FINAL CUT REVIEWS & CHICANERY: FEBRUARY 2009/SEPTEMBER 2009
I’ll open with an apology to everyone for getting so far behind in my weekly writs on Rockpage. It’s an end result of my ongoing employment situation that started a year ago. Teaching a college class takes a lot of time with out-of-class preparations of lectures, assignments, quizzes and more. With that increased time drain, minutes to invest in my “JP’s Corner” recaps have been much fewer and farther between. I’m still hopeful that I can eventually resume some sort of ongoing recaps and maybe someday get it all caught up, but other priorities have to take precedence for the time being. Thanks for your patience or lack of impatience.
I had written several commentaries during the course of the year about several things, including the Rockpage debate earlier this year about improving the Altoona area music scene, plus a few other items. But they all seem rather dated at this point, so I’ll hold off subjecting you to them. Instead, I’ll crank up the CD review machine and clear out a bunch of backed-up reviews for your consumption.
AND NOW…SOME CD REVIEWS FOR YOUR READING PLEASURE
HALESTORM – HALESTORM (Atlantic) Prior to signing with Atlantic Records in 2005, Halestorm singer, songwriter and guitarist Lzzy Hale once suggested during a local radio interview her group’s desire to create a “new” classic rock. Of course, the passage of time will ultimately tell if Halestorm’s music achieves the mass appeal and longevity to someday be declared “classic.” But based on the goods offered on their long-awaited, self-titled, studio debut CD for Atlantic, this Pennsylvania-bred group is giving it their best shot. The current cast of siblings Lzzy and drummer Arejay Hale, guitarist Joe Hottinger and bassist Josh Smith demonstrate a balance of modern rock edge and classic arena rock dynamics over the disc’s 11 tracks. Front and center is Lzzy’s strong, high-ranging voice, demonstrating a blend of fierceness, delicacy and swagger in her street-savvy temptress persona. Also the group’s songsmith, her collaboration with a number of writers has enabled Lzzy to hone each melody to a lean, sharp conciseness. Halestorm generates a contemporary modern rock crunch on hard-hitting numbers such as the opener “It’s Not You,” the punchy first single “I Get Off,” “Innocence,” “What Were You Expecting?” “Dirty Work” and the disc finisher “Nothing to Do With Love.” In a more classic-flavored vein, “Bet U Wish U Had Me Back” and “Better Sorry Than Safe” both ring out in the tradition of Def Leppard’s epic power ballads; while “Familiar Taste of Poison” is tastefully fleshed out with orchestration. The performances are charged throughout the disc, executing efficient and tight arrangements with not a note or lick wasted. Produced by Howard Benson and mixed by Chris Lord-Alge, Halestorm sounds deep, thunderous and sharp; with layered vocal harmonies and effects keeping the sound busy but never cluttered or over-produced. In the male-dominated modern hard rock genre, Lzzy Hale's dynamic voice, grit and songcrafting edge separates Halestorm from the pack. This impressive Atlantic debut CD serves notice to the nation and world that this Halestorm is ready to inflict damage.
BILLY PRICE & FRED CHAPELLIER – NIGHT WORK (Dixiefrog Records) Legendary Pittsburgh R&B crooner Billy Price and celebrated French blues guitarist Fred Chapellier are tied together by the common thread of late blues guitar great Roy Buchanan. Price sang for Buchanan during the ‘70s, while Chapellier was heavily influenced by Buchanan. Price appeared on Chapellier’s previous album, A Tribute to Roy Buchanan; the two musicians have joined forces again on a full collaborative effort, Night Work. The disc features thirteen tracks of spicy blues, blues-rock and soul; with Price’s soulful howl and Chapellier’s stirring guitar work continually in the spotlight. Recorded at The Mojo Boneyard in Pittsburgh and The Blue House Studio in France, the collaboration features The Billy Price Band on most of the tracks, with Chapellier’s band providing the backdrop with Price’s horn section on three songs. The story of the collaboration is told on the happy and upbeat “Champagne Blues and Pittsburgh Soul,” one of many disc highlights. Several notable guests adorn the disc; including one of Price’s influences, Otis Clay, belting out feisty voice on Al Green’s “Love and Happiness,” and The Nighthawks’ Mark Wenner contributing hot harmonica licks on the swaggering title track “Night Work,” the hard-driving “The Wrong Woman” and a punchy update of “Who You Workin’ For,” from Price’s ‘80s Keystone Rhythm Band days. Price and Chapellier pay homage to a Memphis soul great on “O.V. Wright,” and also perform a spirited version of Wright’s “Don’t Let My Baby Ride.” Price’s voice is passionate and uplifting throughout the disc; and listeners will experience Chapellier’s flavorful and inspired guitar displays, most notably on the slow funk workout “Under the Influence” and the disc-ending instrumental “Skunk Shuffle.” Produced by Price, Chapellier and Jeff Ingersoll, Night Work sounds balanced, full and vibrant; with all the musical ingredients blending smoothly and shining brightly in the mix. Billy Price & Fred Chapellier’s Night Work is a triumphant trans-oceanic collaboration that should easily provide delight for blues and blue-eyed soul fans on both sides of the pond. (The CD can be obtained through Billy Price’s website, www.billyprice.com.)
CHRIS VIPOND AND THE STANLEY STREET BAND – I (no label) Music and message join forces on I, the delectably subtle and subversive debut disc by Altoona’s Chris Vipond and the Stanley Street Band. Group namesake, singer and multi-instrumentalist Chris Vipond rages against the machine on five of the disc’s eleven original compositions; railing against societal and governmental ills with a gritty, soulful voice along a catchy musical expanse situated between Black Crowes/Blues Traveler-like blues/folk and Sublime/Dispatch-like freewheeling folk/funk. Vipond, fellow namesake, singer and bassist Mike Stanley, lead guitarist and singer Phil Wagner and drummer Sam Thurau set the tone early with the incendiary “Media Controls the World”; examining the complexity and conspiracy of media and its manipulation by governments, corporations and power moguls, and asking “What’s on your TV?/What’s in your papers?/What’s on your radio?” (An acoustic version of this song closes the disc.) The group dresses down organized belief systems on the hard-rocking “Religion,” describing it as “pimped-out superstition.” Vipond and his band also ponder civil liberties lost through deceit on the boisterous “Freedom,” warn about government-fabricated enemies and wars on “False Flags,” and question FEMA’s true post-Katrina motives on the dark-toned “Marshall Lull.” Beyond the protest rock, positive themes of personal introspection and accountability surface on numbers such as the funk-rocker “Be;” and the gentler “Yourself” and “Stumble.” Vipond’s lyrics are constantly clever, as he incorporates symbolism and metaphor into his topical and engaging wordplays. The performances are vigorous and inspired throughout the disc, with the musicians changing up textures and tones from song to song to keep things interesting. Recorded and produced by Vipond and Wagner at Altoona’s Dead End Studios, I is continually busy; with colorful arrangements, instrumental interaction and adept use of vocal effects to add emphasis and accent. Chris Vipond and the Stanley Street Band’s vibrant blend of musical flavors and sharp social messages make this debut disc a riveting listen, and likely one of the best albums to emerge from the area’s music scene this year. (To obtain this CD, visit Chris Vipond’s Myspace website, www.myspace.com/chrisvipond.)
TED McCLOSKEY – ONE NIGHT BLAND: PREFIXES AND REMIXES (Voodoo Records) Happy Valley’s Ted McCloskey is so prolific a songsmith that when he isn’t creating new music, he’s retooling his old music. On McCloskey’s fifth CD in seven years, One Night Bland: Prefixes and Remixes, he does both. The first 13 tracks (the “Prefixes”) are new McCloskey compositions, while the remaining ten tracks (“Remixes”) offer new variations on most of his 2003 debut disc One Man Misery Parade. The new songs are short, snappy and witty character study vignettes about the adventures, misadventures and dramas of people’s lives on a given night. McCloskey brings these musical short stories to life with an ever-changing blend of styles, threaded together with a strong rocking foundation. The musical expanse of the new material ranges from the faster punk-infused rock of “Hopelessly Helpless” and “Six More Rounds” to the dreamy “Tilt-a-Whirl,” from the jangly U2-like tones of “Some Other Planet” to the vintage rock’n’roll of “I’m Gonna Learn You Now” and “So Much Nothing to Do,” and from the rowdy hard rock of “Swimming Again” and “Seven Minutes” to the delta blues experimentation of “Be Still My Bleeding Heart,” “All of the Above” and “The Ceiling Staring Back.” By contrast, the remix half of the disc strips many of the One Man Misery Parade songs down to their basic, melodic essence; often with lighter, acoustic-geared arrangements. These treatments further expose the strength and emotional impact of melodies such as “A Passing Moment of Thought,” “Let-Me-Go-or-Let-Me-In,” the playful “The Siamese Sisters” and the acidic “One Last Time Again.” In addition, “Beautifully Dead” receives a muscular, early ‘70s Rolling Stones-styled guitar rock makeover. McCloskey applies his studio savvy to give his arrangements multiple tones, twists, turns and layers to keep things constantly interesting and fresh. Celebrating the new and old of Ted McCloskey’s creative spark, One Night Bland is fun and thoughtful; effectively combining sharp points, melodic prowess and subtle nuances into a tight, enjoyable package. Like McCloskey’s past output, it reveals an artist constantly on the move, inventing and reinventing himself. (The CD can be obtained through Ted McCloskey’s website, www.tedmccloskey.com.)
FOUR DAY CRAWL – OVERDUE (no label) Formed in 2003, Four Day Crawl is an Indiana-based blues band family affair that features two family tandems: guitarist, singer, keyboardist and harmonica player Mike Miller and brother Matt on bass and vocals; and guitarist, singer and harmonica player Jimmy “Roach” Ranochock with his sons, Joe on guitar and Mike on drums. Four Day Crawl introduces blue-collar, brawny blues and blues-rock on their 13-song debut disc, Overdue. The group channels the electric, southern and biker blues-rock styles of classic Lynyrd Skynyrd, Allman Brothers, Steppenwolf and Johnny Winter into a gritty, edgy flavor all their own; as they perform odes to hard living, devious dames, the 9-to-5 grind and more. Four Day Crawl sets the tone early with the driving rebel rock-flavored disc-opener “Ike Willis Blues,” and delivers other rowdy blues-rock anthems like “The Devil Knows My Name,” the bawdy “XXX,” “Kansas City Kitty” and the finisher “Easter Island Head Blues.” The group also provides traditional-leaning electric blues workouts such as “Nothing Left to Call My Own,” “Mean” and the Allman Brothers-flavored “Bad Girl.” The group offers a Texas-styled blues flavor on “Strike Me Down,” a soulful blues shuffle on “Cheap Wine & Chitlins,” a tranquil tone on “Give,” and a boisterous Rolling Stones/BTO guitar rock flavor on “Gunga Din on the Rock & Roll Hiway.” Lead singing duties are shared among most of the band members and belted with abundant gusto, with Jimmy “Roach” handling the lion’s share with his distinctive, gritty snarl; he taps a John Kay swagger on the psychedelic-leaning hard blues rocker “WacArnolds.” The performances are tough and no-nonsense, with the group’s triple-guitar attack giving the presentation depth and muscle. Produced by the band and recorded at Flood Stage Studio in Indiana, Overdue sounds raw, balanced and full; with the performances doing the talking without needless studio polish or clutter. As Four Day Crawl’s initial calling card, Overdue successfully establishes the group’s credentials for crafting mean, lean, hard-nosed blues rock; and blues rock fans should find plenty to savor here. (The CD can be obtained through Four Day Crawl’s website, www.fourdaycrawl.com.)
THIS CALLING – WITNESS THE FALL (Heartless Mockery Records) Formed last year from the ashes of former Altoona area modern rockers 4 Days Dirty, This Calling introduces a scathing brand of metal-leaning rock on their debut CD, Witness the Fall. Over the disc’s ten tracks, This Calling weaves progressive-geared arrangements and finesse with raging intensity, resulting in a sound that is both accessible and bristling. The driving and detailed backdrops generated by guitarists Chris Silva and Joe Neary, bassist Paul Greiner and drummer Justin Fair provide the launching pad for Neary’s two-tiered vocal attack, as he often gearshifts between melodic singing and enraged howling. Some of Neary’s rage is rooted in harsh reality; “The Day I Died” recalls how he nearly lost his life from wounds suffered during a firefight while serving in Iraq. The explosive disc-opening title track “Witness the Fall” is a tirade about our nation’s current state of affairs, while the rampaging “Taste of Victory” angrily weighs in against competitive cockiness. In a more sullen vein, “1,000 Words” offers lyrical soul searching, while a moment of self-realization is reached on “My Turning Point.” This Calling updates two carryovers from 4 Days Dirty, “Disguise” and the video war game ode “Killbox.” The performances are heated and aggressive, with Neary’s varying vocal intensities and Silva’s crafty precision guitar leads providing an intriguing dynamic. Engineered and mixed by Matt Winrick, and recorded at Altoona’s FaceOFF Muzik Studio; Witness the Fall sounds sharp and balanced, with the guitars and vocals baring their full teeth in the mix. This Calling defines their harsh musical terrain on Witness the Fall, and in the process delivers a bold and exciting calling card. (The CD can be obtained through This Calling’s Myspace website, www.myspace.com/thiscallingcentralpa.)
SKELL – SHANGRI LA 27 (no label) One look at the news headlines indicates that today’s world is not Shangri-La, and far from perfect. Pittsburgh-based heavy metal monsters Skell are mad as hell about it, and unleash rage on their scathing sophomore effort, Shangri LA 27. Stepping up the intensity from their self-titled 2003 debut, Skell increases the overall brashness and savagery, but retains their melodic edge and instrumental prowess over the disc’s 11 tracks. Atop a constantly punishing, Pantera-rooted attack; Skell frontman Pat “Bones” Bono screams, snarls and scowls his evangel about fighting the good fight against a world going to hell in a handbasket. Bono resolves to battle each day on the hammering disc opener “Fight,” warns that society’s time is running out on the caustic “Two Minute Atomic Clock,” forecasts a day of reckoning on “Go,” and reaches the breaking point on “Kill the Pain.” Although his delivery is constantly over-the-top and intense, Bono shows a more subdued, melodic side on the introspective “Don’t Speak,” and also reveals his intense singing style on “Head” and “Slow Mo.” Skell saves the best for last, though, closing the disc with the badass prison-themed “The Hole,” as Bono growls and ad-libs a brutal depiction of incarceration along a malevolent melody and chord-progression chorus. Bono’s ferocity is matched by his talented bandmates; Mike Palone is constantly dazzling with his precision guitar leads, fierce buzzsaw riffs, attention to tone and masterful use of effects. Bassist Michael Ekis’ bass lines are broad, busy and sinister; working in tandem with the clockwork skin-pummeling of drummer Keith Kweder. Co-produced by the band and Robert Deaner, Shangri LA 27 sounds razor sharp, full and powerful, with the instruments bearing their full teeth in the mix, and Bono’s Doberman bark up front and in your face. Skell successfully ups the intensity and the ante on Shangri LA 27, a vulgar display of power that connoisseurs of all-out metal ferocity should thoroughly enjoy. (To obtain this CD, visit Skell's website, www.skellrocks.com.)
CONNER GILBERT – THE VIEW FROM WITHIN (no label) Calling both Hagerstown, Maryland and Latrobe his home bases over the past few years; Conner Gilbert introduces a bright, acoustic-geared pop rock sound on his first solo CD, The View from Within. Singing and playing guitars, bass and sharing keyboard duties with Christian Harper; Gilbert’s sound is rooted both in the pop songcraft tradition of the Beatles and Beach Boys, as well as the ‘90s pop rock ingenuity of Matthew Sweet and Oasis. Gilbert shows a strong knack for song hooks throughout the album, and mixes up the flavors over the disc’s dozen tracks. The opener “Since You’ve Been Away,” with its layered choruses and vocal harmonies, recalls Pet Sounds-era Beach Boys; while the modern-ish “Nowhere” exudes touches of Beatles far-eastern psychedelia. Gilbert taps into more recent influences as well; the acoustic-driven “Susannah” provides a Goo Goo Dolls flavor; while “The Prospect,” “Lost In A City In Your Mind” and the disc-closer “There’s No Way In The World” are more firmly rooted in Oasis. Gilbert provides an edgier hard rock flavor on “When Will I Ever See You Again?” and incorporates a funkier sound into “Get Up.” All twelve songs are infectious and stand well on their own, yet are cohesive and work well together as a complete set. The overall vibe is pleasant and colorful; with the balance of keys, acoustic and electric guitars, and Gilbert’s soaring voice and vocal harmonies providing a fresh listen from start to end. Produced by Gilbert and drummer Drew Adams, the disc’s mix is crisp and balanced, and cleverly fleshed out with vocal layers, varied instrumental tones, and a few studio effects and samples. The View from Within reveals an artist with a knack for pop/rock songcraft and a sense for musical exploration and adventure; and the disc provides a fun, captivating listen. (To obtain the CD, visit Connor Gilbert’s Myspace website, www.myspace.com/connergilbertmusic.)
PUNCHLINE – JUST SAY YES (Modern Short Stories) On their latest CD, Just Say Yes, Pittsburgh-based foursome Punchline ups the ante and sharpens their song hooks to deliver captivating, clever, power-pop ear candy. Crisp melodies populate Just Say Yes, as Punchline crafts a combination of driving, punk-fueled dynamics, occasional Beatlesque psychedelia and a touch of cynical wit, resulting in twelve colorful, freewheeling tracks. Collapsing relationships are a frequent lyrical topic here; primary singer and guitarist Steve Soboslai dishes out the blame on the infectious “The Hit,” the poppy and piano-driven “Somewhere in the Dark,” the fast and slamming disc-opening assault “Ghostie” and the equally corrosive “Get Off My Train!” His words are more remorseful on the driving rockers “Punish or Privilege” and “Developing You, Camera;” as well as the overcast and trippy disc-closing ballad “Castaway.” Building along P.J. Caruso’s distinctive drum rhythm, the title song “Just Say Yes” ponders the confusion of first-time love; its intricate melody intensifying along the way. Punchline ponders a few of life’s ironies on the hard-driving “How Does This Happen?,” and shows a more theatric side on the Ben Folds-like “The Other Piano Man.” Punchline’s performance is sharp throughout the disc; Soboslai blends good vocal range and personality, infusing witty asides along the way; fueled by Caruso’s inventive and volatile drumming, Chris Fafalios’ busy bass work, and Jon Belan’s various guitar and keyboard accents. Although produced, engineered and mixed at two separate locations in Arizona and Wisconsin, Just Say Yes sounds consistent and cohesive throughout, brandishing a clean and bright finish. It should be easy for listeners to “just say yes” to this disc, as Punchline delivers a strong, catchy and entertaining set. (To obtain the CD, visit Punchline’s website, www.punchkids.com.)
SOUTH SATURN DELTA – DRINK FROM THE WELL (no label) The band name South Saturn Delta itself implies something bluesy and cosmic; and that description plays out on the southern New Jersey-based band’s first full-length CD, Drink from the Well. The disc title itself is symbolic, as South Saturn Delta “drinks from the well” of American musical styles over ten tracks; resulting in a savory gumbo of swamp blues, R&B, gospel and jazz flavors. The talented instrumental cast of guitarist Dave Fecca, keyboardist John “Tibs” Tiberi, bassist Jerry Mayall and drummer Mike “Wazz” Newmiller generate colorful, tasteful and playful grooves that stir the stew of styles from song to song. These bright backdrops provide the settings for Fecca’s and lead singer April Iorio’s often spirited and soulful vocals; Iorio’s expressive voice especially runs the gamut from sultry to feisty. The southern side of South Saturn Delta’s musical personality is established off the bat with the spiritual-flavored opener “The Home Where I Come From,” before the group shifts into New Orleans-styled funk on “Special of the Day.” Big Easy tones also flavor upbeat numbers such as “Blues Cliché” and the love ode “April.” South Saturn Delta flexes its muscle on the romping blues-boogie “Mistaken Identity Blues,” and taps an urban Philadelphia soul flavor on the inner-city crime commentary “Chalkmarks on the Pavement.” The group tastefully unifies jazz and blues on the scat-tinged “Dragon Clouds,” the somber “Scars of Yesterday” and the slinky “Cool Jazz Cats.” Folk songstress Malvina Reynolds is remembered on the disc’s lone cover song, a rousing gospel-informed spin on the Pete Seeger-popularized “God Bless the Grass” to close the album. The performances are constantly bright and enthusiastic, suggesting that the musicians had a blast creating this album. Recorded, mixed and mastered by Dave Villani; and produced by Villani, Fecca and Iorio at Altoona’s Data Music Services studio; Drink from the Well sounds clear, dazzling and balanced; and maintains a smoothness and consistency throughout. In making the well of American roots music their playground, South Saturn Delta crafts a joyful and rousing set on Drink from the Well; a feel-good album that provides a rewarding listen. (The CD can be obtained through South Saturn Delta’s website, www.southsaturndelta.com.)
COILCELL – COILCELL (no label) Formed in 2007 from the ashes of Balistic, Coilcell forges a new hard-rocking path on their nine-track, self-titled debut CD. Coilcell launches their sound from a classic hard and progressive rock foundation similar to their previous band; but updates it with elements of modern metal; including aggressive guitars and vocals, Tool-styled dynamics and more. The opening track “Relentless” demonstrates this new direction, with jagged guitar riffage from Mike Bordner and Brian Kneasel, and cavernous-sounding drum thunder from Dwayne Weaver. Singer Mark McNelley again delivers a siren-like voice as he did in Balistic, but monstrous backing howls toughen the overall presentation. “Jaded By Fate” blends a Queensryche-like melody with a Tool-like arrangement; while songs like “Lost,” “Purgatory,” “Labyrinth” and “The Storm” show that Coilcell’s roots are still firmly entrenched in the classic prog-metal traditions of Queensryche, Fates Warning and Dream Theater. “Worlds Collide” offers a more tranquil tone, as McNelley ponders how modern technology has impacted personal relationships; while the closer “Northern Compass” sets off in its quest for guidance along a gentle sea of rocking sound that erupts into a volatile, hard-rocking midsection. Just as they did in Balistic, the tandem of Kneasel and Bordner offer inventive, yet hard-rocking interaction on the guitars, varying the tones and textures to keep the arrangements interesting atop Weaver’s busy beats. McNelley’s high-ranging vocals are clear and powerful throughout, supplemented with strong harmonies. Recorded, mixed and mastered by the band and Andy Dulak at Fleshtone Studios, Coilcell sounds balanced, deep and consistent from start to end. As their lyrical themes often deal with quests and journeys, Coilcell’s debut disc successfully embarks on a new sonic journey for these musicians, and sets a strong foundation for further explorations. (To obtain the CD, visit Coilcell’s Myspace website, www.myspace.com/coilcell.)
AFTER THE FALL – HOPE DIES HARD (no label) Western Pennsylvania quintet After The Fall unleashes a tough, melody-geared brand of contemporary heavy rock on their first full-length set, Hope Dies Hard. Guitarists B.J. Galbraith and Brandon Cornish, bassist Steve Craven and drummer Matt Ferrante set chunky backdrops of snarling guitars and weighty rhythms behind lead singer Darin Baker, who runs the gamut from subdued singing to anguished howls as he conveys confrontational, contemplative and emotional lyrics. Most of Hope Dies Hard’s dozen tracks go on the offensive with punishing, hook-laden rockers, setting the tone with the stern and driving opener “Blame.” Riding along an infectious chorus harmony, “Bloody Mary” is darker and more introspective; while the slower and more sullen “Don’t You Remember?” is reflective and soul-searching. Angrier and aggressive assaults like “Pretty Pictures” and “New Level to Low” deal with imploding relationships and their aftermaths, while the explosive and anthemic “One Shot” defiantly leaves the past behind. After The Fall offers two acoustic numbers to close the disc, the darker-flavored “Mindfade” and the aggressive “Liquid Jesus.” The performances are all strong, with the guitars constantly busy between riffage and mood-shaping lead work, and the rhythms sturdy and pounding. Baker’s vocals are gritty and clear, and Galbraith frequently complements him with varying vocal harmonies. The production by the group and Josh Lucas gives the set full thunder and bite, with all the elements of the group’s attack sounding distinct in the mix. Like such contemporaries as Breaking Benjamin, Chevelle and Staind, After The Fall achieves a tight balance of interesting song hooks, instrumental chops and emotional intensities on Hope Dies Hard, resulting in a convincingly strong album and a satisfying listen. (The CD can be obtained through After The Fall’s website, www.atfrocks.com.)
APPALACHIAN TRANSLATOR – CONSIDER AN INVASION (Keystone Gems Records) Appalachian Translator amounts to a musical science experiment carried out by three Mifflintown-based brothers named Primak; Luke on guitars and vocals, Sam on bass and electronics, and Matt on percussion. The result of this experiment is Consider an Invasion, an ambitious and wildly imaginative nine-song set. Space-rock dynamics and psychedelic trippiness reminiscent of Syd Barrett-era Pink Floyd and Hawkwind collide head-on with accessible pop-styled melodies, resulting in an unpredictable, freewheeling musical journey with quarky twists and turns, unconventional instrumentation, and loose lyrical themes referencing humanity’s evolution and devolution. The opener “Emulsion Tubes” sets the tone for this adventure; as an ever-changing arrangement escalates into a full-scale sonic whirlwind employing synthesizers, violin, kazoo and musical saw. Likewise, the finale “Hunter from the Treetop” marries elements of industrial grindcore with touches of lap harp and mellotron. Along the way, Appalachian Translator crafts catchy, psychedelic-flavored melodies on “Who Are Them” and “False Alarm,” taps a slight Devo flavor on the playful “Research,” and flexes more creativity on the crawling and reverberating “Knowingly” and the three-movement, Yes-like instrumental “Community.” Self-producing the album, Appalachian Translator throws caution to the wind with busy, constantly-changing arrangements fleshed out with layered vocals and instrumentation, plus liberal and creative use of various channeling effects and reverb. Mixed and engineered by Sam Primak, and recorded over the better part of two years at Weber Studio in Selinsgrove; Consider an Invasion sounds consistent, clear and full; with its various nuances distinct in the mix. Appalachian Translator’s self-proclaimed “rock exorcism,” Consider an Invasion is an exhaustive sonic adventure that never stays still; and a great headphone album that dares repeat listens. (To obtain the CD, visit Appalachian Translator’s website, www.appalachiantranslator.com.)
LAKEHERST – EUAN AURA (no label) Named after the final destination of the ill-fated dirigible Hindenberg, southeastern Pennsylvania-based quintet Lakeherst achieves a far more fortunate fate with their debut disc, Euan Aura; constructing a diverse, exploratory rock sound over the disc’s eleven tracks. With U2, R.E.M. and The Cure serving as reference points, Lakeherst crafts songs that often intensify along the way, with various instrumental and vocal elements layering to mold deep sonic textures. This mixture of sounds gives each melody its own eclectic dynamic, with tones ranging from melancholy to upbeat. Handclaps escalate the sense of urgency on the fast-paced, synth- and guitar-driven “You Look Good in Red, I Wear Black and Blue;” while horns, piano and Andy Bogan’s shifting drum cadences propel forward the adventurous “Never Shout Fire in a Crowded Theatre.” In a milder vein, “Summer Fires” builds along a deepening keyboard and guitar backdrop, supporting a coed vocal progression between lead singer/guitarist Dan Grattan and guest singer Michelle Siegel. Lakeherst samples with acoustic and piano textures on “No Protection in Silence,” and incorporates strings into the gentle “Don’t Walk Around Barefoot.” While each song is different, Grattan’s smooth, soaring vocals and the constant wall of layered guitars and keys gives consistency to the entire set. And while Lakeherst explores on each song, the melodies are served through those explorations, and the group’s song hooks ultimately win the day. Euan Aura is an engaging listen, and an album whose subtleties continue to expose themselves on repeat listens. (To obtain the CD, visit Lakeherst’s Myspace website, www.myspace.com/lakeherst.)
VALERIE NICOLE – FROM THE HEART (no label) Valerie Nicole’s 2007 debut EP, Soul Searching, introduced a young artist sharing her budding creative talents and aspirations. The four-song sampler conveyed a sense of innocence and a warm, girl-next-door charm. The Birdsboro-based songstress has honed her talents and done more soul searching as a songwriter and lyricist; Valerie’s artistic growth is reflected on her first full-length CD, From The Heart. Singing, playing piano and acoustic guitar, Valerie explores a variety of styles, moods and themes over the disc’s ten tracks; smoothly blending pop, folk, rock and country flavors along the way. Lifting and dropping with ease, Valerie’s voice is bright, clear and soulful; and she effectively wraps her voice around each melody to convey the intended mood. A song about love gone wrong, “Misunderstood” starts the album off on a serious tone, finishing with a flurry of layered vocal harmonies. The moods are brighter on the happy and romantic “Living for the Moment” and “From the Heart,” the bouncy “Meant to Be,” the bluesy and dreamy “My Turn,” and the upbeat and hopeful “Live Your Dreams.” Valerie evokes a slightly spiteful emotion with “Naïve,” erupts with a more agitated tone on the rocking protest song “Wake Up,” and utilizes cello to paint darker colors on the abusive relationship study “His Love” and the disc-ending, Tori Amos-flavored “Demons,” about reaping what you sow. Although more fleshed out by the backing corps of drummer (and producer) Brian Potts, bassist Garrett Long and cellist Geoff Knorr; From The Heart still displays a nice simplicity, as the arrangements are basic and gently support Valerie’s voice and melodies, with layered vocal harmonies adding accents and emphasis. From The Heart is a clear step forward for Valerie Nicole, and successfully documents her maturation as a singer, songwriter and artist. (To obtain this CD, visit Valerie Nicole’s website, www.valerienicole.net.)
NICK FINOCHIO – BASED ON A TRUE STORY (no label) Completing his senior year at Bishop Guilfoyle High School, Altoona’s Nick Finochio has released his second album of original song material, Based On A True Story. True to the album title, Finochio sings piano-fueled pop odes rooted in his own life experiences, emotions, anxieties and desires over the disc’s ten tracks. He sings with a full, clear, soaring and expressive voice along his hard-driving piano accompaniment, with producer Jack Servello fleshing out the arrangements with a variety of instrumentation, and Richie Servello supplying drumbeats. School, growing up and thoughts about the future surface as themes on several songs; as Finochio expresses hope and optimism on the uplifting disc opener “Best Years of Our Lives,” keeps life’s ups and downs in perspective on “Not All That Bad,” and celebrates happy memories while lamenting departures on “Senior Year.” Relationships and breakups are also prominent themes on the disc; Finochio comes to terms with a breakup on “In a Second” and a one-sided relationship on “Optimism Never Got Me Very Far,” but stands strong after the experiences on “When It Starts to Rain, I’ll Be Heading West” and the somber disc finisher “Bye Bye Baby.” Guest singer Jon Harris duets with Finochio on “Not All That Bad” and the solemn bonus track Christmas number “Let Love In.” Finochio sells his songs and messages with a heartfelt, emotion-packed performance; and Jack Servello’s creative blends of instrumentation color and emphasize the moods of the pieces. Recorded at Servello Family Studio in Altoona, the mix keeps Finochio’s voice out front, with the instrumentation and rhythms supplementing and supporting him. Based On A True Story is a thoughtful musical snapshot of Nick Finochio as he closes one chapter of his young life and sets to embark on the next chapter. It further exposes a developing talent with a bright future. (The CD can be obtained through Nick Finochio’s Myspace website, www.myspace.com/nickfinochio.)
ZELAZOWA – ELEPHANTS ON A MOUSEHUNT (no label) On their initial two offerings, their 2005 full-length debut Rest Easy and 2007 EP Polymorph, Philadelphia foursome Zelazowa defined the parameters of their sound; melding together melody, agitation, velocity and emotional intensity. Their latest CD, Elephants on a Mousehunt, focuses and tightens these elements into a stronger, more cohesive whole. The melodies as a whole are stronger, and the group’s mood swings are less extreme. But Zelazowa maintains their boisterous edge, building swarming walls of guitar sound along driving and combustible rhythms; providing the launching pad for lead singer/guitarist Bryan Weber to test the limits of his soaring vocal range and intensity. Singing often poetic, metaphor-informed lyrics concerning themes of change, hope, inner emotions and beliefs; Weber’s passionate angst is a defining feature that helps tie Zelazowa’s presentation together over the CD’s 13 tracks. The group displays unbridled firepower on numbers like the brash opening track “Today Is Tomorrow,” the swaggering “Boneyard Destination,” the punk-driven “Like Swine for Words” and the weighty “Serene.” Zelazowa demonstrates tension and release on the blues-tinged “Numbers,” the jangly “Autumn” and “Madama Wrecking Ball.” A few unexpected twists and turns surface on the disc as well; including the catchy and organ-underscored “You Say Love,” the dreamy ballad “Baby Blue (Listening to the Earth Shift),” “To the Gallows” with its eastern European folk-informed rhythms, and the acoustic-geared closer “I Got My Gun.” Zelazowa’s performances are sharp and often go-for-broke throughout the disc, with Bryan and Kyle Weber’s guitars, Ian Sharkey’s bass and Terry Sharkey’s drums constantly on the attack. But there is often instrumental subtlety present in the forms of varying guitar cadences and textures, changing usage of distortion effects and more. Recorded in Nashville and produced by the band, Patrick Himes and Rosemary Haskins, Elephants on a Mousehunt sounds big, vibrant and full, and brings forth Zelazowa’s full sharpness and firepower. Zelazowa’s strongest offering so far, Elephants on a Mousehunt displays a focused band fully in control of their sonic world; and is a triumphant result of this group’s unwavering do-it-yourself ethos. (To obtain this CD, visit Zelazowa’s website, www.zelazowa.com.)
LITTLE BUDDY – 3 HOUR TOUR (no label) Bearing the nickname of group founder, singer, guitarist and Johnstown native Mark Kormanik; Philadelphia-based trio Little Buddy has been tearing up stages with their brand of smoldering blues rock for over a decade. Their fourth studio CD, 3 Hour Tour, offers a rowdy, sassy and hard-nosed blend of blues, rock and boogie over a dozen tracks. Kormanik’s frequent guitar fireworks and gutsy howl are front and center, playing off the tight rhythm section of bassist Doug Brown and drummer John Huhn. Together, the trio displays mastery over a terrain ranging from breakneck instrumentals to passionate boogies, traditional slow blues and more; channeling influences ranging from Stevie Ray Vaughan, The Nighthawks, Roy Buchanan and more. Little Buddy tips their hats to Vaughan on the stormy Texas blues-flavored instrumental lead-in “The Tribute,” and ends the disc with the blistering boogie instrumental “Etude in G.” In between, the group delivers muscular blues workouts like the defiant “Don’t Make Me Choose,” “I’m Lucky” and the uptempo “Goin’ Home”; funk-edged blues assaults such as “Never a Bad Time” and “Childhood Blues”; and tough and edgy blues rockers like “Dig Dig Dig (My Wife’s Digging My Grave),” “Waiting for Someone New” and “Bird on a Bridge.” Little Buddy also offers romping boogie on their update of the Grateful Dead/Junior Parker-popularized “Next Time You See Me,” and shows their slower and downtrodden side on a remake of Ray Charles’ “Blackjack.” The performances are hearty, spirited and inspired; and the production by the group and Dan McKinney is lean and raw, letting the performances do the talking with only minimal touches of studio enhancement along the way. 3 Hour Tour shows what Little Buddy does best, and provides bold and boisterous blues-rocking excitement from start to finish. (The CD can be obtained through Little Buddy’s website, www.littlebuddy1.com.)
MERCY NATION – MERCY NATION (no label) Reading area trio Mercy Nation introduces their brand of fuzz chord-driven rock on their seven-song self-titled debut CD. Singer/guitarist Brendon Weaver, bassist Derek DeLong and drummer Tim Jackson deliver hard-driving, jagged rock with an abundance of fuzz-guitar distortion. Combined with Weaver’s straining, upfront vocals; the overall sound often suggests a less-produced, garage-rock edition of Smashing Pumpkins. Mercy Nation uses their assault to dress down a condescending ego on the boisterous opener “Prom Queen,” search for truth on the high-velocity “Reveal,” and achieve self-discovery and realization on the heavier “Zombie Army” and slow-builder “Year to Live.” Another gradually-developing number, “Remedy,” examines guilt, while an aftermath of anguish and despair is explored on the terse disc-closer “Katrina.” Mercy Nation’s performances are mostly full-tilt, especially Weaver’s constant singing intensity and Jackson’s explosive drumming assaults; held together by DeLong’s sturdy bass lines. The mix is loose and noisy, with the distortion and fuzzy guitar chords ruling the day. But while Mercy Nation’s full-tilt performances and distorted dynamic tie this set into a unified whole, they also obscure some of the instrumental detail and the finer variations of the song material; and the disc comes off sounding a bit monotonous and one-dimensional as a result. This CD succeeds in establishing the basis of what Mercy Nation’s style and sound are about; it will be interesting to hear how the group evolves from that foundation on future efforts. (To obtain this CD, visit Mercy Nation’s Myspace website, www.myspace.com/mercynation.)
IROQUOIS CONFEDERACY – THE LEFT-HANDED PEACE PIPE (no label) Named in deference to the Native American alliance whose constitution forced early settler Andrew Lycons to vacate the Wiconisco Valley (now the Lykens Valley) where they are based, Iroquois Confederacy introduces a hard-driving, blues-rooted brand of rock on their debut CD, The Left-Handed Peace Pipe. Their sound is loud, proud, guitar-driven, hard-nosed rock steeped in the southern rock traditions of Lynyrd Skynyrd and Molly Hatchet, seasoned with a slight modern edge. Frontman/guitarist Jeff Heilman delivers a rugged growl reminiscent of the late Danny Joe Brown (Molly Hatchet), and blends with lead guitarist Andy Adams to provide chunky riffs and dual harmony leads; working off the sturdy rhythm section of bassist Eric Spotts and drummer Chris Underkoffler. Iroquois Confederacy provides an interesting song variety over the disc’s dozen tracks; offering up no-nonsense barnburners like the opening commentary about television manipulation “Father Media,” the plastic celebrity ode “Cellophane Blues,” the portrait of sweet-leaf evangelism “Holy Roller Toker” and the rumbling drinking anthem “Architect of Buzz.” The group tones it down on the acoustic-geared “Remember,” and crafts a contemplative tone on the dual-speed disc-closer “Silver Lined.” Perhaps the disc’s most unique track is “Old Joe,” where Iroquois Confederacy incorporates a funk rhythm and narrative into a study of 9-to-5-inspired insanity. The performances sound gritty and inspired, and the variations in tempo and guitar interplay keep things interesting throughout the disc. Recorded and produced by the band at their Empty Bottle Studio in Lykens, The Left-Handed Peace Pipe sounds stripped-down and raw, with all the ingredients of the group’s sound clearly audible and balanced, and occasional vocal effects incorporated along the way. Fans of the southern arts and whiskey-soaked rock’n’roll should find The Left-Handed Peace Pipe a disc worth celebrating, and Iroquois Confederacy a rowdy-rocking foursome worth checking into. (The CD can be obtained through the group’s website, www.iroconfed.com.)
VALENCIA – WE ALL NEED A REASON TO BELIEVE (Columbia) Often, life’s tragedies can force an artist or group to brood or turn negative through their music. But some bands and performers use tragedy as a rallying point to move forward and grasp hope. Philadelphia-based quintet Valencia follows the latter course on their second full-length CD and first major label release, We All Need a Reason to Believe. The tragedy was the unexpected death of singer Shane Henderson’s girlfriend after a freak accident in May 2006. Much of the disc is about learning to cope with the reality of the situation, preserving the memories and moving on. Valencia constructs clever, hook-laden melodies and lyrical encouragement throughout the disc; with sharp, adrenaline-fueled power pop/punk often serving as the vehicle to deliver them. Fast-firing songs such as the opening track “Better Be Prepared,” “Holiday,” “I Can’t See Myself” and the uplifting closer “Free” are immediately action-packed and catchy. But the group and producer Ariel Rechtshaid’s finishing touches frequently add melodic detail and variation to the songs; incorporating stylistic twists, additional instrumentation, slick bridges and chorus harmonies to keep things interesting. Valencia utilizes strings on the thoughtful ballad “Carry On” and the upbeat “All At Once,” offers an alt-country flavor on the hopeful “The Good Life,” and incorporates guest singer Rachel Minton for a midsection duet on “Where Did You Go?” Valencia’s performances are upbeat, sharp and powerful; with guitarists Brendan Walter and J.D. Perry, bassist George Ciukurescu and drummer Max Soria providing tight, driving backdrops for Shane Henderson’s clear, smooth and heartfelt vocals. This set is crisp and cohesive, and charges forward without any dull moments. In a rock subgenre often defined by angst and sarcasm, this disc’s positive vibes offer a breath of fresh air. Valencia’s We All Need a Reason to Believe is not only a triumphant blast of infectious power pop, but a triumph of optimism and hope in the aftermath of tragedy. (To obtain the CD, visit Valencia’s website, www.valenciamusic.net.)
THE EMBALMED – THE EMBALMED (no label) Snarling, guitar-wielding and songwriting brethren Chad and Jason Straw first launched The Embalmed ten years ago and issued some initial recordings. After shelving the project temporarily to explore other bands and solo projects, the brothers reconvened The Embalmed two years ago; enlisting former Saucemonster bassist Greg Hatch, and Darren Byer on drums. The group marks their full return with this self-titled CD, offering ten tracks of roaring, bone-crushing, malevolent heavy metal. Their sound rooted in classic-styled doom metal, Slayer-like thrash, and contemporary death metal; The Embalmed informs their terse brand of metal with instrumental precision and dynamics, swaggering grooves, melody and a lyrical touch of tongue-in-cheek, dime-store demonism. Riding on tough, attacking rhythms; the Straw brothers’ guitars roar, snarl, slice and dice; while each brother exhibits a unique vocal (dubbed “vokill” by the band) hoof-print and cadence. Jason Straw’s Tazmanian Devil howl marks the group’s live showstoppers “Toetags and Bodybags” and the infectious “Heartworm;” as well as “Crucifixation” and “Lambs of the Black Hand;” while Chad Straw’s gargle-with-hellgrammites growl gives a monstrous dynamic to numbers such as “Morgueasm” and “Spoonfed.” Other disc highlights include the multi-speed “Compelled by Hoof and Horn,” and the rampaging assaults “Eighteen Stabwounds” and “Excommunicated;” the latter featuring guest snarler Drew Baney. The Embalmed’s performances are powerful and confident throughout the disc, and it is clear that this band knows their musical turf well. The production and mix give the rhythms ample brutality, and the guitars chainsaw jaggedness. But while the musical mood is predominantly dark and malevolent, The Embalmed never take themselves too seriously; and their swagger and cleverly satirical lyrics paint almost gleeful images of otherwise morbid subject matter. The Embalmed’s self-titled CD strongly defines this group’s unique musical identity and niche; and reveals a band with substance behind their savagery. (The CD can be obtained through The Embalmed’s Myspace website, www.myspace.com/theembalmed.)
FALSE ICONS – GODCOMPLEX (13th Planet Records) Although not a household name, Lock Haven’s John Bechdel has built an impressive resumé in the world of industrial rock over the past two decades, recording and touring with such names as Ministry, Fear Factory, Prong, Killing Joke, Murder Inc. and others. In 2002, Bechdel formed his own creative outlet for exploring the genre, False Icons. Bechdel sings lead vocals, does programming and plays guitar, keys and bass; his current cast of False Icons includes Brian Broadt on keys, programming and additional vocals; and the rhythm battery of State College’s Dave Brown on bass and Altoona’s Mark Panek on drums. Not surprisingly, False Icons’ first CD, Godcomplex, is very industrial in tone; forging sonic battlegrounds of metallic guitar riffing and pulsing electronics, precision rhythmic cadences, layered synths and vocals, digital sampling and more. Partially produced by Ministry’s Al Jourgensen and released on Jourgensen’s 13th Planet Records, Godcomplex shares similarities with Jourgensen’s better-known project; but False Icons does establish their own cyber-rock identity and variations over the disc’s 11 tracks. The group sets an aggressive tone with the terse, fast-firing opening salvo of “Decay” and “Tranquilizer.” “The Wheel” is sinister and aggressive, with producer Jourgensen assisting on gang-shout chorus vocals. “Transform” explores faster dancebeat terrain, while “Recover” exudes a funkier flavor. False Icons conjure their strongest melody with the alluring and grooving “Mystified,” and build a chunkier and heavier groove on “Lead The Way.” The disc’s centerpiece may be the group’s chaotic title track “False Icons,” where a busy and complex rhythmic barrage sets the backdrop for sampled narratives questioning what modern society really does worship. Likewise, “Defective” uses samples to craft an image of mounting mental turmoil. Lyrically, struggle is a central theme throughout the album, as False Icons explore conflicts between humanity and technology, actual and virtual realities, beliefs, identities and more. The presentation is constantly busy and engaging, and the various components of the group’s attack all sound sharp and balanced in the mix. False Icons don’t reinvent the industrial rock genre here, but Godcomplex does establish the group’s own slant and terrain, and provides an invigorating, action-packed listen. (To obtain this CD, visit False Icons’ website, www.falseicons.com.)
JEREMY dePRISCO – CATCH THE SQUIRREL (Blue Buddha Records) Throughout his discography, Bloomsburg-based singer, songwriter and performer Jeremy dePrisco has never feared stepping outside of the box. His musical explorations have taken him far beyond the conventional realm of the singer/songwriter, to embrace worldly and far eastern musical influences and incorporate them and other elements into his own musical signature. This musical adventurism continues on dePrisco’s self-produced latest disc, Catch The Squirrel, a dozen-song set that merges American folk and blues with worldly flourishes and philosophies. Like much of dePrisco’s prior output, symbolism plays a big role here; the “squirrels” are the songs and muses that dePrisco tries to capture, and as squirrels scamper and behave unpredictably, songs too can take on a wide variety of directions and traits. DePrisco uses a wide variety of instruments and styles to attempt to “catch the squirrel;” and the chase itself provides the reward for both artist and audience. The journey begins with rocking blues on “Rusty Hearse,” before exploring tropical folk with “On The Edge,” upbeat delta-styled blues on “Once in a While” and boisterous folk rock on “Going Down to Smyrna.” Far eastern musical flavors permeate the grooves of “Satyanada” and “A Fairytale;” dePrisco dabbles with Balkan-flavored folk on a version of Peoples Bizarre’s “Cold Cold Night,” and gives a driving Mediterranean flair to Tom Waits’ “Jockey Full of Bourbon.” Roots blues is revisited on Leadbelly’s “Ox Drivin’ Blues,” before “Shotgun Shack” and “Black & White” finish the album in an acoustic folk vein. While his voice is consistently sturdy and expressive, dePrisco’s eclectic arrangements and vast arsenal of guitars, percussion instruments, harmonium and loops freshen the textures and accents throughout the album. DePrisco is an equally colorful wordsmith, skillfully infusing symbolism and life philosophies within his often observational and poetic lyrics. Jeremy dePrisco’s quest to Catch the Squirrel both provides creative fulfillment for the hunter, and an intriguing experience for the listener. (The CD can be obtained through Jeremy dePrisco’s website, www.mindspeak.com.)
PAN.A.CE.A – ALL OR NOTHING (Susquehanna Entertainment) After recently hooking up with Susquehanna Entertainment, northeastern Pennsylvania rockers Pan.a.ce.a have released a remixed and remastered edition of their 2006 CD, All or Nothing; to introduce the group’s contemporary, hard-hitting style and sound to a broader audience. Singer Tim Farley, guitarist Paul Young, drummer Kevin Harry and (now former) bassist Mike Morgan frequently and effectively balance melody, mood and hard-hitting alternative-metal dynamics over the disc’s dozen tracks. Pounding rhythms and snarling guitars underscore catchy, efficient hooks and shadowy mood swings on many of the songs; providing the foundation to support Farley’s clear, soaring vocals. After “The Blind Lead the Blind” opens the disc with a dramatic, tension-and-release edge, Pan.a.ce.a demonstrates their brand of accessible hard rock through faster numbers such as “The Fool,” “I Never” and “Riverbed”; muscular rockers like “Move On” and “Divine”; and explosive, agitated assaults such as “Oubliette,” “Creatures of Habit” and “Nuclear Horizon.” The group shows variation several times; most notably with the slow building, exotic, U2-like “Additive;” and fleshed out with additional instrumentation, the acoustic-geared “Weigh Down” and the urgent-toned, folk-infused finisher “Day of Remembrance.” Recorded, mixed, and mastered at Saturation Acres in Danville; and produced by Bret Alexander, Paul Smith and Pan.a.ce.a; All or Nothing sounds broad, balanced and polished. Pan.a.ce.a’s overall presentation on All or Nothing sounds ready to mix it up on modern rock radio airwaves alongside contemporaries like Breaking Benjamin, 3 Doors Down and Three Days Grace. With a new CD slated for later this year, it will be interesting to hear how Pan.a.ce.a elaborates on their alt-metal foundation and sets themselves apart from the rest of the pack. (The CD can be obtained through Pan.a.ce.a’s website, www.panacearock.com.)
DEEP SEEDED – DEEP SEEDED (no label) Seeded deep in the tradition of classic-styled heavy rock of the ‘70s and ‘80s, Lancaster area foursome Deep Seeded recalls the era when metal meant rumbling rhythms, scathing guitar solos and vocals that were sung, not grunted. On their 10-song, self-titled debut CD, Deep Seeded proudly channels their influences; especially the mantra of Ozzy Osbourne. Lead singer Brian Fletcher sounds like a younger, more coherent Ozzy through much of this disc, while guitarist Dave Fletcher champions the Randy Rhoads lexicon of shred-ology. The rhythm section tandem of bassist Bryan Smith and drummer Ed Kasian provide Blizzard of Ozz-like thunder and fury, especially on rampaging assaults like the doomsday-themed disc-opener “Gang War” and “Planet X.” The disc’s two ballads, “Darkest Hour” and “Tomorrow,” are also decidedly Ozzy in flavor; the former reminiscent of Osbourne’s “Road to Nowhere.” Lyrically, the group tackles the current socio-political climate on the anthemic “Dancing in Quicksand,” ponders the abyss of drug addiction on the pummeling “Suicide Jump,” and celebrates sibling solidarity on the Led Zeppelin-leaning “Brother Keepin.’” Deep Seeded honors a fallen comrade’s words on the Dokken-tinged, Scott Burke-penned “This Life Won’t Last Forever.” Ozzy and other comparisons aside, Deep Seeded shows the knack for some strong hooks through this disc, and their performances are gritty and competent. Recorded over two months at Down There Sound in Ephrata, Deep Seeded overall sounds balanced, with the rhythms booming and the guitars and vocals given full bite in the mix. Deep Seeded wears their influences well on this debut, and firmly defines their classic-styled, hard-rocking turf. (The CD can be obtained through Deep Seeded’s Myspace website, www.deepseeded1.com.)
ULTIMA U.S. – HEROES OF THE APOCALYPSE (no label) According to the group’s Myspace website, Clarion College Radio said that western Pennsylvania techno artists Ultima U.S. “sound like something from a ‘Kill Bill’ fight scene.” Upon listening to Ultima U.S.’ second disc, Heroes of the Apocalpyse, you may agree that it sounds like someone named Bill – possibly the producer – might have been killed before or during the making of the album. Over the disc’s ten tracks, Ultima U.S. – masterminded by somebody named H.B. – conducts a bizarre techno-geared musical experiment, and the results are mostly an abomination. Wandering synths collide, override and clash with aimless hard guitar riffage, while trying to coordinate against droning digital beats on barely discernable melodies. The vocals are equally inconsistent; the best ones are offered up by the project’s now former female singer, but she is so undermixed or out of phase on “False Promises” that she is barely audible. The male vocalist – probably H.B. – often overpowers the mix, sounds flat and often off the beat. The only moments on this disc that even approach listenable quality are when H.B. keeps his pie-hole shut, on “Die for You” and “False Promises” (when his former leading lady sings), occasional instrumental passages, or the political sampling barrage that closes “Anti-Christ.” A producer, or at least somebody with knowledge of how to maneuver a mixing board, could have salvaged parts of this disc. But if Ultima U.S. was trying to achieve Devo’s concept of “de-evolution” on Heroes of the Apocalypse, they at least succeeded in making this disc devolve into a laughably unlistenable mess. This is music best suited for torturing anybody who manages to survive an apocalypse. Best avoided. (The CD can be obtained through Ultima U.S.’ Myspace website, www.myspace.com/ultimaus.
FINAL CUT REVIEWS & CHICANERY: FEBRUARY - SEPTEMBER 2009
Moderator: Jim Price
