CD Review: A Moment Of Silence - The Silence Is Harder

Published February 17, 2010
By Adam Wujtewicz

Though most angry young musicians have pointed their style towards tough-guy hardcore or noise rock there are still the select few who realize that a big riff and mid tempo pounding drums can show just as much aggression. A Moment Of Silence is one of those bands and they’re set to release their debut CD The Silence is Harder. I would bet my bottom dollar that there is a double meaning there....

There is a great deal of grunge worship on this record. The vocals are vaguely Chris Cornell-ish while the music sounds more like Alice in Chains, especially on the track “Valek”... or the Undertow era of Tool like on the track “Retina”.  The big difference between the records of the early to mid 90’s and The Silence Is Harder is the production.  This record is slick sounding, which usually wins over a bigger audience but it also takes a lot of dimension away from the guitar and it sometimes loses the bass in the mix.  On the plus side of that coin is that Reid's drums are clear as a bell and punch through everything, keeping you tuned into where the song is headed. 

The vocals are probably the biggest part of the slick sounding equation.  They are always out front and this puts pressure on vocalist Tony to sound just as ferocious as the instruments, a task which he successfully completes.  Even though the vocals are a touch too loud for my taste most people like the singer’s thoughts to come across loud and clear.   

The one thing that most people will write off as fluff, (even though I think it shows a great deal of character), is the weird and nonmusical track #7 “Untitled”.  It’s just background noise and it only lasts 1 minute and 19 seconds but it proves to me that they were thinking of this release not as a collection of songs but as an album.  They use this track to give the listener time to breathe before the home stretch of the record. 

Even though the production doesn’t showcase it, the songwriting on this album is what makes it worthwhile.  The loud-quiet-loud approach, and the bass lines that seemingly jump around the big guitar chords are what set this apart from another teenage rock bands demo. 

You can snag the new CD The Silence Is Harder from AMOS directly from the band or purchase and download it here: http://www.cdbaby.com/cd/AMomentOfSilence

---> AMOS/NL FACT: AMOS guitarist Marissa Mazzotta, 18, attended The Berklee College of Music summer program in 2009 and was the first student to utilize the Phil Agins Berklee School of Music Scholarship. Phil Agins was the lead guitarist of New London's Royale Brothers, who passed away suddenly in April 2008; the scholarship was set up by his mother and brother in his honor. Marissa continues to be a strong supporter/team member to help further the scholarship.

CD Review: Roadside Attractions - Whispers

Published February 7, 2010
CD Review by Adam Wujtewicz

New London’s many faced folk quartet Roadside Attractions are set to release their debut EP Whispers through Cosmodemonic Telegraph this Friday Feb 12!  I say many faced because not only have they had a whole slew of different members but their style has such a wide range.  The EP starts off with a mellow Allman-esque rock song “You Ain’t Gonna” and is followed up by the title track which is a doom and gloom reggae number. Granted most of the other songs on the record are folk and country based but there are splashes of blues and rockabilly in the mix as well.

The musicianship on the record is awesome - the steady tight rhythm section of Jason Banta (bass) and Matt Gouette (drums) along with the fiddle and lead guitar work of Craig Edwards… you couldn’t hope for a better backdrop to lay your vocals on.  The vocals are what most people are going to take away from this record and Daphne Glover has really become known for her sultry cabaret vocal stylings.  The low calm tones can be soothing but when switching over to a louder chorus the vocals can at times come across as a bit apprehensive. Paul Brockett also lends his own brand of twang to “Campari” along with Paul Brockett Roadshow band mate David Anderson who plays the piano on this track like it’s straight out of an old west saloon. The mixing on the record is very well balanced and the production values are clean and slick like a freshly waxed kitchen floor. This allows for maximum intake of musical ability but can tend to make the atmosphere of the record a little sterile.
The one song not lacking for atmosphere is the banjo ballad “The Night We Fell in Love”.  On top of the sparse music, they laid sounds of New London: trains, sirens, seagulls, etc.  It’s a nice touch to a record with no other studio trickery.  Whispers  is a solid representation of what Roadside Attractions is all about and they should be happy to have been able to capture that on an album.

CD Review: Straight To VHS - Self Titled

Published January 21, 2010

By Adam Wujtewicz

Straight to VHS has wasted no time getting their name out as the hot new thing in New London.  They’ve been playing shows, shaking hands, kissing babies and now they’re releasing their debut EP Self Titled.  So what does it sound like when 2 mustaches and a weird beard record under the supervision of Fatal Film front man Matt Potter?

Well the production values are somewhere between Jay Reatard (R.I.P.) and Times New Viking.  Almost everything clips and there is a hiss and fuzz that will be endearing to most garage rock and punk fans but will most likely turn off the casual listener. As for what catches your ear... the vocals and the bass completely rule the tone of this record.  The overdriven bass cuts through absolutely everything and socks you straight in the gut. 

The vocals, though melodic, are multi tracked so that it sounds like there is a large gang of people singing at you.... (and by the way, that actually happens too, thanks to Matt Potter and second Fatal Film guitarist Sebastian Coppotelli on backing vocals on tracks "Hey!" and "Have You Gone").

There will be a lot of comparisons to ’77 style punk when people talk about this record but the snarl and swagger of this record is much more rock n’ roll.  The fun time pop mixed with the aggressiveness of these songs reminds me more of underground 60’s bands like The Sonics and The Standells than the Sex Pistols and the Clash.  In short Self Titled is 5 simple and well crafted rock songs that you could very easily find yourself bouncing around your room to… while no one was looking of course.

Straight To VHS "Have You Gone" @ Oasis November 14:
(Video by Wailing City Photography 2009)

Straight To VHS Video "It's Fun":

For more Info:

https://www.facebook.com/straighttovhs

CD Review: Good God! - Self Titled

Published December 26, 2009
CD Review by Adam Wujtewicz

Good God! recently released a self titled CD and with only one show left before guitarist Tim Grimes goes to live on the left coast …you’re not going to have too many opportunities left to get it. So make sure to get to the show Monday and get a copy. (Details on the show are at the bottom of this page....)
This recording is super crisp, clear and polished, which is a compliment for a band like this.  There are 4 instruments doing different things so it’s imperative that you hear all 4 clearly.  The guitar tones are all pretty sharp and slashing but there are a lot of intricacies in what they’re doing so the thinner and more attack oriented sound is advantageous. They sound great, very natural, very well panned,  (if you’re listening in headphones this makes a big difference), and prominent but not over powering in the mix.  Mike Winslow’s drum playing is very energetic and interesting throughout the entire record.  He is able to push the songs along and create flawless transitions between parts of the songs.

When most people think of primarily instrumental bands I would bet the first two that come to mind are Mogwai and Explosions in the Sky.  Well I’ll tell you right now there are very little of those bands coming through in this music.  The songs structures on this record are much more traditional and have a much smaller and more intimate sort of feel.  Think more of a mellow Don Caballero or Ghosts & Vodka.  The interweaving of guitar and bass and the solo’s are more of a factor than the giant buildups and huge atmospheric soundscapes. The track “Books on Etiquette” for example has super lyrical guitar playing which completely takes the place of the vocals which a song with an arrangement like this could have had. 

The tracks  “Michael’s Afternoon Swim”, “Misdirected Love” and “Awake at Night / Tom Cruise was a Lousy Lover” all actually have vocals in them.  They are very reminiscent of the band Hum.  They are almost talked and at points bordering on monotone.  It’s an interesting thing to mix in but these songs become very standard rock songs on an album that was surviving on great musicianship.  I will admit that the opening lick and the noise ending on “Michaels Afternoon Swim” are 2 of my favorite individual parts of the record.

Good God!’s self titled offering does not have much in the way of surprises or studio trickery but what it is, is an honest and clear representation of what these four individuals were able to accomplish as a band in their few short months together.

CD Review: Brava Spectre - The Hands, The Water, The Hands That Occupy The Water

Published November 29, 2009
By Adam Wujtewicz

There is an ambient violence to this record.  The brutality is not in the attack, as it is in their live performances, but in the building cacophony that makes up most of the tracks.

The reverb soaked guitar and yelping vocals that tend to get lost in the overall noise of a regular Brava Spectre show are allowed to shine when put on record. The guitar tones are very split between a sharp slashing sound to a giant wash of noise; this highlights the dynamics of the songs rather than causing them to drone.

Steve’s drums are forceful and very natural but at some points can get a little lost in the mix when the bass kicks in… the guitars seem to take up a lot of space. If you keep your ears on him though Steve will amaze you with some of his breaks and fills.  The bass sound is my one complaint with the record.

It’s all low end and leaves very little punch which tends to take away from the heaviness of the record.  The one place the bass sound works perfectly though is in the middle of “Noosery!  I Hung My Neck, Cursed Jowls!” right before gang vocals.  Standout track of the album is “By The Lust, By Such A Tender Proposal”.  The dueling guitar work and the incredible drum breaks make this song the most in-your-face on the record.  So be prepared for a different, but no less intense side of Brava Spectre with The Hands, The Water, The Hands That Occupy The Water. 

For more info on Brava Spectre:

http://www.facebook.com/BravaSpectre

CD Review: Recur Occurrence - Self-Titled

Published July 8, 2009
By Adam Wujtewicz

Recur Occurrence's self-titled EP is a 6 song offering that is completely packed to the gills with a rock sound seldom heard in this area or on the airwaves anymore.  It’s big and aggressive as well as dynamic and pop sensible. 

The EP has a huge guitar sound that is reminiscent of Hum - the band not the noise.  It’s airy and fills up a lot of space, but it’s dense at its center.  This sort of sound works very well with RO’s song writing, mid tempo head bobbers or jumpier pop rock tunes such as the album's opening track "Looking On" which the guitar helps to emphasize choruses and bridges.  Conversely, the album’s second track, "So Much More", is more of showcase for the rhythm section.  Corina Malbaurn's bass line is what drives the song forward; it’s sound is just elastic enough while being able to hold the low end.  Eric Kendall's drums in the vocal breaks give the song shape and structure rather than just carrying through on a steady 4/4 stomp through the entire four minutes.  My personal favorite song on the EP is "Distant".  Jason Banta and Corina trade off vocal lines in the chorus which I love; and the delay on the guitar lead in the bridge gives it a spacey quality - it’s got and my vote for best lyrics on the EP.  

The biggest - and possibly only downside to the record, in my opinion, is that the vocals and drums may be mixed slightly too low.  RO is really much more on the poppy side of the heavy rock spectrum - think of bands like Simon Says or the last 2 Screaming Trees albums without the psychadelia.  This is usually an audience that is big into lyrics and needs a beat to jump in time to.  That being said, do yourself a favor and listen to this record for the first time on your headphones... you will be able to get the best idea of the way it’s supposed to sound. It may not mean a lot to the casual listener but the panning is great on this record which is also easier to hear on headphones.  If Recur Occurrence’s self titled EP does not make you yearn for this sound on the radio again I don’t know what will.

For more info on Recur Occurrence:

https://www.facebook.com/pages/Recur-Occurrence/94107356369

CD Review: Luke Hunter - Dizzying Heights

Published February 18, 2009
By Adam Wujtewicz

Luke Hunter, drummer of the band Thick Thieves, has released his first self recorded/produced solo record -  quite ambitious for a young man.  Dizzying Heights has a mellow, ambient sort of vibe without being too spacey.  Like the Thick Thieves, the sound of the record is definitely more rooted in "classic rock" or even early "alternative" rather than the indie rock which most his peers are playing.  Unlike the Thick Thieves it doesn’t have that folky southern rock thing going on.  

The layers and textures are what make the record what it is.  The reverb and delay are caked on this record... it’s what gives it the ambient sort of feel but it can be a little much.  About halfway through the record they stop being a texture and almost become a whole other instrument.  The instrumentation is nothing out of the ordinary: guitar, bass, drums and keys - but everything is fattened up and aired out to make it sound like much more.  The song writing is almost post rock-esque at points, it just moves from one thing to another in a constant stream, never turning around to remind you what the chorus was. This can be a difficult style to make work but Luke does a good job making sure you don’t get bored or confused as the songs drift along.  

Most people would probably consider this an incredibly melancholy record, especially with the Radiohead cover at the end.  I don’t see it that way.  Mellow and melancholy, though containing a lot of the same letters, are not intrinsically linked.  I would say that it's introspective - a thinker - rather than just writing it off as sad.  This record shows a great deal of promise... Luke wears his influences on its sleeve but his influences are not common in this area of CT and it's his debut so that’s more than forgivable.  I'd like to see this be a continuing project for Luke to see the path it heads down.

 

Dizzying Heights is available for purchase at The Mystic Disc in downtown Mystic, CT.

CD Review: Sodium Lights - Post Signal

Published February 13, 2009
By Adam Wujtewicz

Post Signal has a familiar indie sound of 90's bands like Polvo with electronic influences like Massive Attack.  There are also occasional poppy, almost Paul Simon-esque, tunes on the record: "Thimble" and "His Father’s Father". The change from indie song to pop song is pretty hard to swallow within one album.  The production of this record is completely radio ready -  it's slick as black ice but the genre of music calls for it so I can't hold it against them.  

The musicianship matches up perfectly with the production, it's very tight and calculated without sounding forced or like it was cut and pasted in the studio.  I never thought I would hear a record like this come from South Eastern CT.  Not that it’s completely outside the realm of what's going on in the area, but the electronic elements along with atmospheric, almost spacey, texture of the songs certainly puts them in a class of their own.   

Post Signal can get a little sleepy at times for the average listener but if you put a little more effort into your listening there are tons of new layers to discover within the tracks.  This is a very dense record disguised as an airy ambient piece.  The good thing about studio bands is that they are completely committed and focused to making sure that the songs that they write sound as good as they can sound when they go on record.  This is where a lot of live bands go wrong.  They forget to add little bits of keyboard or maybe some extra guitar tracks to add thickness and atmosphere because they don't want to be untrue to what they sound like when they play out.  

Sodium Lights have taken all of these "frills" and made them sound absolutely vital.  The art of creating a record is not even on the same plane of existence.  While a live show runs on adrenaline your record must run on maintaining interest through artistry... and Post Signal most certainly does that.

Post Signal by Sodium Lights is available for purchase at The Mystic Disc in downtown Mystic, CT.

CD Review: The Weird Beards - EP

CD Review by Adam Wujtewicz

One of the many things for purchase during Hygienic's opening weekend was The Weird Beards debut EP... a 4 song ditty with the old lineup, the lineup that included OB on mandolin and does not include their current drummer.  The production team on this record is a veritable who's who of New London music. The recording itself was done by Hugh Birdsall of The Reducers and was mixed and mastered by Paul Brockett of the Paul Brockett Roadshow. 

For such organic instrumentation; baritone ukulele, standup bass, acoustic guitar, mandolin and percussion, there is quite a bit of studio trickery. There are some backwards vocals and also vocals with digitally manipulated pitches.  There is a cool loop intro at the beginning of "Patriot Act" as well as some ping pong panning on the ukulele and mandolin.  These kinds of things work well with The Weird Beards' psychedelic gypsy nature.  

The songs on the EP; "With a Lime", "Weird Beard", "Patriot Act", and "Beautiful Eyes" are super clever lyrically and all the songs are completely different topics. This gives you a really good view of the pallet that Brian Skidmore, lead singer and baritone uke, is working with to paint the landscapes of his songs.  The canvas of this record is the three musicians who are able to keep Brian’s dreamlike visions afloat with their expressive riffing. 

While not exactly a sing along record there are a bunch of gang vocals that add a little bit of fullness that can sometimes seem lacking with an all acoustic band.  This is no singer songwriter pop BS either… the instrumentation and song structure removes it quickly from that category.  This not your average folk -  The Weird Beards may actually be from outer space somewhere, but the songs are easy to listen to for the educated musical ear.  For anyone who has seen them live you know Brian’s vocal acrobatics and the jammy-ness of some of the songs can lead to them lasting a while.  Both of those things have been pretty much cut out… leaving the real gold of the songs to shine in three minute intervals.  This is a super worth-while record for the alt-folk enthusiast.

For More Info On The Weird Beards:

https://www.facebook.com/theweirdbeards

CD Review: Quiet Life - Act Natural

CD Review by Adam Wujtewicz

So everyone knows by now that Quiet Life released a record this year. Also that that lead guitarist/vocalist Sean Spellman, has moved to the left coast and that the rest of the band is to follow in January. 

If you’ve seen Quiet Life play live you know it’s a high energy, alcohol fueled happy time show.  Act Natural is pretty representative of that.  It’s a fun record – it’s warm sounding, and like the live shows there’s a few surprises.  The album’s diversity is really something to behold.  Believe it or not there are stoner rock songs on this record...  "Trying to get Home" and "Every One" contain some pretty big riffs and a solid distortion sound.  With a little extra reverb on Sean's wavery, folky, bluesy vocals they are allowed to float over the guitars like a feather on the breeze but still cut through the mix like a straight razor. You mix those two tunes in with some acoustic numbers like the foot-stomper "Night Time" and the sensitive guy type ballad "California" and that gives you miles in between to make the bulk of a record.  Let’s face it these songs aren’t reinventing the wheel or anything but they’re solid, well written tunes that help to add dimension to the record.  Those are obviously the two poles of this record, most of it is somewhere in between the riff laden rock and the acoustic folky tunes and that’s where the real magic lies.

The rhythm section has a lot to do with this even though they can come off as very subdued with the amount of guitar and vocal on the record.  "Trying to get Home" has great bass and drum presence but can tend to  get a little lost and the guitars and vocals start carrying things away.  "Niantic Bay Blues" is a great song that starts off with a lot of great sounding bass and drums but the guitars kick in and you can start to lose your place.  The guitars do sound great though, there isn’t a thin sounding note on the record but I always thought of the bass and drums like the ring masters that kept the lions from taking over the circus.

Apart from sounding thick, the guitar sound is hugely varied which is a great way to keep things interesting.  Another thing that will more than likely get taken for granted on this record is the "decoration". The horns, banjo, pedal steel,  organ and harmonica are things that make this record special.  Not that they are the only band that uses these instruments, but they use them all to their full potential in the songs. It's not a gimmicky half-cocked attempt at being different... it's done with the intent to make the song sound better.  The frill with this record does lie in the instrumentation rather than any sort of studio magic.  The sound of the record is just warm and inviting, it's a very honest sound.  There is pop sensibility not only in the song writing but in the actual sound.  It’s not slick and shiny – because if it was it would sound weird and fake. It’s not muddy and under produced either – then you’d lose all the articulation which is important  to the genre.  It’s a happy medium that allows Act Natural to be appreciated by a much wider range of people. 

For more information on Quiet Life:
https://www.facebook.com/QuietLifeBand

CD Review: The Reducers - Guitars, Bass & Drums

CD Review by Adam Wujtewicz

New London's band The Reducers released their first album in 10 years.  Guitars, Bass and Drums is proof that The Reducers are just as relevant and necessary to the music scene today as they were when they brought punk rock to New London in the late 70's.  They may not do punk songs like "Scared of Cops" anymore but as veteran rock n’ rollers they are showing everyone that, if done right, the up-beat 4 chord pop song is one of the most important things in music.

This record is super cleanly produced without any fancy studio trickery and you can hear all the instruments and vocals clear as a bell.  That's incredibly important when you consider the tones that these guys get.  Steve’s bass sound is the best punk rock bass sound I've ever heard.  It’s crisp and has the real trebly snap that makes it cut through the mix  without ever sacrificing the low end to round it out.   The lines he plays are acrobatic in a way that push the song along and accent the chord changes but never take the attention away from the vocals or a guitar solo.  The rhythm guitar has a great mix of distortion and articulation.  It's never muddy or overpowering it just sounds like rock n' roll.  The solo’s have great blues feel to them both in tone and riff construction.  The sound has enough bite to make it stick out so you have something you can sink your teeth into. Even when there isn't a solo going on, the play between Peter and Hugh’s guitar work is a lot like their vocals in the way that they are similar yet distinct.  You can always tell which is which but they are extremely complimentary to one another. Now what about the hammer that drives the nail? That would be Tom on drums with the snare cracks like no other.  Never flashy, always on time and drums that are tuned to perfection... there really isn’t much more you can say about it.

Now being a band for thirty years has obviously given them the time to get this immaculate sound that they have but let’s examine what it’s done for the song writing shall we?  The style of songs on this record appeal to pretty much anyone with ears.  They are a little longer than most pop tunes but they move quickly from chorus to verse to chorus so instead of getting bored with it you almost have to keep up.  If that description makes it sound repetitive let me assure you that there are bridges, guitar solos and musical buildups… like Hugh’s guitar change ups that drive "Paranoid Blues". There are elements that are reminiscent of The Replacements like the band’s complete tonal change during the solo in "I Don’t Mind". There are other things that have smatterings of great "Brit Pop" like The Kinks; the strong presence of backing vocals especially when they're "oohs" and "ahs" and a very snare driven style of drumming.

At this point I've given you plenty of reason to get this record and go see every Reducers show you can possibly make it to.  I haven't even touched upon the crown jewel of this record... the pop masterpiece "My Problem", featuring Mark Mulcahy on vocals. It’s nothing less than world class.  Paul Brockett once described this song as "the song that everyone wants to write, within their genre". Which is better than any description I could think of.  It just hits on all cylinders and it’s really the perfect pop/rock song... especially if you're a musician you want to write a song that has this sort of power.  These are 4 guys who have really learned from the best and are writing their own book on how to create really great music... that lasts.

Get your copy of Guitars, Bass and Drums at The Mystic Disc, The Dutch Tavern or:

www.rave-on-records.com

For more info on The Reducers:

www.thereducers.com

https://www.facebook.com/TheReducers

CD Review: Fatal Film - Thrill'r

CD Review by Adam Wujtewicz
 
Fatal Film, after a long wait, has finally released their new full length album Thrill'r.  It's filled with mostly old Fatal Film classics as recorded by their latest lineup, Matt Potter (vox and guitar), Dave Freeburg (bass), Sebastian Coppotelli (guitar) and Mike Winslow (drums).

Though the songs are not brand new, the selection is diverse enough to always be interesting but still very cohesive as a record. There's a little punk and a little blues; a few mid tempo songs and a few up tempo songs; some clean tone and some dirty tone; like I said the song selection is great.  This record does give me a different vision of these songs than I previously had, hearing them live.

When I think Fatal Film I think very angular very sharp guitar, a rhythm section that is pummeling and vocals that give you a false sense of calm about the menacing music that's being played.  The production of this record seemed to smooth it all over without making it sound smooth. The guitars are very muddy for the most part and the drums are almost non-existent. The lack of attack in the sound made me see a pop-sensibility I never saw in Fatal Film but the lack of polish on the sound kind of shoots those sensibilities in the foot.

In sharp contrast to all that the vocal sound on this record is amazing. The play of different reverb and distortion on the vocals throughout the record gives them great intensity and makes them stand out.  Matt Potter's lyrics have always been very raw and up front and Thrill'r gives the vocals a sound that matches. There are a few other sonic tidbits that made me do a double take while listening to these familiar songs. The distorted drum roll leading into the closing of "All Our Cash" where the tambourine keeps time is a great way to bring the song to a big finish. They added keyboard on the album's opening track "Last Step" giving the song a really creepy atmosphere and depth. This was an unexpected move considering the stripped down straight ahead approach of this lineup. For me it paid off in spades. I didn't do a double take because I knew that the guitar nose dives at the end of "Sea Of Shitheads" would be coming but I was elated to hear them right up front where they should be and sounding meaner than hell.  The bass sound on this record is also pretty true to form.  It's dirty, it's extremely punchy, it leaves nothing to be desired.  With the guitar sound on this record however, the bass can sometimes get lost in the mix or be overpowering, it's a hard sound to pin down.

My vote for best song on the record is "Sick as a Dog". This was a little surprising because my favorite thing about Fatal Film was their ability to put out more energy and anger than any "genre punk" without ever pigeonholing themselves. However,  Thrill'r made me hear something subtle and interesting about this song that I'm extremely happy to have heard.