CD Review: Estrogen & Tonic - Project Involvement

Published September 17, 2011
By Adam Wujtewicz

Project Involvement sounds to me like some kind of corporate slogan. Like a tag line on a yearly review that says whether or not you did more than just what was on your job description.  With Chris playing bass for A Honey Wagon and Wrist Like This, Steve playing bass for Missing Cat and Todd fronting Wrist Like This... the members of Estrogen & Tonic get an "Exceeds Expectations" for their extra efforts musically.  With all this going on it's a testament to their commitment that they were able to put together a product as cohesive and thought through as Project Involvement.

With Jay Curland, (drummer for A Honey Wagon and Wrist Like This), at the controls, the sound is decidedly dirtier and angrier.  The lyrics are still ridiculous and fun, i.e. "I’m gonna ride my jet-ski to court", but with the distortion on the vocals and the increased volume of the music, the lyrics are taking a back seat.  The sound has been harnessed into something that is far darker and more punk than expected.  The one two punch of "Garbage" and "Imaginary Friend" illustrates this perfectly.  "Garbage" is a feedback driven stomping/yelling crusher of a song, while "Imaginary Friend" sounds like Tales from the Punchbowl era Primus playing "White Rabbit" if the rabbit was the one from Donnie Darko.

With this kind of drastic change in sound you'd expect a great deal of musical change to accompany it.  You'd be wrong in this case.  Todd's bass is still in the driver's seat, Annemarie is still bashing the hell out of the drums and Chris and Steve criss-cross their quirky guitar lines throughout the whole record.   Most of the songs are upbeat and short so you're constantly being pulled in new directions but never slowing down.  I defy your ears to get bored or lazy while listening to this album.
Project Involvement may come as a surprise sonically but if it didn't that would be a step backwards for Estrogen & Tonic.  A hard left turn and a musical slap to the mouth should be considered a blessing.  This is a band that's completely based around being different and not giving you what you expect and that is still something that should command respect.

CD Review: Erik Lamb - Blow Up Dolls

Published July 26, 2011
By Adam Wujtewicz
 
If you're a New Londoner that is still doesn't know who Erik Lamb is then here is yet another chance for you to listen up.  Blow Up Dolls, the follow up to his Whaley Award winning album, Shoot Everything, is nothing short of spectacular. Skobie Won's Nintendo techno beatsmithing is still there even though Erik and Tom Maclean did produce 5 of the 11 songs; Skobie's influence can be heard on the whole album.  The tracks "27 MHz" and "Pandora's Box", both done by Erik, are some of the most left of center beats I've ever heard and that's a step in the right direction, but Skobie's songs take those weirdo elements and make them pop songs.  Hip-Hop is still the pop music of the 20 something set so that's an important skill to have.

While the beats sound similar to Shoot Everything, Blow Up Dolls is much more energetic.  When the tempo drops Erik's voice gets more intense and when he lays back, the track jumps up a few BPM.  I know I compared him to Aesop Rock on the last record but if you listen to the inflection and phrasing on "Arcade" you can't help but here the influence.  Erik's delivery has gotten more diverse since his last outing.  The beats are a little more poppy which makes his attack all the more important and he definitely stepped up to the plate.

Can anyone tell me what this means?  "If I was an anamorph I'd be a fuckin' snow leopard".   I’ve got to give it to Erik... he's got an almost Mclusky like ability to say completely ridiculous things and make people say how cool it was.  In a time where hip hop can take itself far too seriously he brings a personal freedom that should be applauded.  People will always listen harder when they have no idea what could possibly come next.     

Blow Up Dolls are not just for the desperate and lonely any more.  This album will move crowds, vibrate cars and completely rearrange your view on dance music.  Isn't that what this is?

CD Review: Sue Menhart - Forever EP

Published June 17, 2011
By Adam Wujtewicz

Soul music has always been a way for singers to exercise demons.   It’s personal … it’s putting yourself out there without all the trappings and it’s a way to tell people what’s in your heart and on your mind.  Forever does just that.

The music flows well, but behind Sue’s voice, it’s really just texture. The pace is slow and the content intimate justifying the relaxed feel of the band. Sue could’ve taken that as her cue to show off the vocal acrobatics that most modern soul singers use but instead Sue puts her effort into hitting her notes and making sure that each one has power and conviction.

The blues has always been a big part of Sue’s music and even though she’s not rocking it out on Forever she uses the phrasing and the vocal riffs to keep things familiar and strong.  The subtle nature of the record gives it class and allows Sue to shine in ways that those who know her wouldn’t expect and those that don’t will see immediately.

2011 Whalie Award Winners

TOP CRITICS AWARDS:

ALBUM OF THE YEAR
 Above/Below "Two Sides"

URBAN ALBUM/MIXTAPE OF THE YEAR
 Erik Lamb "Shoot Everything"

INDIE/PUNK/ALTERNATIVE ALBUM OF THE YEAR
Sodium Lights "Transtulit"

SOLO ALBUM OF THE YEAR
Matt Gouette "Emeline at the Moontower"

RECORD OF THE YEAR
Gone For Good "The Bright Lights"

SONG OF THE YEAR
Gramz "I Have Arrived"

BREAKTHROUGH ARTIST OF THE YEAR
 Camacho

PEOPLE'S CHOICE AWARDS:

BEST ALTERNATIVE
The Facelifters

BEST AMERICANA
The Rivergods

BEST DJ
The Swagger Jackers

BEST HARDCORE / METAL
End All Suffering

BEST URBAN / HIPHOP
N.M.E The Illest

BEST INDIE / EXPERIMENTAL / DANCE
 Brava Spectre

BEST PUNK / SKA
The Hempsteadys

BEST ROCK
The Reducers

BEST SOLO SINGER / SONGWRITER
 Matt Gouette

BEST MUSIC SERIES
The Sinners Circle

BEST MUSIC VIDEO
Matt Gouette "Opinion"

CRITICS CHOICE AWARDS:

BEST ALTERNATIVE PERFORMANCE
 Straight to VHS "Patchwork City"

BEST CONTEMPORARY FOLK / BLUEGRASS PERFORMANCE
Dogbite "Electrified"

BEST BLUES / COUNTRY ROCK PERFORMANCE
 Franklin Brothers "New London Blues"

BEST HARDCORE / METAL PERFORMANCE
ight In May "Modern Modifications"

BEST HIPHOP / RAP PERFORMANCE
Gramz "I Have Arrived"

BEST URBAN ALTERNATIVE PERFORMANCE
Erik Lamb "Shoot Everything"

BEST DANCE / ELECTRONIC PERFORMANCE
The Fears "Closer"

BEST INDIE / EXPERIMENTAL PERFORMANCE
 Get Haunted "Crimson Ribbons"

BEST PUNK / SKA PERFORMANCE
Sadplant "Codependence"

BEST ROCK PERFORMANCE
Gone For Good "Ride To Nowhere"

BEST SOLO SINGER / SONGWRITER PERFORMANCE
Steve Elci "Dance With You"

CD Review: Chris Castle - The Firelands EP

Published May 10, 2011
By Adam Wujtewicz

Originally from New London, Ohio, (can you believe that?!), singer/songwriter/musician, Chris Castle, is now calling New London, CT his second home. He's been planting seeds here for couple years, playing frequent sets at Hanafin's Irish Pub, as well as the Blue Collar Happy Hour. You may have seen Chris playing as part of the latest Sinners Circle which took place last Saturday (May 7) - and he's even shared the stage with New London favs Matt Gouette, Daphne Lee Martin, Brian Skidmore and Sandy Allen... just to name a few.

More recently Chris has been recording his latest EP The Firelands, which he worked on right here in New London. Fittingly, Chris has joined forces with New London record label Cosmodemonic Telegraph to release it.

The Firelands EP starts out in the standard neo-folk finger picking guitar and softly sung song of love... but the second song is where things start to get interesting.  Think New Orleans setting for a film noir that was narrated by 1973 Tom Waits.  From there it gets a little Ben Folds-y and a little southern pop.  There’s gospel organ and blues guitar and soulful bass.  It’s a fried chicken and Arnold Palmers at a picnic after church, it’s joyous in a very laid back way. 

The EP ends with a downtrodden piano ballad which is kind of a quick drop, but still an extremely well written song.  The EP built up to such a fever pitch before that; the come down is a little harsh.  The Firelands EP will most certainly leave you wanting more.  This is a super polished and complete product that Cosmodemonic should be honored to have under their banner.

7" Review: Ferocious Fucking Teeth - Hounds

Published May 5, 2011
By Adam Wujtewicz

There is certain comfort in a big riff. Knowing that simple string notes can convey a powerful emotion is probably what a psychiatrist would tell you it is.  Being a guy who grew up listening to my father’s Black Sabbath albums I’ll tell you that it has much more to do with repetition and the ability to bang your head in time.  Keep it simple, turn it up, and do not think twice; Hounds, the new 7” by Ferocious Fn' Teeth, lives and dies by those 3 rules.

FFT take the Melvins approach to stoner rock song writing with Sleep’s huge transitions and inject it with a sort of 80’s hardcore punk vibe to jolt the beast awake.  This means a fair amount of speed and enough distorted guitar to turn most stereo’s to rubble.  This, despite the connotations of the stoner rock genre, is still standard procedure.  

The biggest break from the norm is the instrumentation of this band.  The baritone guitar and standard guitar give FFT some extra flexibility without causing the bleed that a two guitar combo could cause.  Steve and Sgott, the two drummers in FFT, add to the attack of the beat or allow fills that one drummer couldn’t do.

Coming from a band with members of Brava Spectre, Total Bolsheviks and Trillion Gallons of Gas, there is a surprising lack of noise on the record.  The songs are all straight ahead and all put together in small manageable bites.  The tempo slows gradually through the EP. The last song and title track “Hounds” has a droning quality but it only lasts 4 ½ minutes – and to call a song “drone” which is that short, would be pushing it.  I don’t understand the spoken word monolog on the track - it’s distorted and back in the mix so it’s not clear what’s being said. It’s a non melodic vocal track which should push to be more of a focal point.  I still don’t know what the attraction to poetry over the top of heavy music is. My vote for best track on the EP is the second song “Handsome Creeper”.

Hounds is like comfort food to the metal enthusiast.  It’s loud, it’s simple, the riffs are cool, there’s yelling and screaming and it’s short.  It’s not boasting a lot of nutrients or intense preparation but it always tastes good.

FEATURE INTERVIEW with Brian Lee Skidmore of The Weird Beards

Interview by Corrine Jensen 
April 19, 2011

WC: So, you’re Brian Lee Skidmore… how awesome is that?
BLS: It’s about as amazing as a butterfly emerging from a cocoon.

WC: That is pretty amazing. What’s also amazing is your music. Recently you traveled up to Vermont and performed some solo gigs. How was that experience?
BLS: It was fantastic. It was just me and my Uke and everyone was just so kind and my music was very well received.

WC: Well, that’s cool. What knowledge did you take away from the shows?
BLS: It really showed me that I need to be on the road. I need to be out there making music. There’s a market for it. People want something original and creative, something just… different.

WC: Ha. Well you are certainly different! 
BLS: Yeah, it’s true. But different can be exciting and unusual and people need that. Some of these people, they don’t even know it yet.

WC: Speaking of things that are different and exciting and unusual, let’s talk about the New London music scene. Are there any New London bands out there that you’re digging?
BLS: Definitely Straight to VHS. Their passion and drive are constantly inspiring me.

WC: What would you tell up and coming musicians and bands emerging onto the New London music scene today? 
BLS: I would tell them that this city is absolutely the best place to start. This city has evolved so much musically over the years. New bands can survive here, they can thrive here. It is a good place to ‘come from’ but hopefully they can break out onto a larger scale.

WC: What do you mean by ‘break out onto a larger scale’? 
BLS: Just, New London is great, but if you perform in the same city over and over again people lose interest. There will always be the die hard fans, and I love each and every one, but the appreciation and interest in your style of music comes in waves. You need to keep it fresh.

WC: Speaking of, your band, the Weird Beards, are coming out of a 5 month hiatus. What did you guys do during that time? 
BLS: We’ve been working on our first full length album ADED (All Day Every Day) and practicing and lining up gigs.

WC: What’s up next for the infamous Weird Beards?
BLS: The big show coming up is the 4/20 Uke fest at the Oasis Pub. What started as a celebration of our bands birth (4 years ago) is now a New London tradition and this year the line up is huge. Everyone should come.

WC: I’ll be there!
BLS: Awesome. We’ve also been talking with the talented Chris Castle about a summer tour on the East Coast and Mid-West. We also plan on making some music videos this summer and will be looking for actors, models, dancers to partake. It’s going to be epic.

WC: So should we be on the lookout for the Weird Beards name on the Whalie awards ballot next year?
BLS: Definitely. We have big things looming in the future. We’re just constantly changing and evolving and growing with no end on the horizon.

Look for an upcoming full length from The Weird Beards titled ADED! Arreaka!

CD Review: A Honey Wagon - How Come Every Time We Get Kentucky Fried Chicken It Rains?

Published April 8, 2011
By Adam Wujtewicz

A song that’s both easy to listen to and artistic seems like an impossible feat in today’s musical climate.  Most people believe in order to make artistic music you have to be so abrasive that you alienate people from your sound.  Most pop music is watered down formulaic garbage.  Why is no one aiming for the bull’s-eye anymore?  Is it the artist or the audience?  Does any of this really matter?  How come every time we get Kentucky Fried Chicken it’s raining outside? by Honey Wagon proves that it does matter.  It’s equal parts Kinks and Exploding Hearts; it’s careless and fun without ever being sloppy and thoughtless. 

Terry Flynn (vocals & guitar), Chris Moore (bass) and Jay Curland (drums) have raw musical energy that they’ve crafted into beautifully produced, listenable pop rock songs.  Simple, energetic, four chord rock songs are usually turned into lo-fi recordings that intentionally sound bad in order to give them credibility.  Honey Wagon took pride in this recording and labored to get a fully formed product and layered sounds to fill in all the spaces that a live show can have.  The vocals are doubled and harmonies added with great care taken to add the correct effects rather than just slapping a huge amount of reverb on them.  The guitar may be thin and jangley (ala the Jam) but again with multi-tracking and proper application of effects it loses its abrasiveness and fits into the mix. 

With all that being said about Terry’s contributions to the record,  it’s the rhythm section that makes this record complete.  The bass lines are elastic and melodic and the drums play to the songs and really accent the performance.  Instead of just being the backbone of the band Jay and Chris are more like the entire body; receiving signals from the brain and actually making them reality.  The quality of this album is typified by "Sleepwalker" and "January 33^rd".  These songs will stick in your head and show you what it means to really build a recording from the ground up.

CD Review: The Hempsteadys - The Beat That Moves Hempstead Street

Published April 1, 2011
By Adam Wujtewicz

Punk rock reggae enthusiasts rejoice... The Hempsteadys are releasing their debut EP.  It's been a long time in the making but when you have something like 6 million and 30 band members... booking studio time is difficult.  Well the wait is over and it was worth it.

Knowing their punk rock tendencies, The Beat That Moves Hempstead Street has surprisingly clean and polished production.  All the instruments are separated and panned and you can hear them all.  This is welcome change from the mush of sound you can sometimes get from 3 guitars playing at the same time, which this band often has live.  The dynamics show through with this kind of production so that you don’t lose the ups and downs of songs like "Bad Government".  With Isaac's vocals being as gruff and forceful as they are, this song could beat you over the head verse after verse... but it's not until 2/3 of the way through the song when the band builds to match his intensity then fades out at end of the song.  The "quiet-loud-quiet" dynamic of "She Only Loves Me When She’s Drunk" is something you wouldn't expect from a band labeled as a "party band" but the huge choruses with heavy guitar strumming and skankable bass line reminds you why they got that label.

The dynamics and production are all well and good but for my money, the best part of this EP is "Judas Priest".  What this song lacks in ups and downs it makes up for with raucous wall of sound that the rest of the EP doesn't showcase but their live shows are known for. This song is full tilt from beginning to end and is still sounds clean throughout.  The crack of Matt Covey's snare drum makes this song jump, then the steady thud of the kick brings it back to the floor.

The Beat That Moves Hempstead Street is everything you'd expect from a Hempsteadys EP but with more thought put into it than some may give it credit for.  These guys have done their homework within the genre often dubbed "dirty reggae" and deserve more credit than being labeled as just a "party band".

CD Review: The Rivergods - Signs

Published March 20, 2011
By Adam Wujtewicz

Stalwart alt-country folksters The Rivergods have been pleasing audiences with their unique blend of all things "Americana" for over 10 years.  Their brand new full length Signs offering is full of everything you should expect from a word like Americana.  It’s not just another day at the office though, there are moments that, if they don’t surprise you, then they’ll at least make you smile a little wider than you already were.

For all of the instrumentation on this record the sound is surprisingly sparse, not to be confused with "hollow" or "lacking".  Due to meticulous mixing and panning none of the instruments jockey for position and none of the sounds overlap or muddy each other up, a place for everything and everything in its place.  This doesn’t add up to a wall of sound but it allows your ear to drift from instrument to instrument and catch sounds as they come into and fade out of the songs.  A song that’s as quiet and personal as “Shallow End” most people would not play with anything but an acoustic guitar.  The Rivergods took that song and used full instrumentation and by keeping everything subdued and minimal they made it even more powerful.

On the poppier side of that coin "Runaway Mind" is another tearjerker of a song set to a very choppy piano driven  verse which makes it skip along so you’re hopeful rather than crawl along and make you cry in the dark.  This is my vote for best song on the album.  The lead guitar pop’s and chirps over Nancy’s natural and fluid vocals while the piano and bass boost her up and let her shine.  The Rivergods have always been an “all inclusive” band, they know how to pull people in, keep their attention and make them listen to and enjoy things they wouldn’t expect.

The biggest surprise on Signs is the Neil Young meets Black Angels "Roadrunner Blues".  A tense psychedelic journey through the rock n’ roll desert.  The clicking snare drum is a time bomb that explodes during the choruses.  Guitars sneak up on you from all sides and the low distortion rolls over the whole song like a fog.  This is probably the most atypical song on the record and though it may surprise some listeners it’s the song that showcases the production of the album the best.
Signs is a collection of great songs that you would have to try very hard to wear out.  There is plenty of variety and nothing to push you away from it.

CD Review: Gone For Good - Lightning Behind The Grace

Published March 13, 2011
By Adam Wujtewicz

Gone for Good is back in full swing and their new full length Lightning Behind the Grace, is all the proof you need.  The record was recorded by Jason Banta of the band Recur Occurrence, mostly in a run down room of a downtown New London building that just happened to have perfect acoustics... this is a home grown affair.  A little more agro and intense then they once were, they've focused that energy into creating a fully formed and cohesive LP.

The quality of sound on this record is top notch.  The guitars are huge, full and round.  There is a large Queens of the Stone Age influence in the guitar sound and riff writing on the album, but what they diverge from the 'Queens is the amount of vocal melodies and harmonies that add whole new dimensions the songs.  There is plenty of force in Nick’s voice but even when he's pushing his voice to breaking there is always pitch, (with the exception of the Phil Anselmo-esque monolog on "Devilish Grin").

The sound of the rhythm section is one of a train rolling downhill with a belly full of coal.  Ryan's bass is driving and keeps the sound from getting too top heavy with the amount of guitar on the record.  The overdriven bass breaks are great reminders that Ryan is present... pushing and shoveling fuel on the fire throughout the record.  Gene's drumming is as steady as it comes and it's constantly inventive and attention grabbing.  The best example is the snare work on "House of Ghosts".  This could have been played straight the whole way through but he keeps your ear working with the extra rhythms.  The crack of the snare and the boom of the toms are great compliment to each other.

There is a much heavier straight ahead rock sound on Lightning Behind the Grace than the poppy, swinging sound of Gone for Good’s previous EP The Bright Lights.  This should in no way deter anyone from listening.  GFG knows a song needs a melodic chorus after an intense verse, and they know that songs need rhythmic breakdowns when a song has been rolling at a steady tempo for 2 minutes.  The songs don't have the Pixies style 'loud-quiet-loud' dynamic formula but are dynamic in tempo and feeling which allow them to smooth out all the edges without sacrificing the integrity of their sound.

What truly makes a great LP is cohesion and flow.  There are a few things that most small market bands won't bother to do either because of money restraints or because they simply don't think about it.  Songs like "Nowhere Reprise" give continuity and allow the listener to relax before they're hit with another whole song to absorb.  The album’s closer "Big Sleep" is a nice wind down with an interesting sound so that you don't hit stop before it ends.  Young bands take note, it's these things that take a collection of very good songs and turn them into a great album like Lightning Behind the Grace.