Tag Archives: Geoff Wilbur

Single Review: Alison Brown & Steve Martin – “Bluegrass Radio”

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photo of Alison Brown & Steve Martin

Alison Brown & Steve Martin; photo courtesy of Compass Records

Single Review of Alison Brown & Steve Martin: “Bluegrass Radio” (Compass Records)

Alison Brown and Steve Martin previously collaborated on the Emmy Award-winning instrumental “Foggy Morning Breaking,” a song from Brown’s On Banjo album. Well, last year the banjoists teamed up again for a new single, “Bluegrass Radio.”

Alison Brown & Steve Martin – "Bluegrass Radio" cover art

image courtesy of Compass Records

On this record, the pair are joined by top bluegrass musicians Sam Bush (mandolin), Stuart Duncan (fiddle), Trey Hensley (guitar), and Todd Phillips (bass), ensuring tip-top musicianship on the track.

The song is an energetic, fun romp. The fast-tempoed ditty doesn’t dawdle, clocking in just a hair over three minutes, but the song is like an English muffin, sporting plenty of nooks and crannies for the band members to show off a little. Lyrically, it’s playful and a little silly, perfectly suited to Martin’s emotive vocalization, featuring lyrics like “Number three in California, five in Arizona, didn’t seem to mean a thing to you, but I got number one in Texas, and now you fix me breakfast because I am a hit on bluegrass radio.” Just trust me, with Martin’s tone and phrasing, it’s downright mischievous.

photo of Alison Brown holding a banjo

Alison Brown; photo courtesy of Compass Records

Whether you’re typically a bluegrass fan or not, this light, tightly-performed fare is likely to put a smile on your face. Of course, if you’re not a bluegrass fan, then this just might be your favorite Steve Martin song since “King Tut,” and it’ll serve as a great introduction to banjo luminary Alison Brown.

More Recently

Last fall, Brown and Martin teamed up again, this time bringing in Vince Gill for a featured role, on “Wall Guitar (Since You Said Goodbye).”

In addition, last summer Brown dropped a remixed and remastered version of her 1990 Simple Pleasures record, which landed her a Grammy nomination following its initial release. That record also earned Brown recognition from the International Bluegrass Music Association as Banjo Player of the Year, the first time that honor went to a woman.

photo of Steve Martin standing, holding a banjo

Steve Martin; photo courtesy of Compass Records

In February, Brown also teamed with Kristin Scott Benson and Gena Britt on the single “Ralph’s Banjo Special.”

Of course, we all know what Martin has been up to lately on the acting front, starring in the critically acclaimed series Only Murders in the Building. Also, if you were previously unaware of Martin’s banjo aficionado-ness, it’s worth noting that, in 2010, Martin founded The Steve Martin Banjo Prize, which has been awarded to numerous recipients in the years since its inception.

Looking Ahead

Brown has tour dates scheduled in as far north, south, east, and west as Maine, North Carolina, Arkansas, and Wisconsin, plus many, many points in-between. Be sure to check the tour listing on her website to see if she’ll be performing near you.

Album Review: The Outfit – Go

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The Outfit band photo

photo courtesy of Pavement Entertainment

Album Review of The Outfit: Go (Pavement Entertainment)

The Outfit‘s Go is one helluvan AOR album. Guitar-driven rock with intricate musicianship, a big, arena-filling sound, and hooks catchy enough to have made several songs hits during the genre’s heyday. Instead, The Outfit will have to settle for being a favorite new discovery of guitar rock fans, however they might discover new music. (Hopefully, a few of you discover new music here at the Blog.)

Actually, fans who follow current rock music closely may have already discovered The Outfit. The band’s self-titled debut album in 2018 spawned the song “Soldier Boy,” which received rock radio airplay and reached #34 on Billboard‘s Mainstream Rock Radio chart. A second album, Viking, followed in 2020, with the video for that album’s title track racking up 380,000 views on YouTube. So yeah, maybe I’m the one who’s late to the party, after the decent success The Outfit found with its first two albums. Go, The Outfit’s third album, the one that gained my attention (because it was sent to me for review consideration, and it’s a friggin’ rock masterpiece) was released last year.

The Outfit – Go album cover

image courtesy of Pavement Entertainment

The Outfit is mainly a classic-styled rock band, but some of their most engaging songs are unique originals in which the band takes a big swing and hits it out of the park. “Arrival of Jane,” for example, has a big, open, progressive rock feeling, a sci-fi-related theme, booming drums, and soaring guitars. It’s the sort of thing some ambitious bands were able to succeed with in the ’70s or ’80s but not so much since. That’s the second track on Go, following album-opener “Monster,” which introduces The Outfit fittingly as a power rock band, perhaps hinting at some later variety via guitar runs that spin forth from the pounding, heavy rhythm.

The third track, “Big Eyes,” is another favorite and perhaps the uptempo song with the most crossover hit possibility in this collection, at least across fans of various guitar-driven rock subgenres. The heavy music bed and screaming guitars part periodically for the fun-to-sing-along with “hey, hey, hey, big eyes seem to follow you; hey, hey, hey, big eyes seem to haunt you.”

Of course, “Mountain,” a rock ballad, has this record’s most crossover appeal, with the ability to reach beyond guitar rock fans, as slow rock songs more often reach the broadest audiences.

The first of two very British, punk-recalling rockers, “Elo Kiddies,” is up next. (That song title would be pronounced “ello, kiddies!”) This sort of irreverent attitude won’t be found again until the last song on the record, The Outfit’s raucous cover of “God Save the Queen.”

“Go” marks the return of smoothly heavy rock, a full-tilt, energy rocker driven by its powerful rhythm section and the repeated, singalongable lyric “If she won’t go, I will go.” “Fire Eye” follows, with a heavy thumping rhythm and vocal delivery that recalls “Arrival of Jane,” with an almost haunting vocal delivery transitioning to a brightly engaging chorus.

The album’s penultimate track, “You Say,” is probably my favorite song on the back half of the disc – though it’s close. This song is built on a steady rock rhythm with one of those attention-grabbing, stop-and-go-boom pauses between the verse and the chorus. It’s actually the last track performed in the predominant style found throughout Go; as I noted above, the disc closes with “God Save the Queen,” which really is a fun way to close the record.

Looking Ahead

As the band notes in this Facebook post, there’s a new record on the way. I can’t wait to hear it! This post gives a release date of March 14th for the new album’s first single, “Hard On Me.” You can pre-save at this link (or click through to view, post-release).

Single Reviews: Michelle Forziati – “Stranger” and “Strings”

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Michelle Forziati – "Stranger" single cover

cover design by Michelle Forziati; image courtesy of Knyvet

Single Reviews of Michelle Forziati: “Stranger” and “Strings”

Michelle Forziati‘s biggest claim to fame so far is as an actor, appearing in the 2017 film Stronger. Songs like “Stranger” aim to change that. This cool, slow-groove, R&B-based pop song shows off her emotional vocal chops. The song is soft and slow, with a lot of empty space around the pianowork and an echoey vibe that’s consistent with some of the mellower work of pop singers like Nick Jonas, who would be one of many headliners for whom Forziati would be an apt opening act. “Stranger” is an addictively engaging song, likely to become a staple of your personal playlist after a few listens.

Michelle Forziati – "Strings" cover art

cover design by Michelle Forziati; image courtesy of Knyvet

Shortly after the release of “Stranger,” Forziati dropped another single, “Strings.” “Strings” is a slightly more uptempo number, though still a slow song, featuring syncopated rhythms and displaying some vocal variety with choppier diction in spots where it’s appropriate. It’s a nice companion piece to “Stranger,” forming an enjoyable one-two punch as back-to-back listens.

What’s Next?

There aren’t any recent posts on Forziati’s Facebook page or at her Instagram or her TikTok accounts, but it’s worth following them to find out when she announces her next move.

Album Review: Fernando Perdomo – Self

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Fernando Perdomo

photo by Claudia Adamczyk; photo courtesy of Fernando Perdomo

Album Review of Fernando Perdomo: Self

You’ve read about Fernando Perdomo a few times here at the blog. And you’ve almost read about him a few more times, when his music crossed our desks during times we simply didn’t have time to review all the great music we received. Between performing and recording with other musicians, both well-known and lesser-known, producing others’ music, and recording his own, Fernando’s music output is prolific. His sterling reputation, for his talent and hard work, is well-deserved.

Fernando Perdomo – Self album cover

image courtesy of Fernando Perdomo

Fernando’s mid-2024 release Self showcases a broad swath of his rock ‘n roll influences, including energetic, hooky, old-school rock, progressive rock, and experimental and quirky rock.

Disc-opener “Searching For Myself” gives off super-strong Beatles vibes. The soft guitar strums and lilting tone support Fernando’s not-as-gravelly-as-it-first seems vocals, which express emotion and stylistic range throughout the various corners of this song.

Next up, “Everything Leads to Now” sports some nifty guitar-plucking and is a little more experimental within the confines of a classic pop-rock musical envelope. Can someone help me here? In some of the more creatively-unique spots, it’s not exactly hints of Moody Blues I’m hearing, but it’d be someone they might share a stage with.

“Optimist Prime” is a swift, energetic, relatively fast-paced catchy pop-alt-rock ditty that you’ll probably remember from the frequently-repeated lyric “my way” until you learn the song title. It’s the tempo and electric energy that’ll get you hooked.

Fernando Perdomo

photo by Erik Nielsen; photo courtesy of Fernando Perdomo

“Absolute Silence” is a grainy, dreamy number that floats along as if elusively off in the distance like a mirage. Or as if you’re listening to it while floating in a swimming pool at a kitschy Route 66 motel. It’s not far from being shoegaze, even.

“Who I Really Am” is a slow-paced number with a kind of funky ’70s vibe.

Instrumental “All of Us Under the Same Moon” has one of the more memorable chord progressions on the album, as the guitarwork trickles like a stream across a bed of music pebbles.

And the album closes with what’s probably the most progressive/experimental rock thing possible – a nearly-20-minute track entitled “Self.” Essentially, the entire B-side, if this were on vinyl. The song is a meandering journey, but it’s so tightly assembled that, when it’s over, you realize that, while it’s clearly a long song, it doesn’t feel nearly as long as the 19 minutes and 41 seconds that elapse. The song itself is a journey to self. Or perhaps mostly Fernando’s self.

And that’s really what it’s all about. As Fernando himself says, “Self is not just an album. It is a definition of who I am. It is the most complete statement I have ever made as a recording artist.” We should thank him for sharing the statement with us; it’s a cool musical journey.

More Recently

Since releasing Self in 2024, Fernando has committed to releasing a series of “Waves” albums in 2025, one each month. Waves and Waves 2 are already available, while Waves 3 can be preordered. Fernando has also released a cool single entitled “Is That Love.” All of those recordings can be found on his bandcamp page.

Single Reviews: Smitt E. Smitty & The Fezztones – “Bye Bye Sunday Afternoon” and “#1 Most Likely”

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Smitt E. Smitty & The Fezztones

photo courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Single Reviews of Smitt E. Smitty & The Fezztones: “Bye Bye Sunday Afternoon” and “#1 Most Likely” (Rock Garden Records)

Smitt E. Smitty & The Fezztones released “Bye Bye Sunday Afternoon” last spring. It was the group’s first release for Rock Garden Records, an excellent selection and an outstanding introduction to the band, an eight-piece Boston outfit comprised of Subtle (JoEllen Saunders Yannis, vocals), Serious (Linda Bean Pardee, vocals), Smitt E. Smitty (vocals, drums, harmonica, keyboards, percussion), James Melanson (guitar), “Crazy” Eddie Nowik (guitar), Andrew Padua (bass), Jonathan LaMaster (violin), and John Sestito (drums).

Smitt E. Smitty & The Fezztones – "Bye Bye Sunday Afternoon" single cover

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Now, I’ve been racking my brain to figure out what Smitt E. Smitty & The Fezztones’ “Bye Bye Sunday Afternoon” reminds me of. It’s a kickin’, medium-fast tempo number with a completely fun vibe and clearly enunciated lyrics despite a seemingly somewhat raucous musical backdrop. There’s a timeless, somewhat old-fashioned feel to the music, which is best dubbed simply rock ‘n roll. But it took my probably too long to realize that the underlying musical vibe was very B-52s-ish. I could seriously picture the B-52s performing this. Not exactly, of course. Smitty & The Fezztones have a unique sound all their own, but “Bye Bye Sunday Afternoon” will absolutely appeal to fans of that light-hearted, vibey rock music style. Or, of course, rock fans in general. It’s a fun song that I’ve been digging for months now, and it never gets old.

Smitt E. Smitty & The Fezztones – "#1 Most Likely" cover art

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

More recently – just a week ago, in fact, on Valentine’s Day – the band released its new single, “#1 Most Likely,” sporting the very Valentinesy lyrics “You’re #1 most likely to break my heart.” The song sports an old-school mainstream alt-rock feel – I could almost hear Simple Minds singing this song, though not quite with Smitt E. Smitty & the Fezztones’ pizzazz. Still, this song would fit well on a John Hughes movie soundtrack. Sound interesting? Unlike “Bye Bye Sunday Afternoon,” which was an immediate favorite, “#1 Most Likely” actually took a few listens to grow on me, but now it’s stuck in my brain. I can’t necessarily explain why; it’s a great tune. See what you think!

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.

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.