Single Review: Pat Smillie – “Lovers & the Leavers”

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Pat Smillie – Lovers & the Leavers album cover

image courtesy of Pat Smillie

by Eric Harabadian, Contributing Blogger

Single Review of Pat Smillie: “Lovers & the Leavers”

“Lovers & the Leavers” is the first in a series of singles Detroit-born and raised singer-songwriter Pat Smillie is releasing through Fat Bank Music. And the song fits comfortably in Smillie’s wheelhouse of blues and soul-infused rock. The veteran raspy-voiced soul man belts out an acoustic-based ballad that speaks to his rich observations on love and the games people play.

The track is co-written and produced by Smillie’s main man, guitarist Josh Ford. Also on board are Johnny Rhoades (acoustic guitar/electric guitar), Dale Grisa (keyboards), Rocco Popielarski (bass), Todd Glass (drums), Tina Howell (backing vocals), and Ashley Stevenson (backing vocals). This is, primarily, the studio group that Smillie has been using the past few years, and they certainly have risen to the occasion here.

Perhaps the first thing you glean, a few notes in, is Smillie’s sincerity and innate ability to spin a yarn. He’s a master storyteller and will stop you in your tracks with his authentic points of view. It’s a tight, radio-ready single that harkens back to the days of AM radio superstations like Windsor-Detroit’s CKLW. Smillie has all the vocal command and bluster of Bob Seger, Rod Stewart, and Frankie Miller combined. And the sweet sustained sounds of Ford’s slide work blended with Grisa’s Floyd Cramer-like piano trills set all the emotions of Smillie’s lyrics ablaze.

Pat Smillie and company are the future of Detroit music and carry the torch led by all those classic Motown artists, past and present, that have come before.

Album Review: Jennifer Tefft and the Strange – Strange Beginnings

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Jennifer Tefft and the Strange band photo

photo by John Parrillo; photo courtesy of Knyvet

Album Review of Jennifer Tefft and the Strange: Strange Beginnings (Rock Garden Records)

Strange Beginnings, the 2024 album released by Jennifer Tefft and the Strange, won Album of the Year at the 2024 New England Music Awards. And deservedly so! This is a tight, varied collection of kickass rock ‘n roll, ranging from soft songs to hard rockers. You can hear elements of a broad range of rockers in Tefft’s delivery, from Blondie to Pat Benatar, from Joan Jett to the more rockin’ edge of the Go-Gos. I know I’ve refenced a fair bit of classic rock, but this album is really more timeless rock. In musical listings, I tend to see Jennifer Tefft and the Strange labeled as alternative rock, and I can see the comparison, but they’re certainly at the more polished end of the alternative rock spectrum, and I spot a lot of classic and mainstream rock influences, even if the band does like to take it to the edgier ends of those rock categories.

Quite a while back, I reviewed “Love and War,” one of the pre-release singles from this album, and it has aged well. It remains one of the disc’s strongest hard-rockin’ tracks, even after dozens more listens. On this record, it’s joined by several more new favorites, too.

Jennifer Tefft and the Strange – Strange Beginnings album cover

image courtesy of Knyvet

“Caffeine,” another of the pre-release singles, was a great selection to get things started. The album-opener kicks things off with a gritty guitar lick – with axeman John Parillo making a statement that yeah, this album is gonna rock – before the song builds into a steady rock rhythm. The song is tuneful despite a jangly wall-of-noise backdrop and Tefft’s howling wails, guided by drumwork that’s steady even while feeling not-so, thanks to a creatively varied beat and some interesting fill choices. Then there’s that helicopter-ish ending. The band could go completely limp from this point on and you’d still think you’d listened to a rockin’ album. Fortunately, while the music is varied throughout the disc, it still always obviously rocks… and is never limp.

I really dig the imagery in “Paper Cut,” from the edginess of the vocals and guitar runs occasionally drizzling through the background of this heavy-sounding slow song. The imagery? Cool lyrics like “You’re a switchblade, paper-thin. You’re a paper cut on smooth white skin.” Ouch; I can feel that. And a fade-out ending. Remember when rock bands used to do this? Well, Jennifer Tefft and the Strange still do.

Throughout the rest of the disc you’ll find more alt rock-meets-punk-meets-classic rock tracks like “Shoulda Known Better,” which is one of those songs that feels a lot faster than it is because the delivery is so raucous, creating an illusion of speed despite its moderate tempo.

That moderate tempo is relatively common on this album, as is the case with “Lullaby,” and it is partly responsible for the album’s heavy feel, though drummer Chris Georgenes’ powerful skin-striking plays a role, too. Stephen “Sharky” Beccia’s thumping bassline also rises in the mix in certain tracks. Like “Lullaby,” for example, where I notice myself mentally thumping along with the bass toward the song’s close.

“Second Chance,” next up, stands out as a potential hit. It has a cool lyric you’ll get to know: “Drawn to the flame, we burn our wings, but we crave the fire and the pain it brings. Now we’re picking through the ashes for a second chance Drawn to the fire, we fly too close where we burn the things we love the most. Now we’re picking through the ashes for a second chance, a second chance to burn.” Is that badass, or what? Tefft’s vocals range from edgy to soaringly smooth supported by smooth guitarwork and heavy rhythms.

“Down On My Knees” brings some punk attitude and a straight-ahead musical attack punctuated in a few spots with a neat southwestern distorted riff that just hints at that Chris Isaak “Wicked Game” sound. (You can hear it now, can’t you?) But you hear it just briefly when it pops in, like just the right amount of flair, nowhere the amount of flair a Chotchkie’s manager would recommend.

“Going Out” is a fun rocker sung from the point of view of a past-her-clubbing-days woman preparing to completely overdo it on a rare night out. Irreverent, fun music for not-so-young adults.

And the album closes with power, the previously-reviewed “Love & War.”

Eight songs probably isn’t enough, but better to leave the audience wanting more, I guess. If my descriptions haven’t clinched the deal for you yet, the record was produced by Grammy-winning producer Bob St. John (Collective Soul, Duran Duran, Extreme, etc.), so you can count on top-shelf production value. And, of course, in this case, a kickass rock band delivering the goods.

Album Review: Roberto Magris – Freedom is Peace

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Roberto Magris

Roberto Magris; photo by Rosario Pino Varsaica; photo courtesy of Roberto Magris

by Eric Harabadian, Contributing Blogger

Album Review of Roberto Magris: Freedom is Peace (JMood Records)

World-renowned Italian jazz pianist Roberto Magris is reunited after 20 years with his globally-recognized Europlane ensemble. He is joined on this recording by an international roster of stellar players, including Hungarian tenor saxophonist Tony Lakatos, German bassist Rudi Engel, Slovakian trumpeter Lukas Oravec, Slovenian drummer Gasper Bertoncelj and Austrian alto and baritone saxophonist Florian Brambock.

Roberto Magris – Freedom is Peace album cover

cover photo by Herbert Hoepfl; image courtesy of Roberto Magris

Recorded live in Bad Goisern, Austria in April of last year for the European Capital of Culture 2024 event, this band was itching to play, and they came out swinging! This is the initial handiwork of Magris, who was commissioned by a promoter, Emilian Tantana, to resurrect this classic European jazz group for this special event. This recording serves as a world premiere of Magris’ new original compositions and arrangements. While this set of compositions was embraced by the entire ensemble, putting it all together was especially heartfelt for Magris, as the experience reflected not only his attempt to recreate the sound of the original Europlane group but also the evolution of his career, over the past 20 years, as a solo artist and sideman.

Rudi Engel

Rudi Engel; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

Poised before a very appreciative and enthusiastic audience, the Magris-led group delivered the goods… and then some. There is a tertiary subtext of social consciousness that runs through this live eight track set, beginning with Magris’ “Freedom is Peace.” Musically, the piece unfolds in a strident and bold manner, with heavy McCoy Tyner/Horace Silver-like left hand piano action and a powerful front line melodic statement. The impetus behind the tune comes from Magris who says: “This new composition of mine comes from the pressing need to now stand for peace, freedom, friendship, brotherhood and positive values… ‘Freedom is Peace’ is a call to stand for peace and beauty as a counterpart to the ugly feelings that are more and more surrounding us. Music, and especially jazz, is energy. And in this period we need positive energy.”

Lukas Oravec

Lukas Oravec; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“The Island of Nowhere” slows things down a bit to a light swing, with shadings of cool noir. There is a meticulously orchestrated Oliver Nelson/Claus Ogerman vibe at play. The rhythms leisurely glide along, providing a platform that inspires great solos from everyone. The horns are strong, with an exceptional bass spotlight from Engel that seems to summarize the piece.

Florian Bramböck

Florian Bramböck; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“Malay Tone Poem” is a tune written by South African pianist Hotep Idris Galeta. This displays the diverse virtuosity of the band, exemplifying  their collective use of space and eerie alternate modes. There is a strong anchor from the bass and drums that allows the piano and horns to venture into seemingly unknown territory. In particular, Magris’ solo is inventive and playful.

Another cover that is a favorite of the composer-arranger is Andrew Hill’s “Laverne.” Magris has played this beautiful ballad with various bands for years and brings that familiarity and richness to this ensemble. It features intricate uncommon harmonies, with a soft, lilting feel that will cast you into a romantic or alternate state. Lakatos’ wonderful soprano sax work here really soars.

Tony Lakatos

Tony Lakatos; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

Another significant message to his European countrymen and women is the piece “Something to Save from EU (You)” by Magris. It begins with a rubato piano and bass intro which leads into a bouncy and upbeat ensemble feel. Overall, there is a positive vibe to the piece, with tasteful brush work by drummer Bertoncelj during the mid-section. At over 12 minutes, the tune has time to fully blossom and breathe. This allows the opportunities for stellar solos. Again, Magris comments on goings on in Europe and our society at large. He says: “Many people are wondering if the European Union was and is still a good idea. Personally, I think it was and is. But now we need to change completely and move from financial priorities to social and cultural priorities. Apart from politics, the European culture needs to be saved. We need to save culture and we need to save art.  We need to save music (classical, pop, jazz, rock, folk, etc.). And above all, we need to save melody.” You definitely get that urgency from this group in the message.

Gasper Bertoncelj

Gasper Bertoncelj; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“When You Touch Me” was written by an Israeli musician Boaz Sharabi. In Magris’ travels throughout the world he found Israel to have a lot of positive atmosphere and connected with some great jazz people there. May this act as a healing salve to what the Israeli and Palestinian people have endured during the strife and human tragedy experienced in the last year or so. Magris took this old Israeli pop song and restructured it, with a slight Latin approach. The delicate group harmonies and Lakatos’ lithe soprano work stands out.

“Loose Fit” is a Magris composition that sounds just like the title. It’s a cool and funky number that rocks out. When it unfolds into swing mode it just feels so good. The ascending and descending melody has a cascading effect. And all the band’s solos drift effortlessly atop a driving beat. The drum break toward the end was unexpected, but gives it a nice kick.

Roberto Magris

Roberto Magris; photo by Radivoj Mosetti; photo courtesy of Roberto Magris

“Hip! For the Conference” is an older tune by Europlane ensemble that was rearranged and modernized for this event by Magris. It starts with a capella horns and then comes in swinging. I guarantee you’ll be humming this melody all day! Notable solos erupt from everyone as this hard bop gem brings the house down.

The Europlane ensemble led by Roberto Magris might not be familiar to American audiences, per se, but, regardless, they are one of the finest modern jazz groups you are ever gonna hear! Make a note and put this on your essential listening docket now!

Single Review: Rokita – “Just Wanna Be With You”

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Rokita – "Just Wanna Be With You" single cover

image courtesy of Mighty Achilles

by Eric Harabadian, Contributing Blogger

Single Review of Rokita: “Just Wanna Be With You”

Chris Rokita is a Frankenmuth, Michigan singer-songwriter with a spirited and heartfelt song dedicated to his late mother Marian. It’s a big bombastic love letter to his past and how his mother served as mentor, muse and inspiration.

Rokita press photo

photo by Yazmin Rokita; photo courtesy of Mighty Achilles

Here’s a sample verse: “You were my life; always there for me. Never going back now, just the way it has to be. Nothing’s the same; there’s no one to blame. Fate played its game. Wishing you were here with me.” Rokita sings all the vocals and plays guitars and bass, accompanied by the ubiquitous legend Kenny Aronoff on drums.

Melodic layered guitars are arpeggiated and strummed during the intro, with Rokita’s distinctive tenor voice taking command. But when Aronoff’s unmistakable drums kick in, the song goes into overdrive.

frame from Rokita's "Just Wanna Be With You" music video

photo courtesy of Mighty Achilles

Essentially, the tune has that Midwestern, early John “Cougar” Mellencamp vibe, with a drive and bravado that is honest and forthright. The combination of Rokita’s emotive voice and melodic sense also conjures up big ‘80s hit makers like The Outfield or Big Country.

“Just Wanna Be With You” is a cool and uplifting anthem that finds solace in the sadness. And we could all use something like that right about now.

Album Review: David Udell – It’s Worth It

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David Udell – It's Worth It album cover

image courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of David Udell: It’s Worth It

This is David Udell’s second solo album and employs a lot of the sounds and textures he’s used in the past as a burgeoning guitarist and keyboardist with St. Louis-based avant-prog group Wax Theatricks and synth-pop instrumentalists Delay Tactics.

Working in a solo context, Udell creates a unique landscape of sound that encompasses elements of pure pop, Americana, prog, ambient, and straight up rock ‘n roll. His satirical lyrics combine with tuneful melodies, while the record’s multi-layered production rides that wave reserved for artists as vast as King Crimson, The Cars, Duran Duran, Phil Manzanera, R.E.M., Steve Hackett, The Beatles, and Can.

Udell is all over the map, in a seat-of-the-pants sort of way, starting with “Watching the Freak Parade.” He bursts out of the shoot, with a spirited rocker that has a clear and clever sense of irony and humor. “It’s Beginning to Look Like Rain” shifts gears down to a spacious, serene kind of vibe. This is an acoustic-flavored tune that spotlights Udell’s keen use of melodic hooks.

promo photo of David Udell

photo courtesy of Rock Rose Music

“Slow Song” features his fellow guitar and composer buddy from his mid-’80s Delay Tactics days, Carl Weingarten. The multi-tracked vocals and various echoed guitars give this a strong psychedelic feel.

“The Motion Song” is a composition from Udell’s early ’80s catalog and is a quick and light experiment in natural rhythms and toy percussion. “Our River” has a real Americana vibe, with a psyche component that sets the vocals in a swirling motion like streams down a river. “Solid Ground” has a folk-like early British feel that is accentuated by Margaret Bianchetta’s golden flute passages.

“Made My Peace” sounds like an outtake from The Beatles’ Sgt. Pepper’s album or something. It’s got a cool arrangement, with back masking and all these little sonic buzzers and bells happening underneath the action.

Udell asks the question “Is it Worth It?” And before he answers it at the end of the album, he cleverly goes through a litany of questions directed at mankind’s inhumanity and lust for control. It’s an existential ride that features some sizzling guitar in the mid-section.

“Unexplored Expanses” goes back to his roots as an electronic adventurer. It’s a short interlude that blends ambience and a Can/Holger Czukay-type of unorthodoxy. The title song and answer to the previous track, “It’s Worth It” kind of sums up the album. It’s somewhat of a hopeful song, with some tasteful Robert Fripp/Steve Hackett-like sustained guitars. It’s an appropriate finale that really builds in a semi-symphonic, almost Baroque-infused manner.

David Udell is a talented and multi-faceted artist, firmly rooted in art and progressive rock, but with a strong melodic crossover appeal.

Album Review: Rory Block – Positively 4th Street

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Rory Block – Positively 4th Street album cover

image courtesy of Mark Pucci Media

by Eric Harabadian, Contributing Blogger

Album Review of Rory Block: Positively 4th Street (Stony Plain Records)

Rory Block is a singer-songwriter and guitarist who was on the ground floor of the folk and blues movement in the burgeoning ‘60s Greenwich Village scene. Both her mother and father were musicians, and her family ran in the same circles as musical icons like Pete Seeger, Maria Muldaur, John Sebastian, Joan Baez, and Bob Dylan.

Block’s father owned a sandal shop in the Village and a lot of the evolving folk and blues greats would frequent his establishment. Dylan, in particular, hit it off with Block’s family, and young Rory was smitten by Dylan’s poetry and emphasis on maintaining his love of music and artistic integrity.

Rory Block promo photo

photo by Sergio Kurhajec; photo courtesy of Mark Pucci Media

As a young teenager Block studied classical guitar and taught herself Delta blues styles. She became so enamored with traditional blues that she left home at 15 to seek out the fathers of Delta blues like Mississippi John Hurt, Son House and Reverend Gary Davis. She eventually wound up in Berkley, California, where she honed her craft in clubs and coffeehouses.

Bob Dylan is America’s poet laureate who, for an amazing sixty-plus years, has been part of the musical zeitgeist and artistic fabric of our society. And, with the addition of the multiple Oscar-nominated bio-pic A Complete Unknown out now, Dylan’s legacy and social impact is as relevant as ever.

The timing to release a Bob Dylan tribute album could not be more perfect. But, again, Block is someone who was there. She witnessed and was a part of the folk incubator that was the ‘60s-era Greenwich Village. This album is as much a love letter to the folk movement as anything else.

Rory Block promo photo

photo by David Gahr; photo courtesy of Mark Pucci Media

The very youthful-looking and slender Block is the real deal. And she has chosen nine tracks from the Dylan catalog that blend the big hits with the deeper, more ponderous cuts. A case in point is the very bluesy opening track “Everything is Broken.” Her somewhat smooth, world-weary voice is laced with a touch of humor. She sings the ironic and clever lyrics accompanied by her adept slide guitar work. “Ring Them Bells” follows, done in an original folk-blues style.

Block plays all guitars and drums on the album and the mild groove serves this song well. Everyone knows “Like a Rolling Stone,” and she delivers a reading of it that is pretty spot-on with the original. Another deep cut, “Not Dark Yet,” is significant for its slow and reflective tone. She hangs onto each word where you hear the pathos and raw emotion in her voice.

“Mr. Tambourine Man” has been done by so many artists. Block’s is probably one of the best in terms of really getting back to Dylan’s initial intent. The title track “Positively 4th Street” spotlights some fine slide guitar and rudimentary drums. She really captures the essence and mood of Dylan’s words. “A Hard Rain’s A-Gonna Fall” and “Mother of Muses” are nice back-to-back mixes of Block’s ability to run the emotional gamut from somewhat upbeat to a haunting lullaby.

The finale “Murder Most Foul” is a 20-plus minute treatise on the turbulent ‘60s-era and beyond. It addresses, in many ways, the cracks in our society, particularly in the United States. It’s kind of a combination of rap and monologue that Block conveys in a starkly hypnotic style. Powerful stuff!

Single Review: We Demand Parachutes – “Cheerful Coping”

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We Demand Parachutes live performance photo

photo by Mickey Renger; photo courtesy of Knyvet

Single Review of We Demand Parachutes: “Cheerful Coping”

If you’re a fan of bands like Good Charlotte, Simple Plan, and New Found Glory, you’re likely to really dig We Demand Parachutes‘ pop-punk banger “Cheerful Coping.” Guitarist/vocalist Kevin McCord is joined by Ben Shumaker (drums/percussion) and Seth Richardson (bass and programming) to deliver an infectious, memorable, resolute rocker.

We Demand Parachutes – "Cheerful Coping" single cover

image courtesy of Knyvet

The guitars jangle, and even though the tempo is relatively slow, the guitars and drums pick up the pace, making the song seem faster than it really is. The distorted, muddy music bed provides a buzzy backdrop of crackling energy. And the beat, particularly leading into the chorus provide a modest pogoing vigor.

The band has produced two versions of “Cheerful Coping,” and, while the radio edit’s “bloodshot” is actually a much more clever lyric, the original version is more fun to sing along with.

We Demand Parachutes live performance photo

photo by Internal Vision; photo courtesy of Knyvet

I’m not entirely sure which version of this catchy tune I’m going to save to my phone, since it will eventually pop up on one of my #PhoneOnShuffle playlists. I often listen in coffeeshops and diners, so I’d need to be able to resist accidentally singing along with the NSFW version, but I’m not sure I can. But that’s my problem, not yours. You need to hear this song because it’s catchy af and a great energy release.

“Cheerful Coping” was We Demand Parachutes’ first single and title track from the band’s 6-song EP, Cheerful Coping.

 

Single Review: The Lilac Hour – “Feeling Again”

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The Lilac Hour – "Feeling Again" single cover

image courtesy of BJF Media

Single Review of The Lilac Hour: “Feeling Again”

The Lilac Hour – Jake McCollum (lead singer, rhythm guitar), Matt Davies-Saunders (lead guitar), James Katz (bass), and Matt Volpato (drums) – is a London-based indie/alt-rock band whose style is laid-back but with a certain type of energy – in other words, laid-back but not lazy, songs with direction, music that’s going somewhere.

The band’s overall broad-appeal alt-rock sound is timeless and draws upon apparent influences spanning several decades. “Feeling Again” would be my recommended introduction to The Lilac Hour for fans of ’80s British pop/new wave bands like Tears for Fears or The Human League. Not the faster songs. “Feeling Again” has a slower pace with a flowing sound and some big, round, fat moments in Jake McCollum’s vocals.

The Lilac Hour

photo courtesy of BJF Media

For a more modern reference, it’s worth noting that “Feeling Again” was recorded at Kempston Street Studios in Liverpool, where Blossoms and Coldplay recording many of their earlier songs like “Charlamagne” and “Yellow,” respectively, and you can hear a bit of a similar sonic vibe in “Feeling Again,” particularly compared with “Charlamagne.”

In any case, “Feeling Again” is a cool song that fans of modern alt-rock and older Britpop alike are likely to enjoy. Or, as in my case, those who simply like well-written songs. If any of that describes you, check out “Feeling Again.”

More Recently

Since the release of “Feeling Again,” The Lilac Hour has dropped two more singles – “Everyone But You” and “Strawberry Lemonade.”

Album Review: Anaria – Holding Cell

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Anaria band photo

photo by Wildthorn Productions; photo courtesy of Anaria

Album Review of Anaria: Holding Cell

Anaria is a powerful, progressive metal band featuring soaring vocals, shredding guitar, and intricate song arrangements. Yes, I’ve just described any decent band of this subgenre, but it’s the details that count, so let’s dig in.

Stylistically, Anaria might share the stage with Evanescence, Edge of Paradise, or Major Moment. Their music frequently shows pop sensibility (a la Evanescence) but only to the extent that a modern metal band might occasionally appeal to a broader audience without sacrificing their street cred. The Edge of Paradise comparison is due to a combination of powerful vocals that produce many soaring tracks but also the willingness to experiment with unusual tempos and arrangements from time to time. The Major Moment comparison is the band’s ability to create a powerful wall of melodic modern metal sound that’ll blow their listeners’ minds, but this might be the least obvious comparison because when they reach musical peaks of power, the two bands’ tendencies are to take the songs in very different directions. And yes, the Evanescence comp was a lazy comparison on my part, which I included mostly because I figure the broadest set of readers will know the reference. But I’m sure modern metal fans will also know the other comps. And many of you already know Anaria – the band’s large social media following and 2024 New England Music Awards nomination in the Hard Rock/Metal Act of the Year category prove they’re garnering some well-earned attention.

Anaria – Holding Cell album cover

image courtesy of Anaria

Holding Cell kicks of with the title track, a powerful number that pulls you in immediately with a very cinematic-feeling opening, followed by flowing verses intermingled with thumping choruses and the lyric you’ll want to sing along with: “Is this real? Because it feels like hell!” This feels like a big concert-opening number that would amp up an arena full of fans. I can even picture the light show – at times dark with lasers shooting through the fog, other times, a big wall of blinding lights flashing, pointed directly at the audience. Always cool when a song is so rockin’ that you can picture it as an arena performance. Totally love starting an album with a number like “Holding Cell.”

Next song, “Synthesis” soars vocally atop a heavy, thumping soundbed, akin to “Holding Cell.” It’s followed by “Freakshow,” an edgier number with a bit of a carnival-flavored music bed, with the harsher vocals (at times) showcasing Jessica Mercy’s vocal versatility. “The Sandman” seems a bit more straight-up heavy but includes some winding rhythms and sprinkles in a little musical uneasiness. Sprinkled like sand, I suppose.

Anaria band photo

photo by Cory Wilmer; photo courtesy of Anaria

“Circle of Love” is notable for its particularly memorable chorus, a chorus that’s heavier than the song verses, which flow a bit lighter, but a bit more flowing than the bridges. It’s a cool song design, and the chorus’ rhythm is memorably, even if there are a bit more words than I can remember to sing along. As with any good progressive-influenced new metal track, of course, there’s a solid instrumental segment near the end, somehow delivering an enjoyable, song-element-heavy heavy rockin’ tune in under 3 minutes. Actually, that’s a them on this disc – songs that are relatively short for Anaria’s genre, even though nothing’s missing.

“Worthy” is probably one of the songs most likely to reach a very broad audience. It’s a slower, melodic-yet-powerful – Anaria’s sound is always super-robust – song with emotionally soaring vocals, a new metal slow song with a sound that perfectly matches its message. It’s a song about valuing yourself despite life’s struggling, with lyrics: “See yourself like I do. Beautiful scars are part of you. See your flaws and embrace them ‘cause you are perfect how you are, and you are worthy of love.” The lyrics are something anyone who has struggled can relate to, and they’re affirming uplifting. “Worthy” is a powerful track.

“Vampire Disco,” next, is a bit more playful, sung with a vocal slyness in the opening, with sidewinding guitar work, and a really cool, brief pause before crashing into the chorus.

photo of Anaria from the filming of their music video "The Sandman"

photo by Kendall Couture, for Wildthorn Productions; photo courtesy of Anaria

Anaria continues to mix its tone and sounds within the envelope of the band’s general style. “Ritual” is musically aggressive. “Golden Crown” is a little slower-tempoed (for the most part). And “The Red Queen” soars but still manages to fit the ominous lyrics.

Finally, the band closes with its cover of HIM’s “Wings of a Butterfly.” It’s energetic and fun to sing along with, at least until you realize you’ve just screamed “Come on and show them your love. Rip out the wings of a butterfly.” Hopefully no one heard it. Anaria’s cover sports a bigger sound, features vocals that soar a bit more, and is musically a little heavier than the original. All in all, an exceptional cover. And a song you might know right of the bat as you get familiar with the rest of the disc.

My favorites on Holding Cell are “Holding Cell,” “Vampire Disco,” and “Worthy” – one fast, one mid-tempo, and one slow. But ask me tomorrow, and I’ll probably choose others. In all, this is a strong release from an arena-caliber melodic/progressive metal band.

More Recently

Since releasing Holding Cell, Anaria has also released an EP, Sign of Life, which the band notes is a 3-song collection of unreleased material with a space theme, and three more singles: “Trigger,” “Crave,” and a cover of Lady Gaga’s “Disease.”

Album Review: Walter Sickert & the Army of Broken Toys – Between Breaths

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Walter Sickert & the Army of Broken Toys – Between Breaths album coverAlbum Review of Walter Sickert & the Army of Broken Toys: Between Breaths

I can’t really explain why I enjoy listening to Walter Sickert & the Army of Broken Toys so much. Their music is unusual, irreverant, sometimes outlandish, performed with precision, and joyously original and positively fun to listen to. Oh, will you look at that? I guess I can explain it.

More than a year ago, I reviewed this group’s exceptionally creative single “Goth Beach.” Well, Between Breaths is a full-length collection of Walter Sickert & the Army of Broken Toys’ theatrical, over-the-top originals, and it’s the album you never knew you really needed.

Disc-opener “Bed and Breakfast” is probably my favorite in the collection. At least, it’s the most memorable, notably that I’ll always refer to a B&B now as a bed and “motherf***ing breakfast!” The lyrics are imaginative and fun, and the vocal delivery is soaring and edgy, sometimes simultaneously.

Stylistic variance is significant across the selections on this record, though they’re all very clearly within the somewhat exaggerated musical delivery style of Walter Sickert & the Army of Broken Toys.

“Wally Wonka,” for example, sounds musically like psychedelically demented carousel music. (And if randomly pops into my head all the time, so it’s clearly catchy!) “Firefly” and “Holes in the Sky,” meanwhile, could be powerful classic or progressive rock songs with different arrangements; instead, it sounds like a WS&tAoBT cover of such a song (though, of course, it’s an original).

“Laundromat” and “Pusssy Cat” deliver another style, along the lines of over-the-top, rhythmic industrial music-styled tunes.

“Silver Screens” and “Around the Circle” are softer, more atmospheric songs, with “Silver Screens” having somewhat softer edges and, therefore, being the song more likely to appeal to a broader listenership.

If you ever wanted to have this band committed to an asylum, well, a lot of their songs would do the trick, but “Dream Spell for Time Travel,” a less-than-one-minute spoken word track, is perhaps the best option. Tim Burton would have a hard time matching this odd prose. However, it leads into “Ima Hex,” whose rhythmic rise and fall is based on an exceptionally engaging rhythm and Sickert’s emotionally raw (perhaps hysterically so) vocals that are gravelly scream-sung at the song’s apexes. OK, so it’s hard to describe, but it’s engaging as hell… or hex.

The rest of the disc continues in a similarly eclectic way. “I Shine Me Down” has a catchy rhythm. “City in an IV” is a distantly rhythmic number. “Between Breaths” is a softly psychedelic, relaxing-mood piece. And, finally, “Never Sleep Nervously” starts with an almost music-box piano feeling before flowing into an oddly disturbing number that might be sung by a deranged clown that haunts your dreams. It’s an effectively unnerving way to end an album. But that’s exactly what you’d expect from this exceptionally talented troupe that might be described as the carnival sideshow of Boston’s top musical outfits. (That’s meant, of course, in the best possible way.)

Personally, my favorite songs on Between Breaths are probably “Bed and Breakfast,” “Holes in the Sky,” “Silver Screens,” and “Ima Hex.” Give this unusual 14-song collection a listen and, if you enjoy the musical insanity therein, see which songs will be your faves.