SHORT SCALE: CD reviews in 200 words or less

By Rachel Heisler

CD review: The Helio Sequence, Keep Your Eyes Ahead (Sub Pop Records)

Rating: 4 out of 5 geetars

The more you listen to The Helio Sequence the more it grows on ya. Probably because with each new spin you catch something you didn’t hear the times before. And that’s odd, ’cause mates Brandon Summers and Benjamin Weikel made Keep Your Eyes Ahead more polished and minimalistic than any of their previous albums. And, though they’ve stuck with a simple and basic guitar, drums, keyboards, vocals set-up, have used effects to the heights of their potential, so there really are lots of understated noises being played “behind the scenes.”

Summers, who lost his voice in 2004/2005, has recovered and gives brilliant performances on every song, but especially noteworthy is “Shed Your Love,” which also has stunning acoustic guitars and shimmering key effects. (What’s up with the Bob Dylan influence that creeps in on songs like “No Regrets”?) The Helio Sequence does have a Modest Mouse, Death Cab For Cutie, Blonde Redhead thing going on - but that’s somewhat expected considering the electronic-shoegazer-emotionally driven genre. But it gets two thumbs up for being full. Full of crescendos, insightful lyrics and (not to beat a dead horse) really fetching vocals.

CD review: Brooke Fraser, Albertine (Wood & Bone Records)

Rating: 3 out of 5 geetars

Native New Zealander Brooke Fraser has made her U.S. debut with Albertine, and there are a few special miracles at work on this soft pop disk, which was named for a young orphan Fraser met while touring Rwanda.

First, the young Fraser is a gifted songwriter who has a great comprehension for piecing segments of songs together well and for fetching arrangements. Second, her band compliments her piano/acoustic guitar-playing perfectly. They are neither overpowering or yielding, and let her songs live in their own time and space. Next, she has the “it” factor - she’s a youthful, gorgeous, talented philanthropist, and this is the time for her to introduce Americans to her brand of kind-hearted, selfless music. Lastly, producer Marshall Altman (Marc Broussard, Matt Nathanson) has done an excellent job making individual songs and the CD as a whole flow as smoothly as a bird floating on a summer breeze.

So even though it is “only pop” and doesn’t differ tremendously from other popular contemporary female singing, song-writing, piano-playing artists, Fraser has every right to be a U.S. sensation - if not overnight - at least eventually. She’s already a hit in New Zealand, so why not here?

CD review: Night Ranger, Hole In The Sun (VH1 Classic Records)

Rating: 3.5 out of 5 geetars

Hole In The Sun marks Night Ranger’s first studio album in a decade and celebrates the group’s 25th anniversary. A long track record of monster hits like “Sister Christian,” “When You Close Your Eyes” and “(You Can Still) Rock in America” made Night Ranger a household name, and it’s now trying to revive that honor.

Hole In The Sun isn’t as grungy as bands like Velvet Revolver (though it tries to on songs like “Drama Queen”), but the men haven’t lost their ability to rock. “We wanted to sound new, but still keep our roots,” said Kelly Keagy (drums/vocals). “We grew up in the ’70s, when pop music was really starting to thrive. Sometimes … the songs were so poppy that you couldn’t get them out of your head … . We wanted to portray some of that on this album.”

There’s mosh pit-inducing grooves that can put today’s emo bands to shame, arena rock ballads and for those who can’t let go of the past, warming versions of “Sister Christian” and “Don’t Tell Me You Love Me.’ It’s a bit ’80s, a bit 21st Century all rolled into a CD with big rock harmonies and even bigger guitars.

SHORT SCALE: CD reviews in 200 words or less

By Rachel Heisler

CD review: Ascention of the Watchers, Numinosum (13th Plant Records)

Rating: 4 out of 5 geetars

According to Carl Jung, a numinosum is a mystical/religious experience that occurs within the self. Guitarist/vocalist Burton C. Bell (Fear Factory) had such an experience in a dream, and because of it he names his band’s full-length debut simply, Numinosum. Bell, along with keyboardist/programmer/spiritual cohort John Bechdel (Fear Factory, Prong, Ministry) and guitarist Edu Musso, have stumbled upon a dark, luring and evocative vehicle of expression.

The music itself is almost sinister in nature, but it is a musical vision said to have been born out of life, love and spirituality for Bell and Bechdel. That noted, Bell’s lyrics reflect a tortured soul, one trying to free itself from life’s bleak, pulling undercurrent. But his sadness occasionally falters, which allows a little joyfulness to come stumbling through on songs like “Moonshine.” Though still lyrically melancholic, its melody is lifted and gushes a suggestion of possibility. “Violet Morning,” with beautiful and easy acoustic guitar work and delicate vocals is truly loved-filled: “You pierced my soul and touched my faith / You are the light for my love.”

The dark vs. light battle that plays out on Numinosum is fascinating, as is the ebb and flow of traditional instrumentation and electronic experimentation.

CD review: White Light Riot, Atomism (50 Records)

Rating: 2.5 out of 5

Minneapolis band White Light Riot has been bitten by the indie rock/Britpop bug. Brothers Mike (vocals, guitars) and Mark (drums) Schwandt, Joe Christenson (lead guitar) and Dan Larsen (bass) have amassed 12 songs that deliver a credible amount of redeemable melodic pop, influenced by the time Mike spent studying in England.

White Light Riot is putting forth music that bands like The Killers (hear “Forever In the West”) or The Strokes have already released, however, it is better than your average indie band, but it’s not nearly as clever or hook-driven as predecessors like the afore-mentioned The Killers. But with structually sound songs like “Dive” and quirky ones such as “Transit State,” there’s no reason for them not to be featured on alternative radio stations. No need to hold your breath waiting to see them win a Grammy or anything, not at this point in their career at least, but they are admittedly better-versed musically and much more deserving of accolades than 95 percent of indie bands that are currently making the national rounds.

CD review: Curtain Call: New Songs From Past American Idol Finalists, Volume I & II (Artists’ Addiction Records)

Rating: You decide

Instead of actually reviewing the music on these two disks, this is more of a public service announcement just to let you all know that these recordings are available for purchase if you’re actually interested in what past American Idol contestants have been doing since their time on the hugely popular talent show came to an end.

Each CD features four singers (Vol. I: Ryan Starr, Al Tabaldo, Jon Peter Lewis and Stevie Scott; Vol. II: Alaina Alexander, Rudy Cardenas, Sarah Mather and Gedeon L. McKinney) perfrming three songs, each that were specifically chosen for them by the God-like heads that make the decisions over there at American Idol.   

For singers like Tabaldo, who, by age 12 was becoming known for performing the Star-Spangled Banner” for HBO and Showtime boxing matches, being selected for season six of American Idol was the chance to revive a singing career he had put on hold to go to college. The soul singer shines on his songs “Let You Go,” “So Glad” and “Tell Me.”

Watch for two more Curtain Call volumes to surface over the next few years. And for now, refamiliarize yourself with your favorite young American Idol singers.

CD review: Ahn Trio, Lullaby for my Favorite Insomniac (Sony BMG Masterworks)

By Rachel Heisler
    

Born in Korea and trained at the prestigious Julliard School of Music, sisters Angella (violin), Lucia (piano) and Maria (cello) Ahn have spent many years and albums changing the public’s view on 21st century classical music.

“Every century has its own distinctive style of classical music,” Angella said. “And our album reflects classical music in the 21st Century, which, of course, is influenced by all different types of music in the modern era.” (more…)

CD review: Brian Culbertson, Bringing Back The Funk (GRP Records)

By Rachel Heisler

Bringing Back The Funk is Brian Culbertson’s tenth CD and on it he’s brought together some of the biggest stars in funk music history. Maceo Parker, Fred Wesley, Phelps “Catfish” Collins, Sheldon Reynolds and Ray Parker, Jr. are just a few names that may ring a funky bell in the heads of funk lovers. Executive producer Maurice White (Earth, Wind & Fire) helped Culbertson gather the all-star cast of musicians. “This record is going to touch the soul of people because it’s musicians playing together and sharing the feeling,” White said.

(more…)

CD review: Ben Jelen, Ex-Sensitive (Custard Records)

By Rachel Heisler

Humanitarians get the short end of the stick sometimes. Instead of being hailed for bringing the world’s problems into the public eye, they’re ignored, knocked down and blown off as tree huggers and crystal worshippers. For those conservatives and heartless non-believers, Ben Jelen’s work with Rock the Vote, Live for Dafur, Natural Resources Defense Council and countless other charity organizations might be down-played, but that hardly keeps Jelen from standing up for what he believes. The retro-pop compositions allow him to speak his mind on a million-and-one Earth-related topics, which, let’s face it, affect us all. (more…)

SHORT SCALE: CD reviews in 200 words or less

By Rachel Heisler

CD review: Rebecca Pidgeon, Behind The Velvet Curtain (Hot Milk Records)

Rating: 4 out of 5 geetars

Beauty may be in the eye of the beholder, but anyone who can’t find beauty somewhere on Rebecca Pidgeon’s Behind The Velvet Curtain is at a serious loss. If her tip-toeing vocals aren’t enough to stir up some kind of feeling, maybe the bossa nova of “Dawn,” the light-handed country of “Baby, Please Come To Me” (co-written with husband/playwright David Mamet) or the jazzy “When You Were Mine” will. Here, she’s also covered the Beach Boys’ “Wouldn’t It Be Nice,” and three tracks are featured on Mamet’s new motion picture, Redbelt.

Pidgeon is supported by exceptional studio musicians and the Grammy Award-winning talents of producer Larry Klein. “Behind The Velvet Curtain is very much the case where less is more,” Klein said. “What Rebecca brings to it just carries you from song to song, which is exactly what a good album is supposed to do.”

Pidgeon is known better for her acting than her singing/songwriting (Heist, Spanish Prisoner, Shopgirl), but music is her true calling, and with these songs she’s honed her skills and words: “On this album, there’s a personal perspective on most of the songs even if the story I’m telling didn’t directly happen to me,” she said.

CD review: John McKinstry, Goliath Falling (Mojo Brand Music)

Rating: 2.5 out of 5 geetars

It’s baffling to read that singer/songwriter/bassist John McKinstry’s band is made up of 17 other musicians, ’cause the first thing that jumps out about his music is how it sounds so uncluttered and clean. You’d figure that with 18 people tootin’ and strummin’ the tunes might be muddy and/or caked with an overabundance of noise. But, thankfully, McKinstry has a good, sturdy ear and he doesn’t abuse the instrumentation he has access to.

The Canadian performer has whipped up a smorgasbord of genres - with side dishes of ballads infused with stand-out male/female harmonies and country/pop rock numbers that compliment his main dish: reggae/ska. His reggae recipes are perfectly seasoned with political themes, big, bold bursts of trumpets, saxophones and trombones and vocals peppered with a humanness that expresses hope, anger, disgust and verve for life.

McKinstry’s songs are soulful - each one covering a distinct topic - and whether it’s the inadequacies of governments, the disintegration of a relationship or the emergence of a new love, he fully cooks each idea with the know-how and expertise of a four-star chef. Goliath Falling is delicious in its variety and inspiring in its zeal for life.

Photo by Marina Campbell-Matthews
 

CD review: Plunky, Cold Heat (N.A.M.E. Brand Records)

Rating: 4.5 out of 5 geetars

Saxophonist J. Plunk Branch has been wowing audiences since the early 1970s with his style of urban progressive jazz and blues. And it’s not just that his grooves are overflowing with soul, it’s as if someone took a syringe and shot his music up with pure, uncut electricity.

Cold Heat is Plunky’s 25th release - and more so than any of this other jazz, world beat, gospel and “Nubian age” music, this album is colorfully spiced with hip hop. This new direction came about by collaborating with his son Jamiah “Fire” Branch, who, as a co-producer of Setworkrz (a Virginia-based duo that generates hip hop beats for rappers, film, television and more), lent his hip hop talents and ideas to his father’s already mind-blowing genre library. Plunky said working with Jamiah was emotionally heartwarming and muscially “refreshing and exciting”.

Plunky creates the finest, classiest compositions imaginable, and he does it with ease. Each song blends his sax impeccably with the other instrument and voices, and he always pulls out all the stops - making sure to add bursting harmonies and the sickest of rhythms at every possible turn. Plunky’s playing is as smooth as the day is long. Maybe smoother.

SHORT SCALE: CD reviews in 200 words or less

By Rachel Heisler

CD review: The Action Design, Never Say (Pop Smear Records)

Rating: 3 out of 5 geetars

Tsunami Bomb was a killer group, and fans can rest easy knowing vocalist Emily Whitehurst and bassist Matt Mckenzie didn’t disappear after the band’s dissolution. With a power pop/dance beat, The Action Design has the energy of a young No Doubt and Whitehurst gives off a “So what, who cares?” brattitude that would make Pink proud. A tapestry of sound moderately comparable with bands Six Pence None The Richer (though rougher) or The Lovemakers (though less sexual), the Bay Area band’s full-on attack of pop with presence shakes off the covering of cobwebs that have grown over many female-fronted bands that offer lots of gimmick and little substance.

The dark “Could, Not Should” (”Even with all my stitches, the incision is too deep / Too deep to heal / that’s why I write this down, so everybody knows it / And I can’t ignore the way I feel”), is a brilliant break down in the midst of upbeat poppers that demand you get up and shake your money maker. Catchy but not overrun with hooks, The Action Design is a feel-good, endorphin-creating band that writes songs for people who want to let loose and whose mantra is “Fuck the bullshit”.

CD review: the forward, Nothing But Teeth (ATN Management)

Rating: 1 out of 5 geetars

You go through the trouble of starting a band, but all you’ve ever listened to is radio-spewed indie rock. Not much chance of coming out with an original sound, but you think your band is different, harder, catchier, smarter. You open for big-name indie groups, you record an album, get a PR rep and do a few photo shoots. You feel like a rock star. Your friends treat you like a star and strangers kiss your ass. But that doesn’t mean squat if, when the sun goes down, you sound just like everybody else.

the forward almost pulls off being substantial … but gets tripped up on repetitive beats, dismissible vocals and vacant lyrics. Nothing But Teeth yearns to be hooked up with a hook. “Leviathan,” a pop number with a hint of creepy, dark melody, may be the key. It would be really cool if the forward ran with a darker vibe. Why not spread its wings and reach for a groove that’s original and new? the forward is so close to being good, it’d be a shame if it didn’t crawl out of its comfort zone and shock us all with a glorious show of fireworks and explosives.

CD review: Jesse James Dupree and Dixie Inc., Rev It Up and Go-Go (Mighty Loud Entertainment)

Rating: 4 out of 5 geetars

They’re out there … people searching for something to believe in … something with soul and a voice to help carry them through their relentless work week. Well, maybe those peeps should build an alter to Jesse James Dupree and his latest project, Rev It Up and Go-Go. Listening will be an almost a religious experience for anyone who can handle ’90’s-style metal/arena rock countered with gritty, messy country. Yes - it’s no longer just metal, Dupree has indeed accepted and incorporated shit-kickin’ country into his repertoire, and he pulls it off as though he’s been doing it all his life.

Lead singer for Jackyl, Dupree is the outspoken reverend behind these neck-breaking sermons, which will get servants of rock up off their beer-soaked pews and head-banging in the new church’s aisles. Dupree has been joined rock apostles Richard and Fred Young (The Kentucky Headhunters), Mike Froedge (DoubleDrive), Charlie Starr (Blackberry Smoke) and Roman Glick (Jackyl). Dupree may not have written the book on hair rock, but he’s definitely added some new-fangled chapters on his second solo album. And by the fifteenth track, you’ll want to be baptized into this screamin’, hard-ridin’ cult.

SHORT SCALE: CD reviews in 200 words or less

By Rachel Heisler

CD review: OMNI, Ghosts (Faux Pas Records)

Rating: 3.5 out of 5 geetars

Omnipresent. Omniscient. Omnipotent. The English prefix meaning “all” or “fully encompassing” is a fitting one for this Seattle-based group. Shining spotlights on alt.rock, experimental and even metal, OMNI encompasses a lively array of noises. The band’s belief that “music is not supposed to sound a particular way” leaves them standing outside the box and free to dabble in as many kinds of music they want.

OMNI juts from a barrage of heart-pounding, double kick drum metal ball-busters to monster ballads, sometimes doing so within the context of one song. But whether hard and mean or soft and determined, OMNI retains an aggressive edge that no one should mess with. Step in front of that bus and you’re gonna get flattened.

The only thing OMNI needs to come full circle is figure out who to sell their product to: India kids? Metal heads? Experimental buffs? A smattering of each is viable and once their metal-toed boot is wedged in the door it’s unlikely the trio will stop trying to push it open fully. But when you know your music will appeal to a large audience, what’s the point of doing anything but knocking that door off its goddamn hinges?

CD review: Get Set Go, Sunshine, Joy and Happiness: A Tragic Tale of Death, Despair and Other Silly Nonsense (TSR Records

Rating: 4 out of 5 geetars

Conjure up a picture of 1950’s beach bunnies with their old school padded bikini tops doing their super-happy peppy dance to peppy pop songs. Now throw on Sunshine, Joy and Happiness, and give a listen to the first two tracks. The picture in your head and the music coming out of the speakers should mesh perfectly. Although Get Set Go borrows these safe and innocent vibes of yesteryear, they’ve updated the past’s happy-go-lucky lyrics so they’re a lot more gloomy and depressing.

With lyrics like “Kiss me, hurt me, don’t desert me / Smack me ’round and do pervert me / Break me, take me, love me, hate me / Overwhelm and desecrate me / Please destroy me, oh please destroy me / I’m in love with you,” Get Set Go makes pain fun and destruction cute. Its yummy rock with a bitter lemon twist, and it’s perfect for anyone looking to put down the Champagne of Beers and add a little flavor to their palette.

Get Set Go’s self-destructive posturing can be outlandish at times, but at the end of the day this band can walk away knowing it has released unto the public is entertaining and engaging.
 

CD review: The Bangkok Five, We Love What Kills Us EP (Long Live Crime Records)

Rating: 4 out of 5 geetars

Rock ‘n’ roll doesn’t need substance, but it’s always extra great when it does. Substance in terms of lyrical content as well as in sound and charisma … these are the things that count. The tribal beat, a primitive scream, a heartbeat that exists in every molecule that runs through rock’s soul. The Bangkok Five walks the rock ‘n’ roll walk and runs on animal instinct. Emerging from Los Angeles’ underground scene and escaping it, they guys later returned with a clearer picture of the city’s versatility and its shortcomings. The Bangkok Five uses L.A.’s insane energy to create a thriving, drilling intensity.

“This record reflects the treachery, deceipt, manipulation, loss of love and identity theft that surrounds us everyday in Los Angeles,” bassist Coatez said. Lead guitarist Sweeney adds: “These songs were written by a band on the road being a band.”

What these statements fail to mention is that although brutal, this CD isn’t so chaotic that the average Joe can’t get a foothold. It may not meet the requirements for adult contemporary radio stations, but fans of Queens of the Stone Age, Wolfmother and Papa Roach should give it a thorough run through.