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THE MALHERUEX Nightmares EP Self-Released |
| For their new EP, The Malheruex spent 3 months in the studio with producer Jim Witt who has worked with the likes of Incubus, Jack's Mannequin, etc… and has put out solid music that signifies what this group is all about and offers a glimpse into what will make them stand out amongst an overcrowded scene. Though they bear a resemblance to the bands of today's "Warped Tour" scene, they also effectively incorporate their vast influences into these songs and offer something familiar yet unique. Opening track, "Nightmares" brings you into the EP and you instantly know that you have stumbled upon a band that is going to capture your attention and the vocals offer a passionate delivery of the well-crafted lyrics while the guitars do their part to stay in the background throughout the verses but kick it up a notch to help drive home the chorus. In a vastly different approach, the blistering guitar riffs of "Flip The Switch" and "Drowning In Numbers" seem to be the main focus of the songs and are sure to get the crowd moving and jumping right along with this. Though there is some screaming in the backing vocals, which I normally don't really care for, it is so limited that it doesn't get in the way of these four great songs. This is easily a band to watch out for and I can't wait to hear more. It's been a while since I heard a group of songs like these in that they are all solid, and yet all offer a little something different than the one before it, and more importantly, something different than every other band out there right now. | |
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MAMIFFER Hirror Enniffer Hydra Head Records |
| Mamiffer is a combination of members of popular indie rock bands These Arms Are Snakes, ISIS, Everlovely Lightningheart, Helmes Alee, and Lozen; so basically a who's who of today's indie rock. Unfortunately for my liking, their debut album "Hirror Enniffer" falls way too short. I was expecting something a little bit out to the left of the dial mainstream sound as their other bands are just that, but this was way too far off the radar. With no real vocals mixed into the 6-song, 35 minute disc, I was more often than not looking to see how far I was from being done listening to it. Not a good sign. So what can you expect from this disc? Well, it is basically a combination of avant-garde instruments that range from piano, to cello, to jars, to Japanese distortion pedals, and as they state themselves "uncommon percussion instruments." When you combine it all together you do get a unique sound in that no one else out there sounds anything like this. No two songs sound alike, but they all walk a line as far out there that you can get before you lose people's interest completely. Simply put, this sort of thing isn't for me. I like good vocals, good guitar riffs that drive the songs, and a bass line that makes you move. You can expect to hear none of that on this album so if you like the artsy driven indie rock then this is for you, if not then I'd say pass on this one. | |
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MIKE MANGIONE Tenebrae Self-Released |
| Glenview, Illinois is a stone's throw away from our offices so we are always happy to see an artist break out and succeed from our area, but when an album like Mike Mangione's "Tenebrae" finds it's way to our desks we are not only happy but proud to be from this area. Having found huge success with his 2005 album "There and Back," he has followed it up with what has instantly become one of my favorite albums of the year thus far. From the opening notes of "Waiting For No One" you are instantly thrust into a mellow, adult alternative, sound, that will capture your attention with the passionate vocals that carries through the entire album. There is some pop involved in the songwriting (see "You Don't Wanna Leave"), but it is Mangione's voice that carries the songs, draws you into them, and makes you want to hear more. He has effectively created an honest album that is not too much like anything else out there right now, but will easily please fans of artists like James Blunt, Maroon 5, etc… and is a welcome addition to my collection and an album that I can honestly say isn't going to leave my CD player for a long time. | |
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MARION SQUARE Draw The Line Marion Square LLC |
| Marion Square is something I would normally listen to, mainly it isn't my cup of tea, but Draw the Line was pretty good. It reminds me of a cross between Dave Mathews Band and Evanescence. Vocalist McCall Cruse has a beautiful voice, but her voice is what makes most of the songs sound the same. I think this was a decent album, but I don't think this deserves more than a 3 out of 5. (Nick Zamfoti) | |
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TRAVIS MARSH Los Angeles ATM Music Group |
| The rock genre is full of sub-genres that expose an artist from the inside out and pound for pound it is the singer/songwriter genre that is a personal favorite of mine. These artists aren’t afraid to wear their hearts out on their sleeves and occasionally one will come along that doesn’t get so wrapped up in being an artist that they end of writing very marketable material as is the case with Travis Marsh. His blending of alternative rock with great guitar work, and an outstanding voice and lyrics allow him to blend together a solid sound that will work across multiple fan bases. There is the side of Marsh that would satisfy they artsy types that like to sit around a coffee shop and have music playing while they sip their coffee and play on their wi-fi as he shows with his acoustic based offerings like “Losing Myself” and “Make Her Love Me,” where he sings a simple but very relatable lyric about how he is crazy over a girl but he is too insecure to pull the trigger and tell her. However, with bands like Something Corporate and the whole Drive Thru Records revolution that led the way in the early 2000’s, Marsh is not a one trick pony and offers up a modern rock sound as well that is suitable for any number of the kids that flock to Warped Tour every summer. Cuts like “Los Angeles,” “Coming Down” and “My Kind of Girl” all offer the pop blended alternative rock that has become extremely popular amongst the new generation of fans. Marsh proves with this EP that he writes catchy songs that are relatable and could become anthems for a new generation, as he tends to offer up a very sing-a-long styled chorus 99% of the time making sure his songs get stuck in your head. | |
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ADAM MARSLAND Go West Self-Released |
| When you start going through someone’s resume there are certain aspects that stand out and impress you. With Adam Marsland’s I found myself impressed by the fact that he was a session musician with the Beach Boys (I am crazy about them) and the legendary Wrecking Crew of the 1960’s (again a fan). However, more than those things was his ability to put together Go West, a double album and his first studio release since 2004, through tragedies he was faced with on a grand scale. His brother passed away, his sister-in-law was murdered, and in between all of this his house was broken into and he had his best music equipment stolen. I personally would have thrown in the towel and said forget it, but lucky enough for us music fans, Marsland not only didn’t do that but he gave us this ambitious album that incorporates everything he is about over two discs. This is the first time in a long time where Marsland and his crew didn’t try to perfect anything, but they just cut these songs raw and in great form that allowed him to express his most solid vocals to date. A majority of the lyrics focus on everyday darker topics ranging from abuse to mental illness to who people truly are when you get down to the inside being. This album musically stays focused in the pop genre but often leans towards a singer/songwriter feel giving the songs the personal touch they needed to deliver such strong messages within’ the lyrics. There was no over thinking, no trying to make something extraordinary, a masterpiece of album per se, but rather you get Adam Marsland pouring his heart and soul into these songs without being caged in by what the mainstream is going to have to say about it, but rather what he and his fans think about it, and in turn has created that masterpiece. | |
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MATINEE CLUB The Modern EP Ninth Wave Records |
| From Blondie to the Cure to Duran Duran, The Matinee Club combines all of these influences to create a new wave tinged debut album that is sure to catch on with an early 30's crowd. When you hit play you are thrown into a pop record with a whole lot of synth thrown into the mix making for an album that will have you wondering if you are listening something originally released in the 80's. There seems to be a trend of bands like this coming out right now, but what separates The Matinee Club from the pack the most is the sexy, seductive vocals by Emma Cooke, who is recognized in London from her appearances on TV and in film. She does however split the vocals a majority of the time with Nathan Cooper, who's voice instantly reminded me of a cross between Tears For Fears and Duran Duran. Together their vocals compliment each other and bring the songs to life. An added bonus for you fans of David Bowie is their version of Bowie's "Modern Love." You will not be disappointed. This is one of those albums that while it isn't a style I would normally listen to, you have to give credit where credit is due. This is well-crafted music that is going to be perfect alongside any of the bands that littered mainstream radio in the 80's, so get out your legwarmers and hit the dance floor. | |
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MATT MAYS AND EL TORPEDO Terminal Romance Sonic Records |
| When you start to search high and low for a good, solid, rock band these days you will be hard pressed to find one that doesn't try to incorporate a bit of screamo, hardcore, or any other silly sub-genre creations into their music. That of course is until you stumble upon Matt Mays and El Torpedo. Their 2005 debut album started to break them through, but it is their sophomore effort, "Terminal Romance," that is going to make them a household name amongst rockers. The top 20, lead single, "Tall Trees," displays a great guitar riff through the intro that leads to a very solid and smooth delivery of the lyrics, but this is by no means the best song on the album just because it is the single. This is an album chalked full of solid songs with all of them being potential singles. With shades of a Who influence you are thrust into the album with "Building A Boat," and with tracks like the rowdy, guitar driven "Rock Ranger Record" and "Stand and Deliver," the influences of the grandfathers of punk rock like the Ramones, Buzzcocks, etc… are easily recognizable. Though at times they tone this album down a bit, and tend to get a little trippy as they show on the late 60's era, Beatles influenced, album closer "Long Since Gone," Matt Mays and El Torpedo have for the most part put together a very solid rock record. They wear their influences on their sleeves and pull them together perfectly to give a unique feel to an old idea and are sure to impress those true rock music fans that miss that solid rock based sound. | |
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MICHAEL MCDERMOTT Hey La Hey Pauper Sky Records |
| Chicago is known for a vast musical scene that incorporates elements of a variety of music into their own sound. In other words, just like the city itself, the music scene is a melting pot from Irish based, to blues, from rock, to folk, etc... Michael McDermott has been bringing his blend of American folk music to Chicago’s residents and beyond for almost two decades and with the release of Hey La Hey, he seems focused on starting the next chapter of his already solid career. In the past McDermott has leaned towards the more dark side of his music while this album takes a bit different approach. “Hard To Break,” early on in the album sees McDermott along with duet partner Kate York, focus on taking a deep look into who they are and where they are at in life. These deeper based, well-crafted lyrics are what McDermott does best and he continues to show it throughout the album with a great collection of story songs. He inserts you in the subject’s situation numerous times throughout the album on songs like “The Great American Novel,” “Room 411,” and “The Ballad of Johnny Diversey,” where you are introduced to a set of characters from Johnny to Diamond Jim. If Hey La Hey is McDermott’s next step in his career then he is about to start down a great new path. He has always presented great lyrics but this album allows him to focus on the more pop side of his music and keeps more on the positive and hopeful side to life rather than the dark sides. | |
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MEGAPUSS Surfing Vapor Records |
| Devendra Banhart & Greg Rogove came together to form Megapuss and with their latest album "Surfing," they seem to be on a mission to blend a variety of the pop genre with itself and create a sound that you just simply will get or you will not get. I personally didn't really get what they were trying to accomplish, but that is just a matter of opinion. The lyrics on this album tend to be obscure and off the wall, which might be exactly what these guys were going for with them. All you have to do is give one spin to tracks like "Duck People Duck Man" or the 25-second diddy "Mr. Meat" to get an idea of the crazy lyrics you can expect to hear throughout the album. Musically, as stated earlier this walks a crazy line of the pop genres and explores all different aspects of it. The big harmonizing between the vocals and floaty guitar riffs on tracks like "Surfing" beg to be compared to "Surf's Up" era Beach Boys, while they take on 90's alternative pop ala Depeche Mode on tracks like "Hamman." All in all, for my personal tastes this just simply isn't my thing. It is indeed a brand of pop music and Megapuss is smart enough to pull common elements of the genre into their songs, but it just comes across as way too obscure for my liking. | |
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MEMPHIS MAY FIRE Sleepwalking Trustkill Records |
| Bands go through it all the time; the dreaded lineup changes. In the case of Memphis May Fire, just a year or so ago they were on the hunt for a new singer and found him in Matt Mullins, and later added a new bass player to the mix Cory Elder. This was exactly what the band needed and with Casey Bates of Chidos and A Skylit Drive Fame manning the production boards, they set out to finish their debut album Sleepwalking. What you get when you hit play is a powerful mix of hardcore aggression, however you quickly notice something a little bit different with this band in comparison to the others. As you are thrust into the album with “North Atlantic .vs. North Carolina,” you instantly see that in front of the melody driven guitar licks there is someone that can hold a tune and actually sings a majority of the songs with the energy needed to satisfy the lyric, only mixing in the typical hardcore screaming on a part-time basis. This is the trend that sets them apart as you head forward through the album with cuts like “Ghosts in the Mirror,” “Sleepwalking,” and “Destiny For The Willing.” Though there is some screaming mixed into the songs, and I usually don’t care too much for that, there is just that special something that stands out with Memphis May Fire. The melodies and energy are enough to overcome the part-time screaming and make this album stand out amongst the pack of debuts I have heard lately, making this an album worth checking out as it combines melody with great vocals and hardcore energy perfectly throughout. (JK) | |
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MERYKID Boy & The Bird Self-Released |
| There are a lot of artists out there that combine the genres of pop and folk, but when you toss in the word experimental, as Merykid did on his bio, I tend to automatically think the worst. As I hit play on his new EP “Boy & The Bird,” and opening track “Bad Things” kicked off and featured a series of this “experimental” sound as the beats, dubs, and an overall electronic sound came from my speakers, he did nothing to make me not think the worst. Until I dove further into the EP. Merykid shedded the electronic stuff and captivated me with his vocals and mostly acoustic offering “The Bird,” which is where my attention was first captured. Thankfully as you dove forward into the EP a similar style to that of “The Bird” was the focus of the songs like the amazing “Clean Freak! Ghost!,” and the banjo driven album closer “If She Only Knew/Addicted.” Though he isn’t afraid to wear his influence of Radiohead out on his sleeve as he showcases on “Goodbye Moon,” for the most part this is an acoustic driven singer/songwriter album chalked full of great melodies and outstanding vocals and lyrics. Merykid didn’t rub me the right way at the get go, but ended up coming through and delivering everything I like in an EP. I look forward to hearing more from this artist as he has proven that less is more. By sticking to subtle acoustic instrumentation for the most part, he allowed his vocals and lyrics to come to the forefront and take center stage, which coincidently are his strong points. | |
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MEETING OF IMPORTANT PEOPLE Self-Titled Authentik Artists |
| Mainstream alternative radio is flooded with a variety of styles and diversity with certain pockets of bands really gaining huge amounts of attention. Amongst that pack of bands are The Shins, Modest Mouse, etc… It's no wonder then that Meeting Of Important People caught a lot of attention when they worked with Brian Deck on their last LP, who recorded the likes of Modest Mouse. Now they are back with their new Self-Titled album and continue to put their catchy hooks, harmonies, and modern rock feel on display throughout it. "Brittney Lane Don't Care" instantly introduces you to their pop laden hooks that wrap around a folk backbone while the lyrics flow perfectly through the verses and into the chorus. Be forewarned, before the end of the 2:30 song you will be hooked. As you dig through the album a similar pop/folk feel can be heard on cuts like "Hanky Church" and album closer "Nothing' Going On." They do mix in a few other styles as well as they slow things down allowing the vocals and lyrics to take center stage on cuts like "One O' Clock" and "I Know Every Street," and crank up their rock side a bit more on cuts like the punk rockin' "Dead Man." Meeting of Important People may have initially caught some attention because of whom they worked with, but with this album they seem to be on a mission to prove to people that this is a band that they should be listening to regardless of their resumes. This is a very solid album, chalked full of variety and great lyrics, and if they weren't already on your radars they will be after one spin of this album. (JK) | |
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MIDDLE CLASS RUT 25 Years Bright Antenna |
| With so many bands filtering into the rock scenes nowadays here in the states it is amazing to me that a band has to leave the US to find success in the UK, but that is exactly what Middle Class Rut did. Now, after finding a great amount of success abroad the boys are ready to bring it home and are giving folks a chance to preview their music through their brand new, 6-song EP 25 Years. The band, made up of only 2 guys creates a very raw sound because of it. By pulling together influences from multiple genres they have created a sound that is familiar but just as much unique to them as well. I can understand the comparisons to bands like Jane’s Addiction or At The Drive In, but that doesn’t really satisfy what you get when you hit play completely. Call it noise, call it music, call it whatever you want to really, the bottom line is that this is Middle Class Rut. This EP does everything that an EP is supposed to do. It introduces you to the band and their music, has generated an incredible amount of buzz for them already, and in the end and probably the most important thing is that it has people excited about the forthcoming full-length release that they are currently working on. The rock scene is full of bands that overproduce material to give it a raw sound, Middle Class Rut just does what they do and get that same sound by being who they are. This band is real, they are raw, and they are a band to keep an eye on. | |
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MONTY MILNE Rock Stars Don’t Eat Cookies SpacePoet Records |
| With so much music out there for people to spin there is definitely something for everyone. For Monty Milne, it was obviously the 70’s rock genre and their sub-genres that influenced him the most as he shows on his new EP Rock Stars Don’t Eat Cookies. His blending of familiar rock stylings with a unique flavor that makes this his own brand of rock music is intriguing. There is a rawness quality to the production that while it may not have been intentional, it adds a certain element of depth to the songs. Monty presents great guitar riffs throughout the EP and you are instantly introduced to it on the opener “America Rocks.” The power chords that grab you initially remain in tact throughout the EP whether it is just in simple strummed songs like “Butterflies in Heaven” or in the more in your face rockers like “UFO.” Elements of pop fuse into the mix from time to time as is on display with cuts like “Spirit,” adding a rich feel to the in your face guitar solos. With the added elements of pop scattered throughout the mostly raw rock sound I was pretty much reminded of early REM, so if you are a fan of that then I would say to check this out. If not then take a pass. (JK) | |
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MIRROR Self-Titled Self-Released |
| After spending time as a member of Slow and Copyright, Thomas Anselmi delivered a new project to fans via a live show at The New Forms Festival. That new project/band was Mirror, a multi-media live production that is surely going to capture people’s attention with their live shows but how do those ideas transfer to album? Anselmi has delivered a very solid blend of electro-pop with perfect vocals making for an easy listen. Collaborative efforts with members of Depeche Mode, David Bowie’s band, etc… have all helped to add depth to the ideas and bring them to life on the album. Anselmi himself only takes the leads on two of the albums 9 tracks, allowing for a vast range of voices to come from your speakers adding a variety of elements to the songs that wouldn’t otherwise be there. Frances Lawson lends her 12-year old voice to “World of Darkness,” Laure-Elaine to “City Lights,” but pound for pound it is a familiar voice that is going to grab your attention from the get go. The minute you hit play, Anselmi introduces you to the album with “Nostalgia,” a piano based balled featuring Dave Gahan of Depche Mode breathing life into the album from the start. This is a project, meant to showcase a variety of multi-media with their live show, but where most artists that set out to do this fail, Thomas Anselmi and Mirror succeed. This album stands on its own two feet without being too artsy and left of the dial for the mainstream fans, but at the same time artsy enough to attract a wide spectrum of listeners to it. | |
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MISS DERRINGER Winter Hill Nickel and Dime Records/Triple X |
| In the same trend as with fashion, there are styles of music that fade in and fade out, but eventually find their way to re-emerge to the public’s ear. However, it is rare that in one album and with one band you can get the re-emergence of styles the way that Miss Derringer has with Winter Hill. Blending 70’s era punk rock with 80’s era new wave, and a healthy dash of the girl pop sounds of the 60’s you have one band covering three decades of music within’ one modern style. The sounds of the stand-up bass thumping pulls you into the album as “Click Click Bang Bang” kicks things off and quickly introduces you to the 60’s meets new wave sounds Miss Derringer brings to the table that easily will earn comparisons to the likes of Blondie. As you press forward songs like “Bulletproof Heart” will have you clapping and moving along with the drums and guitar riffs, while cuts like “Black Tears,” “Drop Shot Dead” and “Don’t Leave Me Now” beg to be compared to the mid-60’s Motown sounds. I hate to say that this is a concept album because that term usually signifies that the music is bland and boring, but this neither of those. The overall theme surrounds the Winter Hill gang of the 60’s, but it is only based loosely on it. I am a sucker for anything that takes an influence from the 60’s era of rock-n-roll and delivers on it the way that Miss Derringer has with this album. This is a definite must spin album for you fans that miss those good pop sounds with modern twists and turns mixed in occasionally giving it an edge. | |
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MISS MURGATROID & PETRA HADEN Hearts and Daggers File: Under Music |
| It has been a couple years and a tragic story with a happy ending since Miss Murgatroid & Petra Haden were met with critical acclaim on their album "Bella Neurox." The tragic story involves Petra, who was involved in a car accident in 2000 that left her in a coma with multiple injuries thus forcing her out of the business. With the help of the music community enough money was raised to get her the medical help she needed and she continued to push herself through the tragedy eventually leading us to where we are today; Their long awaited follow-up album "Hearts and Daggers." Like most things that turn out great, this was worth the wait. The haunting violins capture your attention pretty quickly into the album on tracks like "Hummingbird," while it is the accordion taking center stage on "Fade Away" and "Sleeper." By pulling together violin and accordion the way that they are able to do throughout this album they offer a unique sound to listeners that is very solid and both instruments, as surprising as this may sound, work together perfectly to offer at times a haunting sound, but more often than not a medieval sound that could easily accompany countless films out there. The vocals are pretty much there just humming along with the instrumentation and while they are beautiful and aid to the haunting feel of the music, they aren't really the focus of any of these songs. There isn't any way that you can categorize their style as it stands out on it's own, but it is solid, unique, and mostly musical based without too much over bearing vocal presentation. If this sounds like something you'd dig then this is a perfect album to check out. | |