Album Review: Snake in the Grass by Poppy Xander

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I’ve often said there is beauty in simplicity, and that statement can be applied to Snake in the Grass, the debut album from Dallas-based singer/songwriter Poppy Xander.

Almost all eleven tracks that comprise the record feature just her voice and a piano; and there’s something refreshing in the fact that there’s nothing over-the-top.

Don’t jump to conclusions and assume that it’s all ballads, or even remotely close to, say, Sarah McLachlan, though. It’s pretty much the antithesis of that; as the classically trained pianist uses her skills to create some intriguing music that focuses on depth.

From the opener, “The Ren and the Robin”, you’re immersed in a world of vivid storytelling and what some may consider a little offbeat songs (I mean that is a term of endearment). That one in particular is accompanied by a semi-serene, yet moody piece on the piano, making for an interesting offset between the often dark imagery the lyrics conjure.

Xander demonstrates her versatility right away, switching to a huskier voice on “Blackwater on the Rise”, which has a distinctive lounge vibe to it (along with some slight hints of jazz), and it succeeds at transporting you back to a bygone era. The following track, “Paisley”, is a standout from the record, as she taps into a more operatic side here and there. The song (which goes against traditional songwriting, as it does not include a chorus) is somewhat rooted it politics, for example, the third verse, “Take it from them, one percent; and hide it where they’ll never find. Line their country’s walls with dollars; bleed us dry and we’ll up rise.”

The next couple of songs take on a more minimalist sound with the piano being softer from the previous tracks, though it strikes when it can. “Lost Boy” sounds gorgeous, yet ominous; while Xander’s voice is utterly mesmerizing on “Paintman”.

Around the halfway mark, there are finally some love songs. Well, at least “No Way Out” is more centered around love (and the impending heartbreak that often comes with it); while the title track, the somewhat jazz inspired “Snake in the Grass”, is all about lusting after someone. Things switch gears yet again with “Time”. For starters, the piano is replaced with a guitar, and the haunting notes are behooving of what sounds like it could have been a spoken word poem when it was first conceived, before being set to a tune.

“I was Bonnie and you, you were Clyde. Take over the town in just one night. But you robbed of my love; shot up my hopes in a pool of blood,” goes a verse from “Darkness of Your Love”, drawing a very nice comparison between a past romance and those notorious bank robbers.

“Just Over the Rainbow” offers what could be a perfect finish to the album. It’s uplifting and brimming with hope; a stark contrast from how the album began. However, there’s still one song to go, and “Keep Calm and Carry On” again finds Xander focusing partly on politics as well as social issues. From being monitored by the government to people struggling to earn enough to make ends meet, while also going into debt to own things you might not necessarily need. It’s incredibly thought provoking, and easily the most relatable offering from Snake in the Grass.

I can honestly say this is the first album I’ve ever listened to that is just piano and vocals, and it made more of an impression on me than I thought it would.

Nothing about Snake in the Grass is typical of modern music. It’s rooted deeply in the classical vein, while the structuring of the songs often go against the grain. That’s what allows it to stick with you, because it is so different from… well, just about anything you  hear. Aside from that, Xander has a phenomenal voice, showing off a vast range; and no matter what the style is she has mastery over it.

The music may be an acquired taste; and admittedly, it took me a few runs through before the songs really started clicking with me more, but that just makes the album all the more interesting. It’s like there are different layers to each track, and the more you listen, the more you uncover.

Purchase the album on:
iTUNES / Bandcamp

Visit Poppy Xanders’ websites:
Facebook / Reverbnation / Twitter
image(Photo credit: Brian Hilson)

Single Review: “Wanderers” by Swindle Boys

imageThe Fort Worth-based Swindle Boys are continuing to pump out a new single each month, and the third one — “Wanderers” — is perhaps their best yet.

Many of their songs are rather relatable, but the fact that this one deals more with the human condition ensures it’s a track that connects with everyone who takes time to listen.

“Disappointment can take you over in the blink of an eye… and turn your heart to stone…” vocalist Joey Swindle sings at the start. It’s partly about not letting events of your past make you callous or jaded, and also about how we as people need to start taking time for one another.

“It’s not a waste of time to invest your time in another life,” goes the following line of the hopping song — which nicely blends the catchy elements of the pop genre with a grand scale rock atmosphere — as the song continues to make the point that everyone needs someone. Maybe it’s a friend, it could be a partner, or whatever else, to help make the journey through life a little easier; because humans are emotional creatures by nature, as they point out later, “We were meant to explore, to love and to mourn. Hold nothing back.”

At its core, “Wanderers” is a song about how we all could stand to be a little kinder to everyone; and from the impassioned singing, to the vibrant guitar notes (which waxes and wanes accordingly), and even the subtle keys (which accents the lyrics perfectly) it’s a message they succeed at getting across.

Swindle Boys is:
Joey Swindle
Matthew Swindle
Josh Brown
Chance Cochran

Purchase the single on:
Bandcamp

Visit Swindle Boys’ websites:
Facebook / Twitter / Youtube

Album Review: Baker’s Dozen by Stephen Spencer & Richard Eerie

imageRichard Eerie has a DIY mentality. He bleeds it, actually.

He founded the label Sad Boy Donuts; and even has a studio, Federal Palsy Deathouse, inside his home. From there, he has recorded albums for his own band (The Earth and I Had a Falling Out, Said the Nuke), and some others. More recently, however, he and friend Stephen Spencer decided to co-produce and release an album under their individual names.

It wasn’t just any album, though. They set out on an ambitious project that they called Baker’s Dozen, which is an homage to the deceased rapper known as J Dilla and his final album, Donuts.

The forty-two track album (yeah, you read that right) will appeal to anyone who is a fan of the lo-fi genre. I, admittedly, am not, but the album grew on me rather quickly.

The bulk of the songs last somewhere in the one-minute range, with few lasting a little more than three; and it traverses a lot of ground. Some songs, like “Kanye West is Not Going to Give Me a Panic Attack”, boast more of a rap beat before fading to an instrumental outro, while the vocals on others are spit out at a faster pace.

“My Boss is a Jerk” and “The Heir is a Dick” go hand in hand, the first describing disdain for your job (“My boss is a jerk… But I need the money; I could never be a monk…”), while in the latter it’s revealed “the boss” described is actually the characters father. It’s a little funny, and there are a slew of other songs that can evoke some chuckles if not a laugh, such as “Transitional Fossil”, which is kept simple with the line, “Stay out of …My monkey business.” before the musicians start imitating chimp noises. In twenty-one seconds, “Hole in the Wall” repeats the joke, “Why did the baker stop making donuts? “He got tired of the whole thing.” a few different times, yet the repetition just seems to make it all the more funny. Another laugh worthy moment comes towards the end, on the very official infomercial sounding “Commercial Break From Steaks”.

For as many tracks that could be considered offbeat or obscure, there are an equal amount of songs that tackle more serious subjects, like “Stutterin’”. It’s catchy and revolves around love; “Knew the right words yesterday. Woke up this morning those words went away…”, and I have a feeling plenty of people can relate to that. On the other hand, “Wouldn’t Gillette Me No. 11 : Tyler Was Young” in part deals with how influential music can be (“…Since I was young, punk rock anarchy has had a hold on me…”) It may be a slowed down acoustic track, but even then a slight sense of rebellion can be heard seeping from it.

Baker’s Dozen may take more than an hour to listen to start to finish, though it doesn’t seem it. The songs are often short enough, with it changing pace so frequently throughout, that it really helps keep the listening experience fresh; and before you know it, you’re already halfway through.

Maybe you appreciate the lo-fi genre, or maybe you don’t. Either way, the record will most likely win you over. The fact that this was such a massive undertaking, yet one done by a tight-knit group of friends  or rather a community  adds to the character of the music; character that shines on every track.

Key players in making Baker’s Dozen were:
Stephen Spencer and Richard Eerie
Featuring Tyler Davis, Eric Aranda, Eric Barron, Emilio Barron, Chad Pierce, Charlie Frizzell, Derrick Rice, Taylor King, Keaton Collins, Sean Kennedy, Max Kuhl, Matthew Spann, Justin Spann, Corey Neal, Dylan Bare, Oshay Green, Colton Baker, Ryan Harrington, Richard’s nephews and songs by The Zebraboys, The Rabbits, and Earth and I Had a Falling Out Said the Nuke

Purchase the album on:
Bandcamp

Single Review: “Exactly” by Abacu5

imageBack in March, after some extended time off, the Dallas-based alt/rock band Abacu5 made  their return to the stage.

It was pretty much the same lineup, with one big difference: they had added a fifth member to the group, and Cory Martin took over on lead vocals.

Since then, they’ve performed a little more than half a dozen shows with this incarnation, doing both new songs and retooled versions of some from their debut EP. Fans have no doubt been hungry for a taste of this new music. Something to get an idea of how these new jams will sound played through some speakers, and something they can listen to whenever they want.

Today, they finally got that, in the form of the brand new single, “Exactly”.

It perfectly captures the slightly new direction the band is going in. Instead of some semi-heavy rock songs (like those found on their first EP), “Exactly” is even a little more radio friendly, though still retains originality. It boasts an excellent music bed, with some guitar riffs that instantly mesmerize you, and that alone can hold your attention for the duration of the track, as it transitions form soaring riffs to serene notes. The song derives its kick (no pun intended) from the ferocious drums; and while the bass is harder to hear in the mix, you can catch it accenting things here and there.

Lyrically, it’s a lovely tune about finding someone (in the romantic sense) and rekindling a spark that they had lost. “And I will bring you back to life again. And I will show you where you never been…” goes the first part of the chorus. It’s teeming with hope, with a message that no matter how cruel the game of love may have been to you, there is someone out there to make you whole again.

That’s the main difference between “Exactly” and their previously released stuff: it exudes hope. Now, by no means was the bands past stuff dark or anything, nor was it as upbeat as what this one is. That may well just apply to this one song, but that still makes it a good choice as a new single, because it does display a different side of Abacu5.

A new beginning, I guess you could say.

Abacu5 is:
Jonathan Sprang
Samuel Holder
Adam Manning
Eric Petrinowitsch
Cory Martin

Purchase the single on:
iTUNES

Visit Abacu5’s websites:
Official Website / Facebook / Reverbnation / Twitter

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Album Review: Photomaps by Exit 380

imageFifteen-years is a long time for any band to be together in general, but especially a local band. Actually, that’s somewhere around three to four average lifetimes in local band years. That’s how long Exit 380 has been kicking, though; and they have outlived many of their DFW counterparts, some of whom flirted with major label success and toured the country.

The band that was started by friends back in their college days at UNT in Denton may not have had those encounters with big breaks, but then again, that might be exactly why they have lasted as long as they have. They were never made empty promises that they would be the next big thing. If you ever were told that, and then it didn’t pan out, it’s easy to see why you would lose faith in the music industry, and perhaps even decide to hang it up and leave the band life behind.

That’s not to imply that Exit 380 is all fun and games for the members, either, but they do have a 50/50 balance of enjoying what they do and being professional at it.

It’s also rare you find a band who has kept pretty much the same lineup for the past eight years; and after a couple year absence, Bobby Tucker returned as the band’s drummer. Aside from that brief stint away, the band has been the same since the mid-2000’s, and that chemistry and camaraderie they’ve had plenty of time to establish has led to them getting better with each album, while they explored a diverse range of genres, from edgy rock to experimenting more with folk music.

But now, with their first release in more than two-and-a-half years, they’ve found themselves going back to their rock stylings, bringing renewed life to their earliest sound, along with continuing to experiment as musicians and try out some new genres.

The bands sixth LP, Photomaps, begins with “Laid Up In the Road”. Like many of their best songs, it doesn’t focus on a personal experience, but rather tells the story of a drunk who feels more at home on his own — in the middle of a road  then being surrounded by people, be it family or friends. The nearly three-and-a-half minute track tells you enough about the fictitious character to get you interested, yet also complete his story. The music bed also really gets your attention, and lead and rhythm guitarists Aaron Borden and Jeremy Hutchison, respectively, have some soaring solos. It’s been many years since they wrote a true edgy rock song, and it’s instantly clear their time away from it gave them a clear perspective as to how they want it to sound.

Speaking of Borden, as any longtime E380 fan knows, he’s also pretty talented in the songwriting department (the now classic, “Closure”, is still one of the most beautiful songs they’ve produced in all their years together.) Well, “Love Somebody, Cold” is another song he penned, and he sticks with doing what he does best: writing songs that revolve around love. In this case, it’s about still deeply caring for someone, even though the spark is fading fast out of the other person. Surprisingly, it’s a very upbeat song, with some great piano pieces thrown in (courtesy of Andrew Tinker, who produced the record at Big Acre Sound), alongside a well defined rhythm section and some sweet guitar licks; while Blocker sings at the end, “…And you know I won’t be the one to roam.”

The coolest intro has to go to “Lonely Days”, and after Tucker establishes a solid beat, the guitars quickly fade in with some awesome, ballsy chords. It has been quite some time since Exit 380 last did a rock song of this magnitude. The band is on fire on the track, operating as collective in a way that I don’t think they ever have before. Each instrument plays off one another, and even the various notes Blocker hits help accent the other instruments, and in turn, they aid his voice. Overall, this song proves that this is a more robust Exit 380 than fans have ever seen before.

Originally, Photomaps was going to be a collection of songs that all found the band experimenting with a Spanish flare. Things changed once the actual writing process took place, as they more split their time between styles. However, while “Hearts In the Sand” is a rock song, it also has some Spanish sounding elements scattered throughout it. It’s found subtly in some of the notes and hinted at in the lyrics at times, though this is still primarily a rock tune, and they save that stuff for later. Also, I’d be remiss if I didn’t mention the synth solo towards the end. You would think it wouldn’t work well with the track, yet somehow, it does. Granted, I haven’t heard many (or any?) synth solos, either, but I would say this one is worthy of being the best.

“Take It Like a Man” concludes the rock section of the album, and it’s another one very reminiscent of old school E380. Say, circa 2006, back during the Last Monday era. It’s a hard-hitting number, and there’s a nice sense of urgency at the end, as the track comes to a slightly abrupt, but roaring finish.

For the second portion of the album (or Side B on the vinyl copies), Jeremy Hutchisons’ guitar is traded in for a mandolin, while Borden puts his lap steel guitar to use. “A Song About Us” isn’t new to most fans, as it appeared on the first Hand Drawn Records compilation album. Still, I find it nice the track actually found a home on a record, because with it becoming a staple at live shows, it’s deserving of that. It’s another one that Borden wrote, though there is not a trace of heartache to be found like in the earlier song. In fact, it’s quite upbeat, and Blockers’ skills on the harmonica help in setting it off.

Speaking of upbeat, there’s “The Love Sleeps”. It has to be one of the most infectious songs written (and I mean that in a much broader sense than just E380’s discography), or at least that I’ve ever heard; and it emits a feel good vibe for all two-minutes and thirty-nine seconds of it. It’s an ideal song to dance along to, especially with a partner; and it’s just refreshing to hear something so overwhelmingly happy. If you’re ever having a bad day, this would be the song to put on, and then just feel the smile as it slowly creeps across your face.

“La Rosa Carlina” is the final original offering on Photomaps, and it personifies that Spanish vibe they initially wanted to go with. The one-off appearance of a violin is almost hidden during it, but if you listen closely enough, you can hear it creeping in here and there. The harmonies the violinist adds at the end sounds incredible, too, creating a nice male and female vocal part. The song itself is a good story about the guitarist of a band who adoringly watches Carlina — a dancer — who moves graceful to the music they are playing. “…Each twirl brings a smile, each smile a wink…” goes part of the chorus of yet another song that shows just how much the band excels at crafting and telling unique stories.

Like most bands, Exit 380 started off pretty humbly, doing acoustic covers back in their earliest of days. While they may have started out that way, they quickly ditched that in favor of original material; and in the seven to eight years that I’ve been seeing them, I’ve never heard them do a cover song. At least not until recently, when they tried their hand at Townes Van Zandts’ “Pancho and Lefty”. It’s the first cover they’ve ever recorded, and it perfectly fits the style of Photomaps. Like so many other tracks from the record, it tells a story; and they lifted elements from both Van Zandts’ version as well as Willie Nelson and Merle Haggards’, reusing the intro of their rendition to make for a powerhouse ending. It’s more than a cover, though, they truly leave their mark on this beloved classic, and that’s not an easy thing to do no matter what song you’re covering.

This isn’t the longest Exit 380 record ever. In fact, at just about 34-minutes, it plays out almost like a beefier EP, and passes just as quickly, because you get so wrapped up in these songs and simply lose track of time.

But if I had a choice, I’d go with quality over quantity, and that was the decision they made with Photomaps.

No, it isn’t the longest album they’ve ever released, though it is leaps and bounds ahead of anything they’ve ever released (that’s really saying something, ‘cause I still hold The Life and Death of Mr. and Mrs. Alexander Stone in high regard and consider that concept album impeccable.)

For old fans, it’s great to hear them return to those alt/rock sounds they started with, and the growth they’ve undergone individually as musicians and as a band have helped reinforce that genre, and they take it to the next level. For newer fans, you still get some of that folk stuff, with a different twist put on it, as they continue to push their musical boundaries.

In fact, I think that’s another reason why they’ve had such longevity as a band: they’ve never gotten stagnant. I can see how it could be easy to concoct a “formula” so to speak for songwriting and then just stick with what you do best, but that’s not for Exit 380. There’s always room to improve; and really, how many bands can say that fifteen-years in they’re creating their most spectacular material to date? Well, I know at least one.

Exit 380 is:
Dustin Blocker - vocals, pianos
Aaron Borden - guitars
Jon “The Hutch” Hutchison - bass
Jeremy Hutchison - guitars
Bobby “Shoes” Tucker – drums

Purchase the album on:
iTUNES / Bandcamp

Visit Exit 380’s websites:
Official Website / Facebook / Twitter / Youtube
imagePhoto credit: James Villa Photography

Single Review: “Soon” by Swindle Boys

image“Soon” — the latest single from Fort Worths’ Swindle Boys — expands on the newer direction the band is going musically. It further fleshes out the arena rock/pop sounds that first appeared on the Motion EP; and they offered fans a better glimpse just last month, when they released the first of many singles to come (a new one dropping at the start of each month).

They also self-describe themselves as having a little new wave vibe, and while the keys are still heavily used, this doesn’t sound as new wave to me as “Comeback” did. “Soon” is more a straightforward number that is a 50/50 blend of rock and pop. Much like the previous single, it comes across as a behemoth of an anthem, and one that will resonate louder within you each time to listen to it.

It’s a song about moving forward and not letting events of the past — be it tragedy, your own mistakes, etc. — define you.

“…But if the past has proven anything at all, we’ll go on.” Joey Swindle sings at the end of the first two verses. Other lines are about hammering home the fact that it — which can be relative to however the listener wants to interpret it — is just a moment, and it will pass.

It’s calming in a way, and can provide a sense of peace in listening to it, what with the smooth vocals and angelic, yet intense guitar chords. The track boasts a driven rhythm section as well.

They may only be in their second month of releasing singles, but with each one, you’re getting a clearer picture of what Swindle Boys want to do with their music, and so far, I’m really digging the grand, lush sound they’re going after. One which can appeal to indie rock fans and pop music fans alike, and they marry the two genres together in a fantastic way.

Swindle Boys is:
Joey Swindle
Matthew Swindle
Josh Brown
Chance Cochran

Purchase the album on:
iTunes / Bandcamp

Visit Swindle Boys’ websites:
Official Website / Facebook / Twitter / Youtube
imagePhoto credit: Shanna Leigh Tims

Album Review: Mesocyclone by Nicholas Altobelli

imageNicholas Altobelli is a singer/songwriter through and through, perfectly embodying the genre.

One reason I say that is because just last year, in the earlier part of 2013, he released Without a Home to much critical acclaim, garnering praise from the smallest to the biggest media outlets in North Texas, and even from areas elsewhere. It was a different record for him, as he enlisted the help from several friends and fellow musicians, making it into a full-band effort, and in doing so left behind the solo, almost Americana/folk sound for some more poppy tracks.

Shortly after releasing it, though, he was already talking about a follow-up, even starting on songs for it. However, the year plus it has taken to create and release said follow-up wasn’t an easy one for Altobelli. His marriage came to an end during that time, and he also found himself going back to college to pursue a degree in history.

The result of that heartache is the 6-song Mesocyclone EP. The Gigawatts (his backing band) are again utilized, though they return to what Altobelli does best: folk/Americana songs. Poignant ones at that, and even though he’s known for writing more somber songs, this collection takes it to a new level.

The title of the EP isn’t the only weather reference on this album. Take for example the title of the lead track, “Thunderstorms”. While a full-band may be used, the most prominent elements of the music are still Nicholas’ voice and acoustic guitar, though the heavy use of the drums adds a nice kick to the song, while the pedal steel guitar creates some gorgeous moments, though you can hear that even those notes have a tinge of sadness to them. Various metaphors of wind and rain are weaved in as Altobelli croons about the beginning stages of a relationships demise, trying to put a positive spin on it. “…I just want you to know, thunderstorms don’t last.”

Each song tells the next line in the story, and for “Black or Blue”, that seems to be a line about how important communication is. “If I only understood, I could have been your king. If I only understood, you would have kept this ring…” Altobelli woefully sings. This is a contender for the saddest song on the album, and it’s one filled with what ifs, forever wondering if things had been different how they might have worked out. The saddest thing is, it’s hoping they still will [work out], as the chorus, “And I know that tomorrow you will see what’s been missing you…” suggests.

“I called your bluff and I called it hard. Now I’m left with a clotted scar…” goes the second verse of “Pretty Little Daffodil”, a track that finds Altobelli going back to his roots as a solo musician, armed with only an acoustic guitar. That format is behooving of the mood the song has, which is partly about how hard it is to say goodbye to someone you’ve come to know so much about and spent so much time with.  There’s also a soft and subtle sound of rain mixed into the track, helping intensify the mood.

“Memories” is a little more about acceptance of the situation, albeit reluctant acceptance. Altobelli is one of the best lyricists in the North Texas music scene and that talent is showcased exceedingly well on this track, especially on the final verse, “…Just like the love cherished, this too will perish. The memories we had are all that we’ll ever have…” The track exudes heartache, which shines through on every word. “Memories” also sees the return of The Gigawatts, and the piano is heavily featured, and it and the acoustic often complement one another. Quite well, I might add.

In making this EP, Altobelli also looked to the past, resurrecting a song from the Dog Years EP, “Summer Rain”. The fact that this version is so much more fleshed out with the drums, pedal steel, etc. makes it all the more impressive over the original version. It may have been written years prior, yet it fits the story arc of this record surprisingly well. It sounds desolate, and even with a band, that feeling is conveyed in the music. You’ll feel broken just by simply listening to it.

The delicate sound of rain falling is again heard behind the acoustic and Altobellis’ voice on “Odd Numbers”. It’s a fitting closing number, and despite being hurt, the core message is love is always worth it. “…I wouldn’t trade it in to ease the pain that I felt.” he softly sings as the first verse ends. It’s really a simple song in certain aspects, often repeating the chorus. But as I’ve said before about other bands: there’s beauty in simplicity. “…Yes, the darkness came, but the light sure gave a try…”. That’s such  a powerful line, and my take away from it is regardless how something ends, you should just be glad it happened in the first place. Be grateful you got to experience it for some amount of time, even if you’re left not understanding everything.

It’s sad that the most ardent music has to be born out of the most anguishing of circumstances. Yet in some cruel twist of fate, there’s also beauty in that.

I’m sure there are countless numbers of examples of that in music, and I can think of a few myself, where one album a band produces ends up being superior to anything else they have or perhaps even will do, because it’s so raw. Such is the case with Nicholas Altobelli and Mesocyclone.

The life changing events that he went through led to the best music he has done to date. Yes, it’s even better than Without a Home.

It’s so personal, and he has no trouble laying it all out there for the listener; and I imagine this was somewhat of a cathartic experience for him, too.

As I said, Nicholas Altobelli isn’t known for being the cheeriest songwriter there is, but Mesocyclone takes the sadness and despair often found in his music to a whole new level, completely immersing you in the breakup. It’s so rare you get a front row seat like that.

Don’t let that somber tone keep you from listening, though. This may not be an uplifting record, but it’s one you have to listen to. Savor how fluid these six songs are. How they gradually progress the tale. A tale that takes a mere 22-minutes to tell; and once it’s over, just be grateful you were given this glimpse into the life of Altobelli.

Key players in making the record were:
Nicholas Altobelli: acoustic guitars
Heather Kitzman: pedal steel
Trey Carmichael: drums
Daniel Markham: bass
Tony Whitlock: electric guitar
Rahim Quazi: piano
Salim Nourallah: electric guitar, backing vocals


Purchase the album on:
iTUNES (you can pre-order it now. Official release date is August 5th.) / Amazon / CD / Bandcamp

Visit Nicholas Altobellis’ websites:
Official Website / Facebook / Twitter / Youtube
image(Photo credit: Sally Durrum)

Album Review: “The Dark” by Waking Alice

imageWaking Alice has been around the North Texas music scene longer than most, though it wasn’t until mid-2012 when the current incarnation came to be.

With Rus Chaney as the new lead vocalist and Jonn Levey taking the role of the drummer, they got back into the performing circuit; and three singles came shortly after, allowing them to display the new lineup.

It’s hard to believe that’s already been nearly two years ago, and in those two years, the four-piece outfit has deepened their chemistry, which has resulted in even better material, which is showcased on their first legitimate EP (as this lineup).

The Dark starts with the two most recently written songs in the bands catalog, beginning with what is perhaps the best cut on the EP: “November Burns”. As the title of the EP suggests, these are darker songs, and topic wise, they are a bit different from their first three singles. This is a song about being betrayed by those close to you, offering a vivid account of it. “Waking now from this nightmare of mine; the sutures all but gone…” Rus sings in his unmistakable, slightly gruff tone of voice; and you can feel the raw emotion of it all. Of course, it wouldn’t be a Waking Alice tune without some sort of guitar solo, which Brandon Brewer adds at one point, before eventually easing back into the haunting chord progression of the verses that sticks with you. I’m also fond of the little false ending. A part where live you just might begin to clap, assuming the song is over, before the instrumentalists rip back into it.

“Bi-Polar Heart” is the longest track on the album — nearly five-and-a-half minutes — and the most epic, too. It’s more progressive than anything they’ve done in the past, taking a sudden turn into a very tranquil section that lasts for just a bit. That’s something Waking Alice doesn’t do often (show their soft side). It makes for an interesting change of pace for them, though, and it still retains all the elements that make Waking Alice who they are.

“The Dark” marks the midway point of the EP, which is something a little different for Waking Alice. It’s an instrumental song, which is something I don’t believe they’ve ever done before. They may have lengthy instrumental sections at times, but this is completely different. It’s a high-energy number that keeps the momentum from the first half of the record going, even expanding upon it. One of the best things about it is how each instrument as its own moment. Brayton Bourques’ bass is pretty dominant at the start, then sneaks in later on to accent the drums — which gets a couple of solos. It’s also a little surprising that the guitar is left waiting in the wings for the first half, though it works to the songs advantage, ‘cause when Brandon Brewer does strike with it, it hits fast and hard. At just under two-and-a-half minutes, it’s a perfect length for an instrumental track, letting them better highlight their prowess and instrumentalists, but not dragging on to the point it seems tedious.

“Paper Rock Shotgun” is one song Waking Alice fans have been hearing for quite awhile now, and it has finally been recorded. It’s the antithesis of the first half of the EP. Instead of dealing with backstabbing or the souring of a relationship, it focuses on the blossoming of a new one, one without all the deceit. It brings a hopeful aspect to everything, one that proves that even if you feel down and out, something good can always come along. The instrumental breakdown is also pretty slick, and it’s another track where they fool the listener into thinking it’s over before it roars back to life.

Despite having been recorded at a completely different time, “Hostage” fits perfectly with this collection of songs. For fans, if you look at it as the final piece of the puzzle of this EP, it honestly makes you look at the song in a new light. The nearly year-old track is about rising above whatever’s holding you down and no longer being a victim. “…Now I’m on my feet, I’m gonna kick some ass.” Rus belts on the chorus of what is the heaviest of the five songs.

Not many albums come full circle. That shouldn’t necessarily be a prerequisite for any, but it can be a nice touch. The Dark is one that does.

It starts out one way — with a fairly bleak perspective — and ends by realizing that with the bad, there must also be good; and also you need to take control of the situations around you.

These tracks offer a great look at what Waking Alice has grown into in these last two years, and just what a solid group they are. I’d say it’s the best thing the band has done in all their years together, and it leads you to wonder: If they’ve grown this much as musicians and writers in just two years, then what will the next batch of songs sound like?

Only time will tell, but for now, let’s just savor The Dark.

Waking Alice is:
Rus Chaney - Lead vocals
Brandon Brewer – Guitar and backing vocals
Jonn Levey - Drums
Brayton Bourque - Bass

Purchase the album on:
iTUNES

Visit Waking Alice’s websites:
Official Website / Facebook / Reverbnation / Twitter

Current Shows:
Saturday, September 27th at Shipping & Receiving in Fort Worth

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Album Review: “You Can Take Your Sorry Ass Back To West Texas!” by Madisons

imageThe Austin-based Madisons formed in mid-2011, and quickly set to work building a name for themselves. I was introduced to the band in May of 2012, when they played the Homegrown Music and Arts Festival in Dallas. Shortly after came their debut record; and they’ve managed to stick to a schedule that even some bands with major label backings have trouble doing: releasing an LP every two years.

Changes occurred in these last two years, though, and only two members from the original lineup still remain. Change can be a good thing, though, and in this case, it has seemed to create a revitalized Madisons. One that has honed their sound and better perfected it during the time between records, and the difference is noticeable right from the start…

The seven-piece folk rock/ Americana outfit wastes no time in getting down to business, placing what is perhaps the best track on the record — “The Misadventures of Shea Grant” — right at the start. It’s as high-strung as they get on this nearly 40-minute long experience, and it’s absolutely pulse-pounding from start to finish. The drums establish a furious pace, and the vast array of instruments, from the guitars to the violin, upright bass and the rest keep up with ease. You’ll surely be singing right along with the chorus of this infectious number, “…I would settle for a smile in the pouring rain, but your smiles won’t pay the rent. It’s a retelling of my summer of discontent…”, in no time, and the rest of it will follow soon after.

Their folk stylings shine more brightly on “A Long, Slow Death in San Marcos, Texas”, where the trumpet is heard much better. The song covers a lot of ground, but is perhaps best summed up by the opening line, “I’m not responsible for the way you say you feel. That’s what therapists teach assholes so they don’t have to feel like assholes…” It’s filled with lyrical gems, from “…You can’t love me for what I am, but you hate me for what you’re not…” to “…There’s a leak in the ceiling and the floor’s begun to rot…” (which violinist Jocelyn White shouts alongside Dominic Solis’ lead vocals, giving it a nice effect.) The line is more or less a metaphor for the gradual desolation of a relationship, and it works beautifully.

The album has quickly been heading on a downward slope in terms of intensity, and with the gentle guitar chords and soothing violin that prevail for nearly the first half of “In My Pocket Forever”, you may be thinking Madisons has already done as much rock as they’re going to. That’s where you’d be wrong. It slowly surges to life; the electric guitar bringing renewed energy when it suddenly arises during an instrumental break. It acts as a prelude of sorts to the explosive end the track has, proving this is a band who has some tricks up their sleeves. As for the song itself, lyrically, it depicts what is easily the most unsettling story on the record, based on real events involving a fourteen-year-old girl who got pregnant by a man twice her age, and he eventually set her on fire. It may not be a story you want to hear, but at the same time, how many bands these days get that real with their music?

There’s a surprisingly fun vibe at times to “Carolina”, which is perhaps the most emotional song on this disc, dealing with letting go of a person you still feel for, all because it’s the best thing to do. The record then goes into “Losing Pictures”, which gives the opening track a run for its money. Presumably, it’s where the album title stems from, with one of the lines in it being, “So drag your sorry ass back to Los Angeles, but don’t forget what you burned. Live inside my friends if you have to, and dig your knees in the dirt…”There’s a definite good riddance feel to this song, verses the emptiness conveyed in the previous one, and being grouped together like this, you get a perspective on two very different relationships. The opening line itself, “Mary never knew she was a terrible person, but that’s what she come to learn. Some folks can’t handle what they’ve been handed, but some folks get what they deserve.” is quite powerful, too. The ebb and flow of the music bed is spectacular as well, waning on the verses to give the words more weight, while the build up to the choruses let you know you’re in for it.

They get back to a semi-gentler tone with “You’ll Never Know”, which carries with it a message of telling people whatever you may need to while you have the chance and don’t keep it held in. The band then throws you for a loop, when you suddenly hear Jocelyns’ voice on “Sucker Punch”. She stands as the lone vocalist on that downcast track, and the heartbroken feeling even bleeds through in her delicate voice. “…How am I surrounded by the ones I love, but I still feel so goddamned alone?” she pines at one point.

Madisons then try something a little different for them. “The Hill” is another personal song penned by Dominic, one about feeling forever trapped in a small town you don’t think you’ll ever get out of. It doesn’t quite fit the folk genre, though, and while it’s sort of rock (especially in the stellar guitar solo), it can’t be categorized fully in that, either. Indie may be the best genre to use to describe it, and the heavily used xylophone adds a nice touch to it all. You know how I said they’re a band with some tricks up their sleeves? Yeah, this is a prime example.

They fully embrace their country side with “Meet Me By the Riverside”. The banjo is in full effect on the joyful, folksy number that makes use of the numerous voices they have at their disposal. It’s just damn catchy, and you’ll no doubt find yourself stomping your foot along to the beat.

“The Fiscal Year” then rounds out this ten-track record, and it’s also the shortest on it. Like so many of the others, it’s about a relationship, and Dominic ponders at the start that, that’s all he seems to do (writing songs about the relationship). With all the turbulent moments portrayed on this album, it ends on a happy note. “The Fiscal Year” is a love song, plain and simple, and the line, “…‘Cause I want to spend my life making art for you…” couldn’t be described as anything else but sweet. There are some other good lines thrown in (“…Don’t go to work if you hate what you do…”); and style wise, they again stray a little from what they’ve set as their standard. There’s a saxophone solo thrown in, and while it’s brief, it gives the song a pretty bluesy vibe.

In just ten songs, Madisons capture a wide spectrum of different emotions on You Can Take Your Sorry Ass Back To West Texas! Best of all, you can tell they’re all sentimental. They all come from some deep part within Dominic Solis.

Their first album, Desgraciados, was great in my opinion. It set the stage for them, making sure you knew they were all about telling stories AND making quality music, and not sacrificing one just to have the other. They’ve taken themselves to a new level with this new release, though.

Their sound is more polished and fierce; and the stories told take you even deeper than those of the first album. It’s an all-around superb record that should rival even the biggest Americana releases of 2014.

No, it’s not necessarily something you’re going to listen to if you’re in a depressed mood and in need of a pick-me-up, but if you value legitimate substance, then You Can Take Your Sorry Ass Back To West Texas! will be a record you’ll be listening to repeatedly for a long time to come.
 
Madisons is:
Dominic Solis - Vocals, acoustic guitar
Jocelyn White - Vocals, violin
Cameron Cummings - Vocals, electric guitar
Oscar Gomez - Trumpet
Thomas Damron - Upright bass
Nick Kukowski - Vocals, banjo
Mike Rothschild - Drums

Purchase the album on:
iTUNES / Amazon mp3

Visit Madisons’ websites:
Official Website / Facebook / Twitter

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Single Review: “Man of Means” by The Screaming Thieves

imageMany people have probably been waiting a good long while for Brandon Callies to return to fronting a rock band. Black Tie Vendetta — the band that made him a staple of the North Texas music scene — hasn’t played regularly in years (though they say the band will never actually break up), and while his newest project, the Brandon Callies Band, has some rock elements, it’s equal parts country.

So, it was a pleasant surprise when people learned the other day that he has put yet another iron in the fire, and this one’s being called The Screaming Thieves (which just so happens to be made up of many of the members of the Brandon Callies Band).

They cite influences like Black Sabbath, Muddy Waters, Black Rebel Motorcycle Club, and MC5; a rather eclectic mix of groups whose styles are heard in The Screaming Thieves first track: “Man of Means”.

It’s a semi-bluesy rock number that is brimming with raw, unbridled rock sounds. The guitar tones and solos have a very magnetizing affect, and are completely pure. That’s to say, it’s just simple, good ol’ rock ‘n’ roll. The drums provide a solid backbone for the track, and while the bass and keys are a little less prevalent, they do edge in here and there.

Aside from all that, you get further proof of Brandon Callies’ superb ability as a songwriter. Take for example the line, “…A burden breeds a stronger back to bear a heavy load…”. It’s not all that complex, yet is quite profound.

All of that is condensed into a little under three-minutes; and it sets up a band that is ready to take the Texas music scene by storm. The fact that they are already a part of the Hand Drawn Records family should give them a boost, too.

The Screaming Thieves is:
Brandon Callies – Lead vocals and guitar
Zach Arrington - Vocals and guitar
Omarr Escoffie’ - Vocals and bass
Jason Myers - Vocals and keys
Christina Comley - Drums

Listen to the song on:
Reverbnation

Visit The Screaming Thieves websites:
Facebook / Reverbnation
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Album Review: “Loss Leaders” by Loss Leaders

imageLoss Leaders has only been around a couple of years, born from the ashes of Calling All War, after Lynyrd Stogner and Millard Hasbrook decided to continue making music together. As I said, it’s only been a couple of years, but it seems like the trio has been around a little longer than that (that’s a good thing).

A small handful of demos were released over time, whetting fans appetites for a real record, a record that took some time to make, because unlike most local bands, they jumped right into it with a full-length.

The record gets off to an unexpected start. It sounds like a line from a commercial, as a voice salivates over “…Cheese sauce, and oh, the gravy… And then the biscuits.” It catches you off guard the first time around; and then “Sugar Pill” instantly fires up as soon as it has been said. “I’d hate to have to break your pretty bones…” Lynyrd sings on the first line, using a hushed voice then and periodically throughout the track, making it sound all the more threatening. As for the song itself, it’s a monstrous track about the darker sides of a co-dependent relationship, teeming with emotion; and I don’t see how it could fail to capture anyone’s interest.

That intense number is followed by one of the shorter offerings on the self-titled record: “Brazen Bull”. The rhythm section comes out swinging on it, hitting hard, before the bass, drums and guitar find just the right mix to complement each other as best as possible. Some stellar guitar tones get laced in along the way, too, making it all the more enjoyable.

“Heavy Leg” is one of those demos they released probably a year or more ago. I really liked it, but man, this polished studio version is phenomenal. It’s an incredibly tight song, with strategically placed lulls — where the bass shines — before assaulting you with soaring guitar riffs. It’s one of the best cuts from the album, and no argument can be made otherwise.

That heavy pace then gives way to “Serpent” —a song about betrayal — where the members of Loss Leaders show off their softer side. “I used to run, before I crawled away…”Lynyrd croons on the chorus, toning down his voice from the previous tracks, showing the listener the impressive range he is capable of. It’s quite good, and the angelic backing vocals that are lightly tossed in on the choruses, harmonizing with the primary vocals, creates a lovely effect. Despite all that, though, it still retains a rocking mood.

The trio gets back to what they do best: intricately written rock numbers, with “The Boxer”, which lasts a little under two and a half minutes, but is more than enough time for it to get its point across.

“Long in the Tooth” has a finely crafted music bed, complete with screeching guitar chords and an instrumental break that lasts just long enough for the trio to really show off their chops on their weapons of choice. It’s followed by “Retrogradus”, a tranquil, rhythm heavy instrumental jam that really calms you. That relaxed feeling doesn’t last long, though, and “Amnesia” once again provides something you can bang your head to, while the guitar riffs are often so sweet, you just might find yourself practicing your air guitar skills.

I seldom make comparisons between bands (I know it may help people relate, but it’s just not something I like doing, because I believe every band as their own style). However, I have to say, “Smut Hammer” has many elements that remind me of one of Austins’ best metal bands: The Sword. There’s just has an epic feel to it, with some more technical pieces thrown in. They saved one of the best for last.

The job of closing out the album goes to “Brick”, and while many records seem to end on a softer note, Loss Leaders keeps the furious pace that has lasted for almost the entire length of the record going. It ensures this debut release is a rip-roaring experience from start to finish.

I have to say, I’m rather astounded at how exceptional “Loss Leaders” is.

The first record for any band usually is about finding who you are as a group. I mean, there are plenty of bands out there who, when you compare their later stuff with what they did right at the beginning, you can clearly tell they weren’t firing on all cylinders in their early days.

Loss Leaders may not be firing on all cylinders yet, either, but it damn sure sounds like they are.

They mesh well on all of these songs, and come across as already being a tight knit outfit who knows just what they want; and what they want seems to be to make quality, captivating rock music that the masses will listen to.

They’re headed down the right road, ‘cause this first release, well, most bands could only dream of releasing something this solid their first go-around.

Loss Leaders is:
Lynyrd Stogner – Vocals and guitar
Millard Hasbrook – Bass and vocals
Paul Pace - Drums

Purchase the album on:
Bandcamp

Visit Loss Leaders’ websites:
Official Website / Facebook / Reverbnation / Twitter

Single Review: “Straight Line Impala” by The Phuss

imageThe rhythm section isn’t always the most prevalent part of a song. Often, it lurks in shadows of the guitars and vocals, creeping out when it can. That’s not the case with “Straight Line Impala” — the first single from The Phuss’ new album, and debut on Magnetic Eye Records.

Trey Alfaros’ drumming is swift and heavy at the start, before the track suddenly explodes into one of the ballsiest songs the trio has churned out.

The bass (wielded by Forrest Barton) adds a pulsating effect throughout the three-minutes and eighteen-seconds the song lasts; a song that has singer and guitarist Joshua Flemings’ voice sounding even more devilish than before, and somewhat demented, too.

It’s a powerhouse number, mixing equal amounts of rock and punk (something the outfit has better perfected since their self-titled debut a couple years ago), and it’s filled with a barrage of wicked guitar licks and tones.

In listening to the gritty “Straight Line Impala”, you’re shown that the rock mantra of sex, drugs and rock ‘n’ roll is very much alive; and if you’re not banging your head for every single second of it, then you’re not enjoying the track in the way you should be.

The Phuss is:
Joshua Fleming - Vocals and guitar
Trey Alfaro - Drums
Forrest Barton - Bass

Visit The Phuss’ websites:
Official Website / Facebook / Twitter

Single Review: “The Charade” by Alterflesh

imageAlterflesh has been around for a little while, but last year they started hitting the North Texas music scene hard, seeming to arise from out of nowhere; and making a name for themselves in a hurry.

They quickly became a staple at venues across Dallas and Fort Worth – playing those cities and elsewhere fairly often. It didn’t hurt that they had several singles recorded, too. A total of eight made their way onto the bands Reverbnation page, and while they were demos, the quality was still good, giving anyone who listened a solid idea of what Alterflesh was like.

Still, demos can only suffice for so long, and then you need something more professional. The band turned to producer Alex Gerst and his Empire Sound Studio (to say he’s one of the best in the region would not be an understatement); and before heading into the studio, they grew, adding Andrew Lewthwaite into the fold as another guitarist.

So, to better showcase this new era in Alterflesh history, they didn’t release a polished, professional recording of one of their older songs. Instead, they released a brand new tune.

The pulse-pounding drumbeats that start “The Charade” sound better than anything they’ve done yet, and they instantly let you know you need to buckle up for the ride. It blows everything they’ve released thus far out of the water, with roaring guitar riffs that can become quite catchy at times, while the bass compliments the drums insanely well.

The lyrical content is also up to par with what fans of the band have come to expect. “…Soak in the sponge of awareness…” Dayvoh sings in the later part of the song, a song that has a few different messages within it, one being that there is always more to know in this world, and you should constantly be expanding your horizons (and be aware of the goings on in the world around you).

Along those lines, Dayvohs’ voice sounds as great as I’ve ever heard it on this track. Our paths recently crossed while out at shows in Deep Ellum, and he was telling me had taken some voice lessons; voice lessons that have clearly made him an even stronger vocalist. He’s already set apart from the rest of the pack in the way that he is more of a spoken word artist, and he brings that style with him in his singing; and if you’ve ever seen the band live, then there’s no way you could question his prowess as a singer. You couple his unique style of vocal delivery with a voice that packs a more powerful punch and one he has greater control over, and the result is a force to be reckoned with.

Overall, “The Charade” showcases a completely new Alterflesh. One that is more confident than before. Perhaps even a little more self-aware, too; and striving to be the best they possibly can be.

Alterflesh is:
Paul Kubajak - Bass, backing vocals
Ben Schelin – Guitar
Kevin Mills – Percussion
Andrew Lewthwaite - Lead Guitar
Dayvoh - Vocals

Download the single for FREE on:
Reverbnation

Visit Alterflesh’s websites:
Facebook / Reverbnation / Twitter / Youtube

Current Shows:
October 11th at Hailey’s in Denton
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Album Review: “Seasons Change” by Dark Avenue

imageAfter being a band for more than ten years, it’s understandable that you could start feeling stifled creatively. So, when Dark Avenue was announced — a band that featured four-fifths of Pistol Whippin’ Ike — it was easy to see why they were starting a side project.

The hard rock sounds they have perfected were traded in for a more metal style, as they flexed their musical muscles. There was a lot of hype leading up to their debut, and after a one-off gig down at SXSW, they made their debut Dallas show an even more memorable event by also having it be their CD release show. Yeah, they came out swinging… Hard.

Right from the lead track, “Seasons Change”, the band proves why Dark Avenue is a fitting name for them. It is dark, even semi-haunting, atmospheric metal, and this song exemplifies that. The rhythm section bears down on you, the bass and drums complimenting one another very well, while the smooth, unmistakable voice of Mario Cadena offers some balance, providing some harmony to it all.

“In Memory of Me” sees the band demonstrating equal parts of metal and hard rock, complete with more pulse-pounding bass riffs and some heavy guitar licks. Then you get to what may be the best offering on the five-track EP, “Another Day”. Lyrically, it paints a vivid picture of the dissension a relationship (of any sort) can take. The opening verse, “Taste the life you’ll never have and for a second my deception looks a lot like your reflection: the life you built for me.”, says a lot about the tone the song has. It’s honesty in its most brutal form; and the guitar solo that’s thrown in is nothing short of epic.

“Sober may well be the hardest hitting song on the album. It’s quite reflective, too. Take, for example, the line, “…I have wasted so much time. The man I use to be has died. This addiction fuels my fire…” No doubt, some people will be able to connect with it on some level, and aside from perhaps being relatable, it’s real. And after all, isn’t that what music is supposed to be? It’s supposed to draw from some personal experience, which in turn makes the song into something far more emotional, as is the case here.

This all too short listening experience (the EP clocks in at not quite 20-minutes) goes out on an explosive note thanks to “Aftermath”. It’s another charged track that boasts some thunderous percussion, which actually tends to stand out more than the riffs. It’s a great one to end with, wrapping up the EP well, but it also leaves you eager to hear more from the Dark Avenue.

The thing with EP’s is (most of the time) it allows the band to put forth their best, most solid material. Such is the case with “Seasons Change”, as not one of these five tracks is lacking.

As someone who has been a fan of most of the band members for a while, too, it’s also nice to hear them trying out something new, and even Mario does some slightly different things with his voice on this collection of songs.

As stated in their bio, the goal of Dark Avenue is to set themselves apart from the rest of the herd. To standout. “Seasons Change” goes a long way in proving that is possible.

Dark Avenue is:
Barry Lorberbaum - Guitar
Barry Townsend - Bass
Jeff Hathcock - Drums
Jonathon Barnes - Guitar
Mario Cadena – Vocals

Purchase the album on:
iTUNES

Visit Dark Avenues’ websites:
Official Website / Facebook / Reverbnation / Twitter / Youtube

Current Shows:
September 20th at Curtain Club in Dallas / October 11th at Hailey’s in Denton
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Album Review: “Motherfolk’nrock’nroll” by The Rye Boys

image“…These days, the Rye Boys have become organized, honing their hellish skills into an inhuman force of good times and alcohol. The term “band” would not be an accurate portrayal of these fellows, as they have also been known to rake yards, and give mighty fine handshakes…”

That’s an excerpt from the current bio for The Rye Boys, and I think it sums up the band quite well.

They’ve been around for a few years now (forming in 2009), but just within the last couple of months released their debut album, “Motherfolk’nrock’nroll”, which, by its title alone, should also be very telling of the folk/rock/country outfit.

The album takes you all over the place and covers a variety of emotions, though it begins with a low-key tune revolving around love. “If I lie awake she could sing me to sleep. When she’s not around I see no need to dream…” goes the first line of “Lucy Song”, with trace amounts of heartache bleeding through in the vocals not just on that portion, but the entire song. It’s a great song, and personally, I’m quite fond of the whistling thrown in, which is incredibly brief, though makes for a nice effect, before they create more of a rip-roaring raucous at the end.

The pace escalates quickly with “Yellabelly”, which is a fascinating hybrid of not just country and folk music, but also some punk. It’s all condensed into almost exactly one minute, showing just how vivacious The Rye Boys can be, and they pull off the gin-soaked sing-along type songs very well.

There’s a slight degree of lo-fi quality to both “Follow Me, Pt. 1” and, to a lesser extent, “Follow Me, Pt. 2”, that makes for a nice sound. It’s mainly found in the unison singing — which is featured most heavily on the first part — but it’s a nice effect, showcasing the vocals in their rawest form. In some ways, they sound better on those two than any other track on the record.

The album throws another twist at you with “Candidate”, which finds The Rye Boys exploring their rock side. It’s a side you’ll get sucked right into, thanks in part to the thicker, heavier percussion, while the guitars easily take center stage with some catchy riffs on the song that deals with not always being cut out for the game of love. “I am the worst candidate… I can’t help you or myself…” goes part of the chorus, which could easily be a fan sing-along.

“Yesterday” may mark the halfway point of “Motherfolk’nrock’nroll”, but with it, the band shows they still have some tricks up their sleeve, and this one happens to be in a form of a solo acoustic song. It’s possibly the best song on the album, and touches on some social issues that can really get the gears turning in your head. “Is it a sin to murder for your country? The Bible says I’m unclean, but the president assures me that God is on our side…” goes the chorus, which is executed in the form of some nice crooning. It’s a song about someone who is struggling with the process of war — having trouble with killing — and perhaps the best part is how the first two choruses are sung more pondering that line mentioned a moment ago, as if trying to become okay with that fact. However, the final chorus is filled with anger and rage about having to do something that is surely so hard to condition yourself to do.

The mood becomes much lighter with the upbeat and fun “Nickels & Dimes”, which can get you moving with ease — even if you’re setting in front your computer speakers listening to it. In fact, you’ll probably be a somewhat sad that it only lasts a little under two minutes.

“Misery Keeps” is another bare bones song, which also stands out as being one of the strongest on the album, and is just solid all the way around, from the lyrics (“…when he learned what love was, he tried to push away his own…”) and storytelling, to the way the intensity grows the further along it gets.

Said intensity then peaks with “Aeroplane”, which is another party-style folk number that evokes some movement from the listener. Then you have “Mama”, which shifts that energy around slightly, and thanks to the heavily featured piano, sounds reminiscent of an old-timey Western tune.

Out of the twelve songs on the album, the only one that really fails to capture my interest is “Yard’s On Fire”. I can’t say that it’s a bad song, nor can I pinpoint anything that could have been done better. It really is as simple as it doesn’t appeal to me.

“Motherfolk’nrock’nroll” then concludes with the howling (in both senses of the word) “Good Time”, a joyous song whose title pretty accurately describes the listening experience of this record.

“Motherfolk’nrock’nroll” is indeed a marrying of the folk/country/rock genres. Not necessarily on every song, but occasionally, and you can bet on hearing at least two of those genres woven together on each track. Above all else, they’re nearly all vibrant, fun songs that you and some friends can jam to, to get ready for some hell-raising good times.

The Rye Boys are (and key members in making the record were):
Clayton Smith -  Vocals/Guitar
Nic Harper - Vocals/Banjo
Jobie Ritchie - Bass
Kraig Zirnheld - Drums
Denver Graves - Producer/Arranger
Mixed by Salim Nourallah

Purchase the album on:
iTUNES

Visit The Rye Boys websites:
Official Website / Facebook