CD OF THE MONTH

Magik Markers - Boss
Produced by Lee Ranaldo
Recorded and Mixed by Lee Ranaldo and Aaron Mullan at Echo Canyon West, Hoboken, NJ
Mastered by Sarah Register at the Lodge

Chances are, you’ve seen Magic Markers before - maybe you’ve ducked a beer bottle thrown across the room by singer Elisa Amgrogi at the Midway Cafe, maybe you watched in horror as they pounded and kicked their instruments across the stage at Avalon opening for Dinosaur, Jr. or Sonic Youth. This band is one of the chosen ones — free to do anything they felt like for the past five years, winning the favor of Thurston Moore’s Ecstatic Peace label and swooning music bloggers everywhere in the process. On Boss, the Markers shed a bit of the gnarliness (and bassist Leah Quimby, who remains “honorary member forever”) and pick up SY’s Lee Ranaldo to try weld some kind of form out of their usually reckless improv recordings. The result is a curious middle ground — one part still firmly outside the box, one part half-heartedly exploring the world of songwriting formality. The only problem for the Markers as that a lot of their honest explorations, even if accidentally, often tend to come across as a band whose musical ideas never finished shoegaze grade school.

“Axis Mundi,” the opener, starts with guitar feedback sounding like a computer desperately connecting to a dial-up modem. Eventually, the song turns into a Jefferson Airplane-type spree of throaty, narrative lyrics delivered on a bed of furious drums, pumping bass and wailing noisy guitars. Somewhere, though, inspiration fades and it de-evolves back into a free jazz noise-fest.

Luckily, Boss quickly shifts to a completely different style, with the driving punk of “Body Rot.” Noisy and noodly guitar re-enters the fray, but the song’s two-minute brevity is far more concise than the more lengthy tracks.

Unfortunately, the band plows back into their epic jam framework on “Last of the Lemach Line,” which plods along for nine solid minutes with nary an engaging enough musical or lyrical idea to justify its length.

Boss screams avant-garde in the way the sounds threaten to fall apart or explode, but the payoff is never strong enough. The vocals and lyrics become less and less remarkable on further listen and the guitar and bass work don’t do enough to cancel out the monotony of the arrangements. The drums push through with solid technique and creative ideas on numerous tracks, providing energy that so much of the group lacks. “Empty Bottles” could be a step in the right direction, featuring piano and vocal duet instead of the overly flushed out tone of the opening three songs. But the reduced instrumentation only highlights how disorganized the instrumental interplay is and how unpolished the vocals are, straining to hit both high and low notes in the phrasing. How high is this duo aiming? It could work given the right context, but the scene is never really set. Are we still stocking this on the outsider rock shelf with the out of tune guitars or are we finally picking a key for this song? Maybe the ambiguity’s the point.

Surprisingly, the last song, “Bad Dream/Hartford’s Beat Suite” sounds like it belongs on a completely different record. Delicate acoustic guitar and quiet droning noise support a soft and engaging vocal with wonderful lyrics like “If you haven’t lived it / Then it is not true.” It’s certainly not the most revelatory thing put to tape this year but, compared to the other songs, it’s a welcome standout.

With more concise arrangements, and focus on melodies and lyrics throughout, this incarnation of Magik Markers has a long, interesting journey ahead of them. For now, with nothing particularly gripping happening, it’s hard to take this record more seriously than high-art drawn with magic markers. (Ecstatic Peace)

www.ecstaticpeace.com/magicmarkers

- John Drake

Before Lazers - Wizards EP
Recorded by Ethan Dessault at New Alliance in Brighton, MA
Mixed by J. Saliba at Wednesday Studio
Mastered by Josh Powers

There is a punk meets hip-hop simplicity to Before Lazers’ Wizards EP. Let’s see. Shouted, metered vocals? Check. Gainy bass guitar and drums? Yep. Oh, and a random telephone message.

The first track, “We Are”, sets the standard for the following four tracks. For an EP, this probably isn’t a great idea. In the time it takes most songs to even propose a hypothetical direction for the rest of a track, let alone the whole rest of an album, “We Are” manages to deftly bypass all propositions. From the start of the first track, the duo of Zack Longo and Adam O’Day loudly proclaim, “We are Before Lazers, so, you know who we are.” With those tight drums and sinewy bass sound, every track nearly sounds the same. Except for the telephone message “hidden” at the end of the hilarious finale “Oh Yeah” (a title that seems to be a censored paraphrasing of the lyrical content of the track). This telephone message, surprisingly, might be even more revealing than the EP’s opening crescendo.

Musically, Wizards recalls a host of very direct influences (LCD Soundsystem, early Beasties) but mainly as a result of the simple instrumentation of both the hip-hop and punk genre. Lyrically it never gets off the ground. The lyrics often just seem like a jumble of fragments from hazy, poorly finessed recollections. But for those who just want to dance or love nonsensical, uninspired, yet humorous lyrics about how “Jack Daniels tastes like bananas,” then Allston’s Before Lazers is for you. (Self-released)

www.myspace.com/beforelazers

- Skylar Smith

The Press Project - Get Right
Produced by Andrew Gallagher and The Press Project
Engineered, Recorded, and Mixed by Andrew Gallagher at WaterWay Studios, Dover, NH

With a divergence towards gangsta rap in the early 1990s, the peaceful and playful natures of groups like De La Soul, A Tribe Called Quest and The Pharcyde were traded in for the incendiary street content stemming from Dr. Dre and company’s L.A. underworld of gangs, drugs, bitches and hoes (and the yachts and champagne that followed). Thankfully, there are groups that haven’t forgotten where hip-hop truly began. Portsmouth’s The Press Project successfully mix elements of hip-hop, jazz and funk on their debut album, Get Right.

The seven-member outfit founded their sound on a love for hip-hop’s heyday, when musical substance outweighed material matters. The opener, “Rally,” sets the tone for the album, with a carefree vibe featuring the group’s three MCs instructing listeners in the chorus to bounce “like [their] rent checks,” while the verses deal with the more serious subjects of faith and race.

Proving their love for the golden era of hip-hop rather than the modern standard, the group’s successful samples of soul works best on “Music Maker.” The beat remains smooth under punchy James Brown horn stabs that make for a satisfying balance, proving that this group can find the elusive pocket between laid-back grooves and hyped rave ups.

Though conscious hip-hop may not be at the forefront of the genre anymore, The Press Project proves that as long as there is a message, people will (and should) listen.(The Press Music Group)

http://www.thepresshiphop.com/

-Nick Stefanovich

Wild Zero - II EP
Recorded and Engineered Marc Schleicher at New Alliance Studios.
Produced by Marc Schleicher and Wild Zero
Mastered by Nick Zampiello @ New Alliance East Mastering.

Wild Zero is like an old car that still works perfectly. Like the driver’s seat that never fails to remember your body’s contour, the worn-in, leathery vocals make a comfortable home among a body of electric guitar riffs, dirty bass lines, and unrelenting drums.

Damien’s heavy percussion and Dennis Carver’s speedy guitar work in “Love Eraser” make for a jerky ride, chalk-full of green lights and rolled-down windows. Lyrics like “I’ve got a love eraser, and I’m gonna win... ‘cause I love erasing,” solidify the gratifying lead-foot attitude that Wild Zero so successfully injects into every song. And speed demons beware — the pulsating cadre of instruments in “Hike for Beer” will exhilarate you the same way that peeling out of your high school parking lot did back when you were rollin’ in the Ford Escort. Listen with caution. The jury’s still out on which hits harder — the high-impact vocals or the pungent electric guitar. Although most songs are between two and three minutes, each one is soaked in vitality.

The band, who names KISS and AC/DC as influences, say they sound like “hospital birthday parties and a wailing child,” just might actually sound more like an engine that’s humming all the right vibrations. It makes a lot of noise, but the sounds are just necessary for the whole thing to work. It might bump, grind, and tick a little bit when you’re on the highway, but that clatter and clang symphony is what makes the machine more than just a vehicle. (Curve of the Earth Records)

www.myspace.com/wildzero

- Andrea Mooney

Miskatonic - Let Us Entertain Us
Recorded by Rafi Sofer & Ken Kokobo with assistance from Aurora Kelly
Recorded at Zippah Studios in Brighton, MA
Mastered by Dana White at Specialized Mastering

Despite taking their name from the H.P. Lovecraft short story “Herbert West-Reanimator,” Miskatonic has minimal overlaps with the literary tale. Punky guitar hooks, energetic vocals, and new wave synths dominate Let Us Entertain Us. Although the influences are obvious (B-52’s, The Ramones, The Cars, even the Boston’s own Cheater Pint) Miskatonic’s bombastically catchy sound is complemented by the quirky overtones of singer Elizabeth Firger’s sometimes delicate, mostly edgy vocals.

The album is consistent with an intense amount of energy throughout, no slowdowns here. “Sno-Cone Girl,” the lead track, evokes sweaty dance floors, bright lights, and glitter. It’s obvious Miskatonic are here to party, though a breather is always nice, especially on Firger’s vocals who never get the showcase they deserve. The drums never seem to let up either, opting for an unnecessary amount of splash/crash on the lighter songs. Particularly on the slow funk of “Cold Comfort.”

With a potent mixture of new wave and rock n’ roll, Miskatonic’s Let Us Entertain Us is never dull, and the band likely puts on an even better live show. (Self-released)

www.myspace.com/miskatonicrock.com

-Michael Aceto

Carrigan - Young Men Never Die
Recorded by Darryl Rabidoux and Carrigan at Strangeway Recordings in Providence, RI
Mixed by Daryl Rabidoux
Mastered by Roger Seibel at Sae Mastering

Blessed with a clear vision and confident musical awareness, Carrigan combines a pervading mood of uneasy melancholy with fits of visceral tension and explosive power throughout Young Men Never Die. The long-awaited follow-up to their self-titled 2001 release, Carrigan builds upon its previous experience as an experimental instrumental duo by combining acoustic and synthesized orchestrations, while creating a more mature, focused and exciting album than their previous release. Recorded over two years, the album retains a masterfully cohesive character. With U2-like riffs punctuated with Stuart Copeland-esque drums and a Thom Yorke-ian moan, Carrigan emulates the best aspects of some rock’s pioneers while delivering a familiar sonic production. Throughout, they find ways to remain unique.

The opening tracks, “We Give No Quarter” and “Valladolid,” are two of the most eerily powerful songs from any local band in recent memory. The unnerving rim shot syncopation in “No Quarter,” played in deference to the straight ahead 4/4 rhythm pattern propels the unease of the song as it flows naturally into the epic synth-rock anthem of “Valladolid.”

“Theodore,” “Talk To My Horse,” and “Davey Jones Locker” are also fascinating in their mischievous sounds, which, though not quite malevolent, possess an exciting element of dark playfulness. Culminating with “Tinderboxes,” a powder keg of swirling guitars, ambient, fatigued vocals and tribal drums, Young Men Never Die concludes as a concise album of excellent sonic contour, showcasing great songs replete with ethereal sounds that resound with power and vigor. (Radar Recordings)

www.carriganclub.com

-Michael Oliveri

Organism - Sound Helmet
Recorded and Mixed by John Corda and Brian Leccese at Mashed Buddha Studio, Boston, MA
Mastered by Michael Fossenkemper at TurtleTone Studio, NYC, NY

Organism’s debut, Sound Helmet, resounds with tight, acid jazz grooves and hints of drum n’ bass, rock, and Latin stylings. Capitalizing on the energy of their extended improvisational sections, this Boston-based quartet offers a collective sound comparable to jazz/funk powerhouse Soulive and fusion greats Tribal Tech. These comparisons, however, should be used loosely, as their instrumentation and individual styles ultimately differentiate them from their musical peers. Organism is comprised of Steve Giannaros on saxophone, guitarist Brian Leccese, John Corda on organ/keyboards/bass and drummer Pete MacLean, all of whom display superior technical mastery.

The opener, “Two Percent Higher,” launches with Leccese laying down a soulful intro guitar riff which, two bars later, is joined by a characteristically tight medium-tempo funk groove and saxophone melody. Following individual solos, the group flawlessly slides into spacey bridges driven by soundscapes of synth and wah-infused guitar filler. Their impressive cover of Joshua Redman’s “Jazz Crimes” is a highly syncopated funk romp, showcasing MacLean’s solo chops in an extended, song-concluding vamp. Although the sound quality and production is top-notch and crisp, Sound Helmet’s major downfall is the constant use of the ‘80s-influenced fusion guitar tone, which, despite Leccese’s skillful playing, often makes the melodies sound somewhat dated and inorganic.

Sound Helmet is a contemporary take of groove-based jazz with a nod to the days of fusion’s past. However, anyone with an ear for improvisational interplay and danceable rhythms can and will appreciate this effort. (Self-released)

www.myspace.com/therealorganism

-Sam Merrick

Steve Smith - This Town
Produced by Anthony Saffery Camp Street Studios in Cambridge, MA

Once upon a time, Steve Smith (and Grammy Award winners, Dirty Vegas) rocked he college club scene with an addicting electronic number called “Days Go By.” Now he’s back by himself with an acoustic version. Although he’s native to London, Smith moved to Massachusetts after being wooed by the New England atmosphere at a friend’s wedding on the South Shore. The swift change in location parallels the shift from club hits to more organic man-and-guitar fusions.

This Town is gentle enough to listen to on a Sunday afternoon, yet solid enough to occasionally enlist your air guitar for backup. The title track begins with a speech by actor/friend Jon Savage, which sets the tone for the album. It all flows nicely together; the title being “This Town,” the relocation of Smith, the rebirth of his music, and the tone of self-change. It’s very much a lyric-heavy record, relying on Smith’s insight and passion to highlight the more colorful parts of the instrumentation.

So bye-bye electronica, hello raw emotion. The difference between Smith’s and Dirty Vegas’ “Days Go By” is everything. These are two completely different songs with the same melody and the same words, but while Vegas’s version is a pissed and defiant kiss-off, Smith’s version aches with fragility and loneliness and politely yearns for the departed lover’s company. But that span of growth — between the college kid who seeks revenge on an ex and the mature adult who is honest with his thoughts — is a direct reflection on Smith and the evolution that he’s endured from Big Ben to Beantown.(G.A.S Records)

www.stevesmithmusic.com

-Andrea Mooney

The Butcherings - The New One Two
Engineered, Mixed and Mastered at Machines with Magnets with Keith Souza, Seth Manchester and Mike Viele

Providence’s The Butcherings is balls to the walls rock. The New One Two starts forcefully with fuzzed-out guitars and frenetic drums that don’t let up throughout the eight head-banging tracks.

With their blend of fried bass lines and angular, mathy lines leaning on haywire octave pedals, comparisons to Providence peers Lightning Bolt are relevant. But while Lightning Bolt eschews the entire rock song format in favor ecstatic rave-ups and linear mad dashes through gauntlets of whirling, splintered drum sticks, The Butcherings still come at it from a vaguely traditional place (one where verses, choruses, harmonies and lyrics are still fair game). On “Push the Button, Again” and the title track, the band explodes with a sound harkening toward The Black Keys and The Jesus and Mary Chain, while singer James Day drones like Roy Orbison stuck in a tin can. The standout track is the six-minute “Forget.” With its heartfelt lyrics describing a souring relationship, the song is as tough as nails. Production-wise, the clamoring instruments in the mix shrouds Day’s vocals, but on “Forget,” they are worth deciphering. This kind of aggressive instrumental nastiness dominates the entire album, though, and The New One Two should probably be packaged with a neck brace for your listening safety. (Self-released)

http://www.thebutcherings.com/

-Nick Stefanovich

Aram Bedrosian - Aram Bedrosian
Engineered and Mastered by Andre Maquera at West Street Digital Studios, Fairfield, VT

Aram Bedrosian is simply one of those virtuosos for whom you just have to tip your hat. His bass technique is recognized by anyone with functioning ears as that of the highest level. Winning numerous accolades for his mesmerizing performances and being one of the most highly sought-after session and touring bass guitarists in the country isn’t a surprise, given his talent.

In the two years of writing and recording the album, Aram seems to have eschewed writing “songs” in favor of composing opuses of epic proportions with wide ranging melodic and rhythmic textures that require astounding virtuosic skill. Additionally unnerving to almost all bass guitarists out there, this album is recorded 100% live with no overdubs, loops, or any external sound effects of any kind. This is an absolutely astounding feat. In a world that has been so lucky to hear the innovations of Jaco Pastorius, Victor Wooten, and Les Claypool, the performances on this album are no less significant in their brilliant, technical radiance.

Bedrosian’s playing can often be compared to that of a classical guitarist in that he infuses high-flying melodies on the higher strings of his bass that are supported by two and three note chords on the lower strings that serve as the harmony. Songs like “Terracotta,” and “The Clearing” are also classically inspired in their use of counterpoint and fast-paced and multi-dimensional interpretations of melodic lines.

Weighing in at only half an hour, Aram Bedrosian is a musical onslaught of beauty and ambition. Technical mastery, a keen sense of melody, and a refreshingly unique vision for bass guitar composition make this album a significant work to be recognized not only in the Northeast, but throughout the world. (Self-released)

www.arambedrosian.com

- Michael Oliveri

Cryptacize - Dig That Treasure
Mastered by John Golden
Produced by Cryptacize
Vocals recorded at New, Improved Recording in Oakland, CA

Cryptacize allegedly formed soon after Nedelle Torrisi (former Kill Rock Stars artist) and Chris Cohen (ex-Deerhoof, currently of The Curtains) watched a YouTube clip of percussionist Michael Carreira playing a mean cowbell. If their strange internet bonds were any indication, Cryptacize’s debut would be full of whirs and clicks — a hectic army of digital insects. Instead, the clockwork minimalism found on the scant 31 minutes of Dig That Treasure is that of potent chamber music.

The spacey folk album opener “Stop Watch” is certainly draped in plenty of instruments, including clanging bells, electric guitar drones, pastoral autoharp, piano, and of course some cowbell. Treasure‘s quietness stems from the way the stilted instruments are played; they hang over songs like a deep and trenchant fog.

Cohen and Torrisi’s guitars serve as the diffracted light burning off the album’s minimal chilliness in “No Coins.” Elsewhere we hear noise pop (“How Did the Actor Laugh?” and “Heaven Is Human”). “Say You Will” has girl group charm that floats over a motoring washboard percussion and wind-up autoharp. Torrisi shares main vocals with Cohen and seems to take charge with her winsome diction. Cohen’s stop-and-go approach to music isn’t going anywhere soon, but he’s reined it in considerably here. And despite being remarkably delicate, Treasure has plenty of room for crashing waves of guitar (“We’ll Never Dream Again”). Celestial back porch harmonica folkers like “Dig That Treasure” further balance everything out.

On this album, Cohen continues to create a unique sonic landscape by playing a card straight out of his Deerhoof days: one must be willing to be happy with a shilling of silence before dumping out a treasure chest full of noise. (Asthmatic Kitty)

www.myspace.com/cryptacize

-Kyle Lemmon

Lyrics Born - Everywhere At Once
Produced by Lyrics Born

After 15 years in the hip-hop game, Lyrics Born has yet to hit a creative ceiling. The gravelly-voiced vocalist/producer remains inventive with ANTI- debut Everywhere At Once, his second solo studio album since 2003’s critically acclaimed Later That Day.

Everywhere At Once is indeed all over the place, a blend of hip-hop, funk, dance, go-go, R&B and dancehall held together by the eclectic emcee’s production skills and vocal animation. While songs like “Hott 2 Deff,” “Top Shelf” and “I Like It, I Love It” stand out as guaranteed club hits, the album is also his most personal.

The half-Japanese American tackles identity issues on “Is It The Skin I’m In?” over a laidback groove. “Whispers” finds him coping with the loss of a close friend, while “Cakewalk” recalls the struggles of his career before he professes, “We all take our loss but I don’t accept failure.”

It’s this unbending confidence that has made Lyrics Born one of the biggest names in indie hip-hop. A co-founder of Quannum Projects (DJ Shadow, Blackalicious, Lateef the Truthspeaker, Lifesavas) and member of Latyrx, he’s built a rep for his stellar live performance and gained international and crossover success while sticking to his guns.

L.B.’s ability to cross boundaries makes him a perfect fit for ANTI-, a subdivision of Epitaph Records whose diverse roster includes Tom Waits, Bettye LaVette and Michael Franti. Everywhere At Once features guest work from his wife and longtime collaborator Joyo Velarde, along with Jurassic 5’s Chali 2na, Crown City Rockers’ Kat Ouano, R&B singer Baby James, and producers RJD2, Jake One and Amp Live. As a bonus, the album includes a remix of “Let Me In, Let Me Out,” Lyric Born’s collaboration with guitarist Tommy Guerrero.

The compelling energy of Everywhere At Once is progressive and accessible, sure to have both mainstream audiences and indie rap elitists shaking their booties to its funky stylings. (ANTI-)

www.lyricsborn.com

-Zoneil Maharaj

Marvelous Toy - The Disappearing Heart
Produced by Jordan Hudock
Recorded and engineered by Michael J. Baum in Long Beach, CA
Mixed by Michael J. Baum, Jordan Hudock and Franck Fiser (except tracks 1 and 7 recorded and mixed by Jordan Hudock in Los Angeles, CA)
Mastered by Leslie Chew

On this debut EP, The Disappearing Heart, Marvelous Toy achieves the enviable balance of staying closely in touch with the zeitgeist while still sounding excitingly original. Based in Los Angeles, the four-piece band’s style is highlighted by some hallmarks of the city’s indie music scene (emo-inflected male vocals, ripe with vulnerability; male-female harmonies; a head-spinning variety of influences combined pioneeringly), but carves out a unique niche in that edifice by cross-pollinating folk pop with electronica.

The self-released EP features a handful of fine-tuned compositions. Lovingly produced, these six songs have been polished until they sparkle like jewels, with lots of little artistic touches throughout. The melodies are charming, and some call to mind the music of past eras filtered through a modern sensibility: “Let You Go” is so sweetly romantic it would feel perfectly right on a harpsichord. Its opening piano run flows like water (and a hidden seventh track offers a reprise that’s just as pretty). Frontman Jordan Hudock’s resounding voice is electronically processed throughout the album and the effect makes him sound like he’s broadcasting from a far distance, or another time.

Coupling acoustic instruments with synthesizers, the tracks also embrace unexpected instrumentation up to and including glockenspiel, around which there currently seems to be some kind of miniature alt-music revival. A spare start and the later entrance of a more orchestrated sound creates a characteristic in the songs’ arrangements whose recurrence is an effective means of cohering the collection. The one track that departs from the general tone, “That’s Not the Reason,” is faster and more danceable, but even it features a very musical vocal line, with ranges of notes like nets cast wide. With well-written songs and a painstakingly crafted sound, this new Toy is sure to provide a lot of happiness. (i feel m.t. records)

www.myspace.com/marveloustoy

-Susan Brooks

Umbrella Tree - The Church and The Hospital
Engineered by Jeremy Fergeson at Battle Tapes in Nashville, TN
Mixed by Jeremy Fergeson at Battle Tapes
Mastered by Jim Wilson at Yes Master! in Nashville, TN

Opening Umbrella Tree’s new album is the sound of a scream, closing it is a whimper. The Church & The Hospital was released in February and rolls through 11 tracks in about 30 minutes, most of it fleshed out in layered horns, guitars and strings. The trio maintains a tight energy that’s nothing new to live audiences, while keyboardist Jillian Leigh and guitar/bassist Zachary Gresham exercise a dialed vocal interplay to keep the dense recordings from sounding too large.

2006’s What Kind Of Books Do You Read? helped Umbrella Tree lay claim to a smart and challenging musicality they haven’t lost. The first three tracks here are thick and uptempo, and the last of those is in German (another later track is in French). The harp tones that toll to start “Smells/Bells” at the fourth track are the listener’s first reprieve from a calamitous beginning, and hint at the calm, melodic pop introduced later. It’s an intimidating beginning for a CD that highlights the band’s best songwriting tools: contrast and energy. Gresham’s characteristically thin guitar helps bring many the songs to a climax, more as a percussion instrument than anything melodic. Melody in particular is something that needs to be hunted for in the first few tracks, but the second half of the CD offers ample compensation in the rolling instrumental and vocal leads of “Schizophrenia” and “Tooth On The Floor.”

The 11th and final track on The Church & The Hospital is “The Youngest Apple,” a simply beautiful but haunting ballad sung by Jillian Leigh. It’s reminiscent of the title track from What Kind Of Books Do You Read?, which mixed the flirtatious question it’s title asks with the harsh answer “I like Westerns, I like Westerns/I like the guns and the fistfights.”

It’s worth noting that over the last two years that quiet, gentle song has been re-imagined from a ballad into an energetic frenzy of offbeat guitar and parade drum. On this new album, it feels more like Umbrella Tree has had the freedom to do its instrumental and song-writing experimentation before recording, leaving the band with a polished album that comes much closer to capturing the live energy and musical freedom the group built their popularity on. Umbrella Tree’s transcendence of most things Nashville, or even “indie,” sets them far apart from the crowd, leaving them where their creative style can have the freedom to create and surprise. (Cephalopod)

www.myspace.com/umbrellatree

-Matt Beale

Zillionaire - The Street Lights Have Been Turned Down
Recorded, mixed and mastered by Mark Nikolich and Zillionaire at Atomic Audio in Tampa, FL

Members of Tampa-based Zillionaire dumped their old dance-punk band, The Washdown (signed to Look Out! Records) for a bit of a slowdown. But that’s only a slowdown in tone, not intensity. Zillionaire is nicely polished moroseness, calling back the days of Codeine or Starflyer 59. Zillionaire dances between slowcore and shoegaze. These days it seems that only singer/songwriters or instrumental bands are allowed this type of slow introspection, but Zillionaire shows that words can still thrive in droning.

Not to say Zillionaire is all doom and gloom. “The Gardener” is a great rock song, punctuated by cool vocal sing-a-longs to serve as a chorus. “No Contest” has the flavor of some stripped down post-hardcore, but the even feel of the mix never makes the more upbeat songs stand out from the slower ones — something that is sure to emerge in the live show. The appropriately haunting “Three Ghosts” rings out with a subdued confidence in the lines from Dupras: “I know you’re not there.” This song serves as a good example to find the depth and proficiency of Zillionaire’s brand of slowcore, especially as it glides between a tempered pace and louder distortion towards the end.

Zillionaire has revived new life into a genre that faded without much resistance, but it’s refreshing to hear it back. (New Granada Records)

www.myspace.com/zillionairetampa

-Josh Spilker

Jeff Crawford - Something For Everyone
Produced by Jeff Crawford at Arbor Ridge Studios in Chapel Hill, NC
Mixed & mastered by Tim Carless and Jeff Crawford at Mockin’ Bird Studios
Additional production by Tim Carless, Logan Matheny and John Henry Trinko

Something For Everyone is a collection of songs Jeff Crawford has written and shaped over the last three years, and most of the instrumental performances on the album are by Crawford himself. In addition to his solo work, Crawford plays bass for Chapel Hill’s Roman Candle, so he was able to turn to his band mates for additional instrumentation.

Often compared to The Beatles and The Shins, Crawford writes jangly pop songs that rely on the “nice guy vocals” approach: honest rather than mysterious, loving rather than sexy, striving rather than aloof. Most of the time, the writing complements Crawford’s wavering, and usually doubled, voice. “Reminders,” for example, is a regretful acoustic gem that begins with a haunting falsetto floating in the background, and the instrumentation is appropriately sparse. When Crawford laments, “You always tried to care / I wouldn’t let you,” its potency is amplified by the lack of accompaniment.

“Busy Man” is another standout. The music rambles like Elliott Smith in the Figure 8 era, and Crawford’s vocals fit on top perfectly. Crawford’s experience as a bassist comes in handy here, as he tactfully keeps it simple where other players may have shown off and cluttered the mix.

Despite its title, Something For Everyone will leave drum enthusiasts wanting more; the drums are often there, but not very palpable in the mix. “Do What Mother Told You To,” for example, is a stop-start rhythm that guitar, tambourine and piano can’t quite hold up on their own. At times there are subtle hints of a kick and snare, but they are buried in the mix. Crash hits and a building hi-hat would have made the verse/chorus transition more grand, and a pronounced kick drum would have given the verse the wheels it needs.

Like The Shins’ James Mercer, Crawford sometimes prioritizes lyrics over melody, cramming in too many words where few syllables would be most fitting. Though this happens periodically, the typical song on this album fits together admirably. As a solo debut, Something For Everyone impresses in its own, humble way. (Self-released)

www.jeffcrawfordmusic.com

-Harold Zimm