many great outsiders, no matter how baffling (stonewalling, even) the results appear, it’s obvious this lone ranger loves all kinds of music. It goes in that special box for when I ask friends, “You wanna hear something really strange?” So, like last time, here’s the track rundown: 1. A rap as though done by Oscar the Grouch and the Chipmunks; 2. An Irish sea chanty hybrid; 3. A drum-and-fife ditty without the fifes; 4. A six-minutes-plus power ballad about Grandpa and a rubber mallet that’s at least as good as “November Rain”; 5. A live track about burger toppings which I suspect isn’t live; 6. A heartfelt hymn to mortality; 7. A sorta “Hot Rod Lincoln” for the new millennium; 8. A self-contained rock opera that’d be right at home on “Jesus Christ Superstar”; 9. A shockingly unnecessary Beastie Boys piss-take. In all, we got choirs, banjos, synthcore, and mass confusion. I ain’t trippin’, but I’m happy. (Joe Coughlin)

THE SPRAINED ANKLES
Teenage Heart Records
Oh Snap, It’s The Sprained Ankles
13-song CD
How you feel about these garage punks depends quite significantly on how you feel about silliness. Those with no appetite for kazoo solos and mock horror songs about pharaohs, axe gnomes, ships, and vampires would be best off turning their attention elsewhere. For the rest of us who don’t want or need every band to fight against the world’s injustices, there is plenty to like. The songs are frenetic and catchy and the juxtaposition of Drew Kazoo’s deep, cartoonish voice and the Brides of Tankenstein’s earnest, chipper girl group backing vocals is both hysterical and sonically effective. Truth be told, the gimmicky nature makes the record seem overly long at thirteen songs and will keep it from being in heavy rotation, but I do think there’s a good chance I break it out for my Halloween party. (Kevin Finn)

ROBBY ROADSTEAMER
I Solved Every Miniquest
15-song CD
I don’t find this funny. (Slimedog)
P.S. I know this may be rejected—hey, I know how it feels to be a lonely wallflower at the Spring Jubilee dance, but I feel this is the most concise I can be with this record.

ALEC K REDFEARN & THE SEIZURES
Corleone Records
Exterminating Angel
8-song CD
Being a guitarist, it’s hard to say this, but the age of guitars leading an instrumental ensemble is quickly decaying. Forget all those dreams you had about being the Jimi Hendrix of the trio, or the Pat Metheny of the group, or the default creative musician all the others refer to. A good example of the point I’m talking about is Primus. I hope you know them. Les Claypool on bass was the focal point, and it was great, refreshing, weird, and sounded good, if you had open ears and mind. Now imagine a band coming from that same template but with an accordion being the focal point. That’s this band. How about accordion with distortion and frightening killer licks? Imagine Halloween-tinged gothic compositions that sound like you’ve arrived at the Hammond castle on the full moon with a bunch of crazed witchy partying lunatics, that’s the sound. It’s absolutely spooky, and still fresh, and totally awesome. (Mike Loce)

N.S.I.
The Squeeze
11-song CD
Although I am not quite sure what to make of this debut, I persevere on in an attempt to characterize. Do the members of N.S.I. aim to mystify their listeners? Is this what the elevator music in hell sounds like, or the voice of the devil? These questions remain unanswered—what I do know, is that this is unlike anything I have ever heard before. Despite my confusion, I praise their individuality, for the album is an honest endeavor. However, that which makes it distinct detracts from any credibility; the overly dramatized, theatrical vocal stylings cause me to step back in disbelief. Such an approach is unnecessary and overshadows rich instrument tonality… the music itself is beautiful. Spooky atmospheric sounds permeate throughout—melody and hooks are in attendance. At least have a listen to “Never Be,” which is surprisingly in sync, and in the realm of Metallica’s “The Unforgiven II.” N.S.I., if you’re out there, tone it down a bit, because you have the potential to be great. (Julia R. DeStefano)

VARIOUS ATISTS
Boston University
BU Today Sessions: Live From 808 Commonwealth Ave
14-song DVD
This is a pretty well packaged and thought out performance DVD featuring some of the best musicians, bands and songwriters from the Boston University community. There are six bands featured on this disc, each playing live as the video cameras roll around them in what appears to be an abandoned wing of a dilapidated warehouse building. Although the bands featured here are less than inspiring, the audio and video is lush and well produced. I wish there were some interviews interspersed with the performance, but the performances themselves are raw and immediate. Some highlights include Spitzer Space Telescope, a solo performer who instantly channels the frenetic energy of Liam Finn, the quirky humor of Robyn Hitchcock and Richard Thompson, and the thoughtful intellect of early Billy Bragg.

Interrobang is an electro/punk Duo (guitar/ drum machine), who combine emo/grindcore with New Order drumbeats. First to Seven is a generic youth pop band influenced by Matchbox 20 and other forgettable frat pop bands. Grimis is a folk inflected indie pop band and one of the true jewels of this DVD, in terms of memorable music. Also worth checking out is singer/ songwriter Bob Cenci who brings a warm rootsy vibe to the mix. While light on performers, this DVD is a good peak into the musical community at BU. (Joel Simches)

ILL WIND
Sunbeam Records
Flashes
24-song CD
In what is regarded as a “key artifact,” this is the first expanded reissue of Flashes, an album originally released in 1968. A second disc of bonus material is in accompaniment, containing demos and basement studio tapes, which date from ’66 through ’68. The collection is exceptional and overwhelming all at once—and the photographs are beautiful. The album’s opener, “Walkin’ and Singin’,” is especially pleasing, evoking sentiments of tranquility and everlasting love. Throughout the disc Richard Griggs and Connie Devanney’s vocals are crystal clear and blend wonderfully. This is quintessential psychedelic folk-rock, what most would classify as “hippie” music. All in all, the package is, as stated, “truly essential for psych fans.” (Julia R. DeStefano)

SARAH BLACKER
Rumble Bee Records
The Only Way Out Is Through
11-song CD
I like Sarah’s disc; she certainly takes you on a ride. I admit the first track with the kinda goofy mandolin made me think of some ephemeral country folk pop riff-raff. Her voice, though is fabulous (please tell me there’s no pitch correction here Sarah, PLEASE). I started hearing a Natalie Merchant-type timbre… and yes, though a down-in-the-mud-rocker resides in my soul, I really enjoy these lighter shades. Another complimentary aside to Sarah’s voice, I might mention Dolores O’Riordan. I like the fact that Sarah is a music therapist, it’s extremely cool. Finally the world is waking up and realizing that music is not just a flagrant plastic commercial throwaway. I’m sure study of music as therapy certainly alludes to the elusive quality of quality, to tongue tie a phrase for you. That nonsense being said, Sarah has produced a quality work with a great understanding of what it takes to deliver a musical message. (Mike Loce)

BEAT CIRCUS
Cuneiform Records
Boy From Black Mountain
13-song CD
Gimmick-laden and busy as certain of the production touches may be, I can’t help but be impressed by the sheer bravura energy of tracks like “Petrified Man,” which is only one of the half-dozen-odd notably appealing songs from this second entry of a proposed Weird American Gothic trilogy. I also particularly like the atmospheric instrumental “Clouds Moving In.” In fact, the instrumentals are the high point of this production, as they were on the band’s previous effort, Dreamland. The bravura trombone, trumpet, violin, and viola sections in particular add a bright and resounding feel to the proceedings, though the frantic vocals on “The Quick and the Dead” are also—why not just come out and say it?—quite wonderful. As a whole, the best tracks on this heedless and headlong collection are an unmitigated triumph, and the very best song, “As I Lay Dying,” is brilliantly within the tradition of witty mainstream classics of proto-Americana such as Creedence, Little Feat, and even “I Asked My Doctor” by Dan Hicks. (Francis DiMenno)

 

PAUL PHILLIPS
Every Time I Leave
10-song CD
Is this the voice of the next Ryan Adams, or perhaps another incarnation of Gary Louris’s Jayhawks? As Phillips’ one-sheet states, this is a “mix that’s well-suited for an evening drive into the sunset… radio up, windows down.” Genres of country and blues are clear throughout, and the closing track, a spiritual-esque “Honey From the Rock” also indicates an admiration for Southern gospel. Overall, this may not be groundbreaking, but it is pleasant and enjoyable. Influences such as Wilco, Johnny Cash, Martin Sexton, as well as Van Morrison are evident but not overwhelming. “Move your feet, clap your hands, and sing along.” (Julia R. DeStefano)

VARIOUS ARTISTS
Good Cop/Bad Cop Records
Aaarrrr! A Tribute to Jonee Earthquake
16-song CD
Thirty years into his career, the well-loved but relatively little-known Jonee Earthquake is the recipient of this tribute album, which is comprised of sixteen mostly punk acts taking stabs at Earthquakes’s depictions of life’s little battles. For example, there are songs about work, stupid people, stupid club owners, piracy and crosses on the side of the road. Most of the acts present the songs in 1-2-3-4 Ramones-y fashion, which gets monotonous pretty quickly. Of course, monotony is a step up from the version of “I Can’t Sleep at Night” sung by a child. There is almost never any circumstance in which hearing a child sing doesn’t want to make me stab my brain with a Q-Tip. This is never as funny or as charming as it is intended to be. That said, there are a couple good moments here. The Gobshites Celtic stomp adds some flair to “Up with Piracy,” and the Mosquitos surf instrumental “Lookout!” is also quite fun. But if the goal of this album is to make me check out the originals, then it comes up short. (Kevin Finn)

THE VIVS
Mouth to Mouth
12-song CD
The very first song is solid gold. “Waking Up” starts out at a limpid and subtle pace and texture and breaks out perfectly into a type of languid anthem backed by a throbbing guitar mantra. But the rest of the collection mainly consists of stylish rock turns that mostly appear to be lacking in staying power. The album as a whole reads like a recipe in which, unfortunately, a crucial ingredient is missing. Few of the songs seem unique of their kind, but more carefully conceived and skillfully executed genre exercises. I suspect a more consistent production approach to the songs, and more care in making the songs themselves less anodyne pop-rock and more distinctly crafted individual statements, might serve to ultimately present this talented band to better advantage. (Francis DiMenno)

THE HONORS
Wolf Den Studio
Wasted Palaces
11-song CD
These guys would have fit perfectly on a bill with the Sheila Divine, as both bands have a penchant for yearning, anthemic ’80s-era post-punk, with U2 running strongly through their respective DNA. Brandon Heisler has a smooth, expressive voice; Andrew Bayardi’s lead guitar has a very lyrical feel and the rhythm section of Jason Trikakis on drums and Roland Nicol on bass stands out throughout. The Honors are clearly playing to the back row of the arena, as evidenced by the huge and (for a local band, anyway) expensive-sounding production, but they have enough grit to avoid falling into the Snow Patrol/ Coldplay trap of wussiness/ blandness. As an added bonus, all eleven songs sound different from each other while still maintaining cohesiveness throughout the album. Although this isn’t the best album I’ve heard so far this year, it is the one that seems most ready for the radio. Or at least it would have if ’BCN hadn’t closed shop. (Kevin Finn)

GUY MENDILOW BAND
Skyland
14-song CD
This is in essence, world music, incorporating Middle Eastern, African, and South American influences. Although diverse, boundaries are blurred, making it easily accessible to listeners everywhere. Through fusion of a wide variety of elements, the musical compositions often appear whimsical. The Israeli peace anthem, “Sala’am” includes characteristics of Brazilian culture alongside warm and welcoming harmonies. “Durme Durme,” an ancient Sephardi song, is presented through the “melting pot” language of Spanish, Arabic, Greek, and Hebrew. Mendilow is on a “border-busting mission: partnering for peace, person to person.” Music such as this is intriguing, exquisite, and certainly worth a listen. (Julia R. DeStefano)

BEAUTIFUL LIES
Yeah, Finally
11-song CD
This is a little too subtle for me (but why do I get the sickening feeling that the actual word I’m looking for is “inconsequential”?). The most lasting impression I get is of vapid melodies unmoored to any sense that anything they have to say seems to matter. The most distinctive song here is probably “One Thing,” and it comes off as a very poor man’s Jonathan Richman. No, it will not do. Not yet. (Francis DiMenno)

MORGAN KNOCKERS
Second Rock Records
Loss Of Reality
14-song CD
Ah, yes, Mrs. Slimedog here, top reviewer of such world-wide publications as Rolling Stone, Beatle, Monkee, and the Noise—whose sharp, incisive critical mind is only exceeded by her finely sharp, manicured nails.

But now let’s get up to the tropic of hands. These Morgan Knocker boys (doesn’t knocker mean gazonga?) play fast aggressive music. The words zip by so fast I can’t make any of them out and the object seems to be to play faster than a Mexican jumping bean! Maybe these boys are drinking too many Sparks and need to calm down with some Sleepy Time tea. Even Slimedog who you’d think would enjoy this says it’s radio friendly punk with metal licks thrown in here, and there and wouldn’t recommend it.

Not too bad, it’s very well done and sprightly, it just won’t replace any of my Jonas Brothers records anytime soon. (Mrs. Slimedog)

THE CANDACE BROOKS BAND
The Chase
8-song CD
The Candace Brooks Band writes the kind of pop hooks that sneak up on you when you aren’t looking. Maybe nothing really sticks in your head after the first spin or two, but then you suddenly find yourself singing “I’m Gonna Break Your Heart” or “Feel It” in the shower and you want to congratulate the band on pulling off such a neat trick. The melodies and song structures remind me a bit of Letters to Cleo, albeit without the edge that kept that band interesting over repeated listens. Brooks has a Gwen Stefani-ish throaty Cupie-doll voice that mostly works for this genre. It’s the upbeat stuff that fares best, as the slower numbers don’t carry the emotional heft necessary to keep the listener’s attention. Still, out of all the bands that have shared a bill with Debbie Gibson and Tiffany, this is easily my favorite. (Kevin Finn)

CHARLIE CHRISTOS
Widow’s Gun
8-song CD
These are some genuinely moody and atmospheric songs here, sometimes nearly as evocative as those on Astral Weeks. In particular, songs like the heartfelt “Vow” and the sprightly “At Heart’s End” will satisfy the appetites of anyone looking to kick back and lose themselves in the music. However, unfortunately, too much of the time, the melt-into-air production values, as well as the insubstantiality of the tunes themselves, create the impression of a project not fully realized. (Francis DiMenno)

SUPERPOWER
Phantom of the Alliance
6-song CD
SuperPower sounds nice and thick on this record. After the noisy, two-guitar intro, the first song leaps in with the alternating thrash and stomp that the band’s really good at. The next track has a great mid-tempo (for them) riff that everyone on the train got to rock out to today thanks to my crappy headphones. Terry’s guitars are tough all the way through and in lockstep with the muscley drums and bass. The lyrics on the disc are bleak as ever, but Dave’s vocals put a solid defiance behind them. This stands out on the Sweet Leaf-like “Mad,” where the backing vocals also shine. My only real complaint is that the warped band pictures on the inner sleeve aren’t nearly large enough. No surprises here, but I think I now have a new favorite SuperPower record—the sludgy one at the end won’t make it onto the iPod though. (Seth Cohen)

66 BREAKOUT
66 Breakout
6-song CD
No strangers to the Boston scene, 66 Breakout brings together some old school sounds of bands like MC5, James Gang, and Cream and give it a slightly punk makeover. This classic sounding power trio lineup is nothing short of good, classic rock ’n’ roll combined with new takes on some classics by blues icons like John Lee Hooker and Blind Willie Johnson. Elias James’s easygoing, everyman vocal approach and use of a baritone guitar will evoke the inevitable Jack Bruce moment punctuated by Bill Dwyer’s relentless backbeat and Mike Baldino’s relentlessly impressive hair! 66 Breakout gives powerful credibility to the power trio blues punk thang. Make more music soon! (Joel Simches)

RAZORS IN THE NIGHT
Horror Business Records
Carry On
6-song CD
Imagine if you must, the Motorhead format of song turned inside out with a Boston hardcore punk rock transmission. It’s a great solidly built CD, and makes one think of basic survival skills: running, driving, screaming, pushing, slamming. I guess my ideas of what survival skills should include aren’t cookie cutter. But that’s fine. I could literally feel my body tense up when I threw this disc in, ready for some shit. It remained that way until I discovered that the CD was repeating, as it’s only six songs and my car stereo keeps looping and doesn’t know when enough is enough. That’s fine also. Powerful stuff in here. Carry on! (Mike Loce)

BOSTON BLACKLISTED
Mystic Valley Studios
Single File
Demonstration
5-song CD
No one knows how they got blacklisted, but it’s certainly not for crimes of a musical nature. Boston Blacklisted combines the quirky pop of latter Talking Heads, while channeling the wry intellect of a classic Lou Reed/John Cale composition; the wordplay of a Richard/Linda Thompson catfight, and the psychedelic bent the Great Society (the songs that Grace Slick didn’t write by herself). There are loads of trippy harmonies and percussives drenched in reverb, but there is still an uncomfortable edge to this music, like it’s about to lose control and kill your children. This makes for a very compelling listen, especially in the dark on mushrooms. (Joel Simches)

SEXCOFFEE
The Morning After
5-song CD
This music on this all-too-short EP can easily be compared to bands like Mary Danish and Sleater-Kinney, but SEXCoffee has a darker side that reminds me of Concrete Blond without the hair dye, a sultry side that reminds me of Evanessence without the autotune, and the edge of the Divinyls and Daisy Chainsaw without the silliness. Ruth Charbonneau’s sultry vocals snarl oozes sex and revenge over the churn of a tightly produced and arranged backdrop of churning guitars. SEXCoffee doesn’t suffer from the crisis of identity. They sound like a band that knows how to carve their own musical path and does so with aplomb. (Joel Simches)

FOREST HENDERSON
You’re Out Of The Band!
6-song CD
Greetings, Zortar here, space alien from another planet inhabiting the alcohol, oxycontin, Little Debbie cakes-addicted corpse (technically, body) of Slimedog and looking forward to manning my ice cream truck through the coming Boston winter soon. Frosty treats for frosty folks, indeed.

So this band’s CD has a “parade of well-placed hooks, sing along choruses, and tight instrumentals” and they compare themselves to Elvis Costello. Well, dear sirs and madams, this is a parade I want no part of, no sir-ee.

Sure, it’s well produced, well played, and the vocals well sung and I’m sure they’re well hung, also, but these wells do not quench my musical thirst and don’t add up to anything but indistinct pop rock. I would rather suck the venom out of Slimedog’s festering sores than subject myself to this drivel again. (Slimedog)

9TH RAIL
Dreaming of Sleep
6-song CD
While the music on this album reminds me of Son Volt, Wilco and even the Church, there is an unfinished quality to these songs. The vocals are shaky and understated, but the production is lush and thoughtful. One or two more vocal overdubs or some additional double tracking would have helped this record’s shortcomings and perhaps a few musical passages should have been rethought. There is a lot of aimless meandering that should have been left on the cutting room floor. There are also some mistakes captured on this recording that shouldn’t be thought of as “happy accidents.” A producer and a better band name would also really help, if only to flesh out the inconsistencies on an otherwise promising effort. (Joel Simches)

 

ONE FLESH
Twelve Gates
6-song CD
On the surface, this album covers a lot of musical territory. The songs have a great deal of different styles of dark wave, goth, glam and even moments of prog metal and cerebral imagery. Icy synths punctuate the gritty guitars and inventive drumbeats, but One Flesh is undermined by its production ethos and static sense of dynamics. The push over the cliff that you’d expect as payoff to this slow burn and build-up of emotions never happens. Everything sounds tightly reigned and controlled when it needs to let loose. On the positive side, this EP hints at an intensely powerful and provocative stage show. While the music is inventive and compelling, it is a shame that this kind of live energy isn’t adequately captured on this recording. (Joel Simches)