Joy Adler’s ‘Postcards’ is emotionally uplifting, radiant

Reviewed by Kyrby Raine

Joy Adler/Postcards

Give Joy Adler credit for not trying to sound like any of the other female singer/songwriters out there. Her voice, soaring and radiant, flows like a waterfall. Throughout Postcards, I found myself simply mesmerized by her singing; it wasn’t until after I listened to the album more times did I even pay attention to her words. Her vocals alone were the hook. On “Prayer” and “Your Love Is Everything,” Adler seems inspired by a divine force; there is an otherworldly, almost ethereal, quality to her singing on those tracks that is quite magical.

Adler’s versatility is also impressive. The opening cut, “By Your Side,” is a lovely country rocker with enough jangling guitars to cross over into the Americana circuit. “Prayer” and a remake of the Cult’s “She Sells Sanctuary” feature sizzling blues licks while “Feels Good” touches upon funk and jazz as Adler’s voice is more sultry than ever. This is a fairly emotionally uplifting album, even when the lyrics deal with love lost. That’s mainly because of Adler’s high spirits beaming through the grooves.

http://joyadler.com

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Rivercity Seven delivers wildly unpredictable genre hopping

Reviewed by Kit Burns

Rivercity Seven/Sidewinder Stitches Time

Rivercity Seven changes with the weather. At one point, the group is tripping us with mad flashbacks of the Peter Gabriel-lead Genesis (for those of you too young to remember, Phil Collins was not always the vocalist for Genesis) and then flipping the switch to the herky-jerky synth pops of Devo. That’s quite a leap! But it’s that wild eclecticism which makes Sidewinder Stitches Time such a blast to listen to. You never know what direction these guys are taking, and the familiarity from repeated spins still doesn’t erode that sense of rollercoaster unpredictability.

Hailing from the alternative hotbed of Austin, Texas, Rivercity Seven are an alternative to the alternative. The band’s stylistic shifts are downright bizarre yet it’s exhilarating to hear music again that actually challenges the listener. On the spiteful “Roll Out Yer Bones,” the twisted ’80s New Wave dance rock of Oingo Boingo collides with the arty pretensions of Gabriel; if you thought that punk and prog would make unnatural bedmates, you’ll be shocked as to how exciting this is. Demented bliss, I say. The question is, are you prepared to make the leap from that to the Steely Dan-esque white funk of “Save Yourself”? If you are, by all means do not hesitate to jump on board.  

http://www.myspace.com/rivercityseven

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Rapper M.C. Mars finds humor in the darkest recesses of life

 

Reviewed by Kyrby Raine

M.C. Mars/Letz Cabalaborate

When M.C. Mars’ album arrived in our office, there was a mad tumble among staffers for it who mistakenly thought that Dennis Hopper had released a rap record under pseudonym. Yes, if you look at the album cover, Mars does somewhat resemble Hopper. However, he is his own person and possibly one of the most articulate and frank rappers in years.

Mars is unlike any other hip-hop artist on the scene today, at least from what I’ve heard. First of all, let’s start with his age; Mars is in his late 50s; secondly, he’s a cab driver, and his songs originate from real-life incidents on the road. Thirdly, he has HIV, and a couple of tracks, namely “A-I-D-S Is a Manmade Virus,” “Eulogy for Eazy-E,” and “High Inner Vision,” refer to his illness. But that doesn’t mean Letz Cabalaborate is a depressing album. Far from it. This is a CD brimming with life and high energy. Mars pokes fun at rap cliches on “Hip Hop Taxi” and “Cabdriving Is a Video Game” brings a macho outlook to taxi driving.

The genius of Letz Cabalaborate is in Mars’ stories. From the gender-bending shocks of “TV Humor” to the failed hooker hook-up of “Bob the Fertilizer Salesman,” Mars finds humor in the darkest recesses of the human condition.

http://www.mcmars.net

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Versatility, innovation, and sarcastic humor color leave SMUG ‘Freshly Stained’

 

Reviewed by Kit Burns

SMUG/Freshly Stained

Given SMUG vocalist/bassist Bret Helm’s reported touring experience with Public Image Ltd. in the mid-’80s, I was expecting something a little bit more angular and post-punk with his own outfit, SMUG. Certainly that influence can be heard on a few tracks, such as the neo-Goth stomp of “Passing You By” and the mohawked funk of “They Never Read the Book,” but SMUG simply cannot be put into a single category. Freshly Stained sounds like the work of more than one group; its only consistency is really Helm himself, who can equally pass for Jello Biafra of the Dead Kennedys or Dexter Holland of the Offspring depending on what the song calls for.

With punk in such a sad state of decay, it’s a relief to hear innovation, versatility, and a sharp-tongued sense of humor in the genre again. “Shoulda Wrote a Ballad” is a piercing attack on the music industry, a biting satirical comment on how having a generic love song can take you to the promised land of Top-40 radio. Of course, I’m writing this just after hearing the horrid “Hey There Delilah” by the Plain White T’s on a supermarket sound system for the millionth time, the very definition of what Helm is singing about. “3 States 6 Days 1200 Miles” and “It’s Me” are reminiscent of Devo’s herky-jerky moves but given a sonic toughness.

http://www.smugband.com

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Lisa Dudley deserves standing ovation for patriotic songs

 

Reviewed by Kit Burns

Lisa Dudley/”I Believe in America”

I’m reluctant to call Lisa Dudley a patriot although her three-cut EP, “I Believe in America,” especially (obviously) the title cut pretty much defines her as one. There’s nothing wrong with that; it’s just that patriotism in America is often viewed as being supportive of their war against Iraq.

On what political side of the fence Dudley belongs to is something I am not aware of. Certainly the initial song on here, “Bring ‘Em Home, Lord,” acts as a Gospel-flavored prayer to return the soldiers back to their anxiously awaiting hometowns. Then again, it could be interpreted as bring ‘em home as in, let them be safe as they continue their missions. The genius of the lyrics is that it can be bent either way, from a liberal or conservative perspective, and neither of which would be an incorrect analysis. Dudley’s hauntingly angelic voice sounds like a phantom from ’40s country radio; you can almost imagine the crackling of vinyl and the static of the AM dial. 

According to Dudley’s bio, she is the daughter of two veterans so she is indeed singing from the heart here. “Twenty-One Guns” is written for those who fight for their country’s freedom. These days, it seems that we take those soldiers for granted. They deserve a warm, hearty standing ovation, and so does this EP for reminding us of that.

http://www.lisadudley.com

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Sterr provides hard-rock alternative to Canadian peers Arcade Fire

 

Reviewed by Kit Burns

Sterr/Better Now

Whenever Canada is mentioned in the indie press these days, it usually has something to do with Montreal’s college-radio darlings such as the Arcade Fire, the Dears, etc. As someone who has actually followed Canadian rock over the past couple of decades, those groups – and that sound – is not particularly representative of the country’s rock culture. Actually, they deviate from it. Mainstream Canadian rock, even the alternative set, has always borrowed from both American and English sources, adopting the stadium-sized punch of the Yanks and the stylish quirks of the Brits. Trace back Canadian rock to 54-40 (R.E.M. meets U2) and Econoline Crush (Soundgarden meets Duran Duran), and you’ll see what I mean.

Want to know what Canadian rock really sounds like? Throw Sterr on your CD player. This nicely polished modern-rock group unifies the angst-ridden aggression of early ’90s grunge with the transcendent melodies and emotional highs of Coldplay and Radiohead. You can easily hear both worlds colliding (in a great way, I might add) on “Wishing Well” and “It’s Ok,” as the band blows off steam with chunky hard-rock riffs, head-slamming drums, and emotional, high-impact vocals. “Better Now” picks up the soft/loud/soft formula from the early ’90s without missing a beat, opening with a pretty acoustic intro which the group gradually cranks up.

Sterr rock without pretension or arty excesses. They’re 100% Canadian. Take that, Arcade Fire.

http://www.sterr.ca

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Ken Snyder keeps the sonic boom of real rock alive

Reviewed by Kit Burns

Ken Snyder/Progressive by Nature

Ken Snyder is a throwback to the days of guitar heroes in rock, from the mind-altering psychedelic metal of Jimi Hendrix to the epic riffs of Jimmy Page to the intricate soloing of  Joe Satriani. It saddens me that such showman rock has become a rare breed in today’s emo-driven market. Well, at least there are longtime disciples of rock – that should be Rock – like Snyder to keep that dying spirit alive. And for all the negative feedback heavy metal has gotten over the past few decades for being a bad influence on the youth, there probably is no other genre of music that brings out the pure joy in life.

Without any gloomy lyrics for people to interpet, Progressive by Nature makes you focus on hard rock’s pulse-pounding drive; in this case, that means Snyder’s fiery, mesmerizing licks. “Back in the Day” shoots a fistful of guitar shrapnel while “Of Man and Machine” buries you in layers of sonic boom. Crank it. “Pitch Black” and “From the Shadows” leap from the gates with some of Snyder’s most passionate playing and hellfire soloing. However, it’s not all wham bam here. “Solitude” and the title track inject acoustic guitars into the mix, balancing the noise with some midtempo introspection.

http://www.ken-snyder.com

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Repeated spins reveal ‘subtle charms’ of Scott Thompson CD

 

Reviewed by Kit Burns

Scott Thompson/All the Wisdom

How much you will appreciate Scott Thompson’s All the Wisdom CD is dependent upon how patient you are with it. This album is a grower, one that takes repeated spins for its subtle charms to be apparent. But then again those are the records that you end up spinning for months, which is the fate that will befall this disc. Thompson has a smooth voice with really no quirks or edges; at times he reminds me of a lighter, less passionate Peter Gabriel. His singing probably won’t grab you on the first listen; however, it won’t annoy you, either. You simply have to let it ease its way into your heart, allow your ears to recognize it and become familiar with it.

Much of All the Wisdom has a chill-out vibe to it as Thompson creates a laid-back atmosphere with hints of progressive rock and jazz. The intimate title track features Thompson’s finest singing, his soothing vocals pushed to the front of the mix while the drums snap with jazzy textures. “After” approaches the beach-friendly acoustic pop of Jack Johnson while lovely piano provides a cinematic backdrop for “The Wind, the Water, and the Woman.” My pick is “Misguided,” which is dreamy and evocative. Give it time and you’ll be pleasantly hooked. 

http://www.thompsonmusic.net

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The Libertines US reflect the lost innocence of ’80s indie rock

Reviewed by Kit Burns

The Libertines US/Greatest Hits

The Libertines US originate from a more innocent time, alternative rock’s salad days of D.I.Y. vinyl, fanzines, and college-radio stations. As you can probably tell from the ‘US’ in the group’s name, there are no English punks in this band with rehab problems. Nope, these are the original Libertines, hailing from Ohio and peers of indie icons like the Replacements, Husker Du, and R.E.M., all of whom can be heard in this collection of long-lost oldies and newer tracks.

The title is meant to be ironic as nothing on this CD was ever a hit, with the possible exception of the geek anthem, “Everybody Wants to Be My Sister,” which was a favorite on the legendary WOXY in the ’80s. “Everybody Wants to Be My Sister” is the most immediate track on here, generating chuckles with its tale of a lonely lad whose destiny in love seems to be nothing more than a girl’s best friend. That seems to be the story of any indie-rock kid’s life, and it’s no wonder the tune clicked. Given a major-label push, it probably would’ve become an ’80s weekend radio staple alongside the Violent Femmes and the Smiths. Guitars jangle beautifully, especially on “Frosted Glass” and “Swayback.” However, the group knows how to energize the mosh pit as well, turning up the knobs with authority on “Mile Markers” and “300 Moons.”

http://www.thelibertines.us

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Blake Ian’s ‘Alchemist’ is a ‘keeper’

Reviewed by Kit Burns

Blake Ian/Alchemist

There’s a sense of mystery surrounding singer/songwriter Blake Ian. With an album cover quite similar to that of R.E.M.’s Lifes Rich Pageant (I’m showing both for all to see), Ian steers the college-rock scene away from the funky post-punk moves and into a decidedly folk-oriented approach. However, that doesn’t mean that Alchemist is a collection of whiny acoustic strummers. Ian knows how to - and does – rock. It’s just that there isn’t a band sound here; rather, Ian combines the breathless despair of the late Jeff Buckley with the grunge slam of Pearl Jam and the driving guitars of, yes, R.E.M.

The R.E.M. comparison goes beyond the jangling riffs and the CD cover; on “Car Radio,” Ian eeriely resembles Michael Stipe so much that I thought I had accidentally threw on, ahem, Lifes Rich Pageant instead. But on other tracks such as “In the Fires” and ‘A Little More,” Ian drinks to the memory of Buckley with a woeful yet somehow cathartic sensitive and wounded voice. Ian’s ability to shift from quiet to loud without losing any emotional impact whatsoever wows me every time I listen to Alchemist. It’s a keeper, one that you’ll return to for years to come.  

http://blakeian.com

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