An Electrifying, Eclectic Edifice of Ebullient EP's - Featuring The Enders, Hailmary, Mowgli, Engloria, and Cellarscape

 The Enders - S/T EP

I just dig this band.  From the first rumbling of the post-punk flavored bass run that brings in "Role Model" The Enders have gone out and released another near-perfect slab of post-hardcore flavored punk.  Big runs on that bass rolling over the driving drum beat.  Then the guitars chug in, subtle at first, then gaining momentum with a mounting frenzy.  Big chords crush out, followed by runs of a chiming guitar.  All layering upon each other perfectly until the big chord riff finally crushes in and the song is in motion at full speed.  Yep, that was just the intro, and a killer one at that. I think of some of my favorite songs by The Estranged (who'd make a killer touring companion) and I'm in my own little punk nirvana.  I don't know what references to toss out.  Black Flag?  Probably.  Government Issue?   Perhaps.  Dag Nasty or some other cross over band?   Sure.  The Estranged again?  Ok, but you might not know them.  So what's left?

What's left are 5 songs of pure charging punk.  Touches of a metallic edge.   A dark veil like some of the best post-punk bands of the '80's.  A sneering attitude full of bile and spit.  And songs that simply rock.  "Roll Model" may be the best of the lot with it's catchy as hell riff, but that by no means dismisses the rest.  "Martyr" stutters out of the starting gate with a stop start bass/drum confrontation, then the song gets pissed and anger flies out of the strings.  Benny No Good does a good job with the vocals, clearing the sputum and disgust from his vocal chords with the right tonality of "fuck you" but still with enough of a true singing edge that you could play this for someone who wasn't a hardcore fan.

"Split Decision brings back that big bass intro that I love so much before the guitar jumps in and drives the song into my midbrain like a pneumatic drill.   This is killer post-hardcore punk.  Again, The Estranged rages to my mind, mainly because they're currently one of my favorite punk bands.  Well, them and the Enders.

The Enders recently signed to Unrepentant Records.  A full-length album is coming.  I heard it's gonna be much more in the hardcore punk vein.  But don't wait.  Track down this EP and punk your brains out.

Hailmary  - A Million Miles and Days

Damn if "Live it and Breathe" doesn't rock the start of this 5 cut EP by Perth's Hailmary with just about the best gunbarrel garage/grunge blast I've heard in ages.  I mean, let's look at it honestly.  If you're gonna listen to a 3-chord rock crusher what is it that you want to hear?  Those chords ripped through with a sense of passion and urgency.  Some serious hooks big enough to grab you by your spleen and yank you into the band's world.  Volume and attitude cranked up way past the max and a chorus that just demands that you sing it to the world at the top of your lungs, thus insuring you become the town laughing stock at every red light you stop at.  If you agree with this rudimentary assessment, then Hailmary may just be the band for you, because "Live it and Breathe" is one monster thrasher of heavy rock, garage-tainted guitar assault.  A while back, Pope and I screeched the virtues of the band Mardo.  Hailmary sits comfortably right by their side, or rather smash the stage comfortably by their side.

"Don't Believe Everything You Hear" follows next but that's not to say it's second rate.  Riding a finger twisting bass run, "Follow" tears through it's message of gut-busting rock adventuring with the same abandon and even a touch more refinement in the chorus.   Not to say the guys got soft, just wait til the chorus ends and that bass run forces it's way right back down your throat.  Just killer rock.  "You Ain't the Man" is another big-barreled blaster of beefed up bass-built badassedness.   Three chords crush and smash and basically wreck havok on civilization.    Slower cuts like "Bringing out the Best" and "Lottery of Life" round out the proceedings and are a necessary variation in tempo, but really, I want the adrenaline.  I'm a junkie, and Hailmary has me hooked.

Mowgli - San Francisco 7"

As the title suggests, Mowgli are a Southern Californian indy rock band with their eyes set firmly on the glorious days of San Francisco past.  Mixing a Polyphonic Spree and Arcade Fire modern rock sensibility into their version of SF's Haight Ashbury summer of love, Mowgli unleash these three tracks of summertime bliss.  And two of the three ain't bad.  Opener "San Francisco" and follower "Slowly, Slowly" are buoyant, bouncy slices of feel-good sunshine pop with driving beats, big strummed guitars and singalong choruses.  Normally, mention Polyphonic Spree or Arcade Fire in a review for me would be the death knell for a band, but Mowgli manage to avoid all the trappings of egomania and pretense and stick to what they do best, "do-do-do dit do-do-do" ditties.  And best of all these two tracks rock tough enough to avoid becoming snooze fodder.

The third track "Carry Your Will" is a slower acoustic dirge that never really finds itself, discovers it's purpose or goes anywhere.  A throwaway which fortunately does nothing to diminish the pop smarts of the previous cuts.

On their materials, Mowgli says that they have set out to win your heart and save the world with love, laughter, and hand claps.  And really, is there anything wrong with that? 

Available at "name your price" at http://themowglis.bandcamp.com/track/san-francisco



Engloria - Drive EP



Earnest alt-rockers, Engloria from Albany, NY produce radio-ready, perfect pop along the lines of fellow New Yorkers, The Goo Goo Dolls.  Well, the gentler side of the Goo Goo's that is. 

This 3-song EP has just about everything the band needs to introduce themselves to the world.  Title track “Drive,” is an up-tempo rocker in the Gin Blossoms vein with some big ringing guitars and a chorus catchy enough to be scientifically classified as an earworm.  No doubt, alt radio should be clamoring after this baby.  “Out of Love,” keeps the earnestness running high with it's mid-tempo reflection on life's changes.  More acoustic based, this cut is no less catchy or well written.  The guitar driven melodic love ballad, “Made for You,” wraps things up with it's plaintive yearning.

All in all, it's pretty impressive stuff.  The world always needs some radio-ready indy stuff from folks who can actually write a good tune, and Engloria neatly fit that bill.  The biggest problem with this release is that the production is so low key, it actually sounds more like a demo, than a radio ready product.  Which is actually kinda cool, in it's own right, but probably not what programmers are looking for.  Also, with the repetitive use of words like "earnest" in this review, you may get the feeling that the boys might take themselves a tad to seriously and might benefit from adding a touch of lightness and humor to some of their songs.  And never be afraid to rock out.

But this is only 3 songs, so I won't pass judgement.  I'll just recognize these tunes for what they are.  Neatly prepped slices of indy pop confection.

 Cellarscape - A Theta/Delta Union

And finally, something to calm you down after all that rock.  Cellarscape is the brainchild of Paul Terry who plies a quasi-Luka Bloom-esque alt-acoustic trade of near-soundtrack inspired pop.  I reviewed his earlier work a while back, now he returns with A Theta/Delta Union which brings his haunting compositions to the light with fragile guitars and lush orchestration.

The beauty of Paul's work is the dynamic tension that he captures in the spaces between the crash of a guitar chord and his voice.  In his best work there always seems to be a threat of violence, as if it could erupt at anytime.  That tension keeps me on edge as I listen rather than sitting back, getting comfortable and falling asleep.  His songs actually bristle with a vibrating energy.   The whole experience can only be thought of as hypnotically majestic.  

This cinematic presence is perfectly captured in opener "This is a Shelter" with it's crash and stab of acoustic guitar, haunting spaces and underlying threat.  It's amazing how dark the song can sound with really not much more than an acoustic guitar, some piano notes, and some strings.  "Snowglobe" reminds me of some of the acoustic work of prog-minded bands like Porcupine Tree or OSI.  Mesmerizing stuff.

If you're in the mood for a different kind of tension, where mood brings the power, this may be for you.  The whole EP can be streamed for free at www.vibedeck.com/cellarscape.


--Racer

Beehoover - Concrete Catalyst

I strode with purpose into the anteroom outside of the Oval Office on my way to see the President.  The President’s receptionist attempted to stop me, but one look at my intense demeanor was enough to convince her that I would not take kindly to being hassled or delayed.  Five strides and I was across the room, forcefully opening the door, and making one last mental check of all the information I needed to relate to the Commander in Chief.  I knew I would be interrupting a meeting the President was having with some of his top advisors, but this situation could not wait.

“Ladies and gentlemen.  No time for pleasantries I’m afraid.  I need the room…right now.”  My words complemented my glare in persuading all of the advisors that I meant business, and they quickly extricated themselves from the office.
“Okay Secretary Penfold.  Would you mind telling me what this is about?”
“Mr. President, we have a situation.”
“A situation, Secretary Penfold?”
“Yes sir.  We have just received intelligence defining a clear and present danger to the United States of America, as well as the rest of the world.”
“All right.  Where does this threat come from?”
“Germany sir.”
“Germany?”
“Yes sir.  Two Germans have created a new weapon ripped directly from our worst nightmares.”
“What kind of weapon are we talking about here?  Nuclear, chemical, or biological?”
“None of those, sir.  This appears to be an entirely new type of weapon.  It is auditory in nature; a sonic weapon so to speak.”
“It uses sound?”
“Yes sir, music to be exact.”
“Music?  Seriously Secretary Penfold?  What exactly can this music do?  I listen to music everyday, but we don’t raise the country’s alert status every time I turn on my stereo.”
“Correct sir, but this music has been specially formulated to affect the environment it’s played in; specifically buildings and structures.”
“What do you mean Penfold?”
“Sir, what was the last Hollywood action film that you watched?”
“I think it was a James Bond movie or something, but what does that have to do with anything?”
“Just humor me sir.  Were there many explosions in the movie?”
“Of course!  It was an action film for crying out loud!  There were things exploding in almost every scene!”
“Mr. President, do you remember any ordinary building blowing up, one that did not contain any kind of explosive or accelerant?”
“Yes.  Now what is the point of this line of questioning?”
“That is exactly what happens when this music is played.  This music acts as a concrete catalyst.”
“Penfold, are you saying…”
“Yes sir.  Point a speaker playing this music at a concrete structure, or even something built with a small concrete component, and it will explode like a giant stick of dynamite!”
“Mercy!”  The President paused for a moment exhibiting grave concern.  “Tell me we know who has this weapon Secretary Penfold.  Tell me we know where it is!”
“We do sir.  The two men responsible form the band Beehoover.  Their base of operations is Esslingen, Germany.  They are located there now.”
“Good.  Send a representative immediately.  We need to make contact with these men as soon as possible.”
“Yes sir.”

Waveriders I give you Beehoover; the righteous, mighty, and inventive two piece ensemble from Germany that is out to send your musical enjoyment scale into tilt territory.  Analyzing my own listening history, it was a forgone conclusion that I would embrace this band with wide open arms.  Honestly, I feel as if a focus group looked into my brain, checked off the musical elements necessary to excite me, and compiled several of them to produce Beehoover.  Let’s break it down as simply as possible, shall we?  Beehoover sounds like an aggressive version of Tool, with a splash of Primus, topped off with Clutch-like vocals.  Don’t worry.  I’ll wait for that last sentence to properly sink in before continuing.  No…I completely understand.  Trust me.  I feel exactly the same way!

Concrete Catalyst is the third full length album, and fourth overall release from this dynamic duo.  The epic nine song experience monopolizes attention spans for its entire fifty minute duration.  There is no let-up.  None.  Zero.  All killer, no filler.  You know the drill.  Take care of any errands or responsibilities before listening because once that play button is pressed, you’ll be lost to the world under a constant barrage of enormous riffs, bottomless grooves, and brave explorations.  Perhaps the highest compliment I can give this album is that it makes me lose track of time.  I’ve lost multiple hours already, and this album shows no sign of relinquishing its grasp on me any time soon.  Problematic?  Not remotely!

As previously noted, Beehoover throws an avalanche of hammering riffs at the listener that refuse to be ignored.  Pick a song, any song.  No matter which one you choose, at some point you will be enveloped by wicked bass riffs and thunderous drumming.  It is unavoidable.  My two favorite songs from the album are “Sultana” and “Counted Is Bygone”.  “Sultana” begins with majestic, cascading bass chords that quickly transition into dissonance complemented with booming, echo heavy drums.  About a minute and fifteen seconds into the song the central heavy groove kicks in, producing instant fist pumping and head gyration.  “Counted is Bygone” burns brightly right from the start.  Quick, intricate bass strumming coupled with staccato drumming dominates the first half of this song before the latter half springboards into a full-on exploratory journey.  All of the musical exploration perfectly complements the sonic makeup of the song, serving to greatly enhance an already riveting performance.  Just fantastic stuff!

So there you have it waveriders.  If you a) are a fan of incredibly interesting heavy music, b) need a group to prove to you that a bass can in fact make you forget the need for a guitar, c) miss the sound of some of the nineties biggest non-grunge bands, or d) simply want to keep an eye out for what those wily Germans come up with next, you need to pick up Beehoover’s Concrete Catalyst.  Now let’s get back to the White House.

“Secretary Penfold, give me a status report.”
“Mr. President, our representative got there too late.  The music had been pressed and shipped out already.  The album had been uploaded onto the internet as well.”
“What does this mean Penfold?  What can we do now?”
“There is only one thing to do Mr. President.  We can’t stop the spread of this music.  We fully understand what chaos will result when people listen to this album.  All we can really do is set our top scientists and industrialists the task of finding a substitute for concrete.  I have a feeling we’re going to be rebuilding a great many things in the near future.”  After I finished my last sentence, the noise of distant explosions began to reach my ears.  It had begun.

--Penfold


Buy here mp3: Concrete Catalyst
Buy here: Concrete Catalyst

Syn - Matter of Time

What were you listening to in 1993? I know I was listening to whatever was floating around the airwaves of California’s Inland Empire. Tangent: The Inland Empire is no empire unless you’re a meth addict or have an unhealthy appetite for porn. Anyway, odds are I was listening to something from Alice In Chains, Pearl Jam, Soundgarden, Live, Faith No More . . . basically any of the alt rock, grunge, or bizarre metal of the day. I certainly wasn’t listening to Syn’s album, Matter of Time . . . and that’s really a damn shame. This album is shockingly good by all accounts. It has strong songwriting, excellent musicianship, songs that have a perfect balance between ballsy rocker to sweet and sentimental ballad, but the album never gets sappy; catchy tunes that become instantly recognizable, and I have my brother-in-arms, Racer, to thank for turning me on to this gem.

It was one of those fabled Rasputin’s bargain bin dives some years back where we were driven slowly insane by the repetitious clickity-clack of plastic CD cases, cold concrete floors driving joint ache deeper into our bones, and the open hostility of shop keep’s and fellow shoppers due to our senseless banter and idiotic behavior. Hey Racer . . . remember, you double dog dared me to break dance in the aisle! Anyway, at some point in the six hour marathon, he handed me this disc from Syn and told me it was good, give it a listen, try it . . . you’ll like it. So, I did. And, I did and still do. Obviously. Otherwise, I wouldn’t be tippity-tapping on my keyboard to tell you about it. The music on this gem is rock, but it hits the listener from a number of different directions. One minute a little Kentucky fried, a little swampy, but not really full on southern rock, then Syn dips their big toe in the murky waters of grunge/post-grunge, before throwing in huge elements of good ole modern rock vibes.

The first two tracks on this disc are impeccable rock songs, full of hooks, catchy melodies, nuance, rich vocals, and high quality musicianship. “Love On My Side” is simply beautiful and a great way to catch the listeners attention, powered primarily by some slick, though somewhat raw production work, and vocals that have aged for anywhere from seven to ten years in an oak keg somewhere in the back hills of Kentucky. The constant hum of the Hammond organ provides the song with that southern feel, but the song doesn’t come across the same as a Skynyrd or Allman Bros. tune . . . maybe it’s the modern recording of the track that makes it sound more vibrant, I don’t know the reasons, but it’s a solid track. “Love On My Side” initially reminds me of The Wallflowers first album, but that quickly vanishes once the vocals push their way to the front of the mix. The song just has an earthy, organic vibe to the whole thing; it lacks all pretention and just evokes emotion on so many levels.

“Bleed” follows up the lead track in perfect fashion, a heavier dose of straight up rock led by some serious wah’ed out guitars. This track has a bit of that early 90’s Pearl Jam driving rock feel, but the vocals sound like a mixture of the late Michael Hutchins (INXS), especially as he croons his way through the verses, and the quasi-banshee wail of Chris Cornell. The guitar solo is something straight out off of Ten, which isn’t a bad thing, full of dynamic wah pounding action; tapping a bit of that Hendrix vein as the notes bend to unnatural notes. In 1993, this song could easily have been in rotation with any of the “grunge” bands, especially Pearl Jam, as it has that classic rock meets modern aggression thing going on . . . crisp production mixed with the classic rock n’ roll swagger.

“Hey John” is a nice sentimental ode to John Lennon. The song is packed with Beatles references and these guys do a good job of making it an interesting song when it very easily could have come across as sappy and full of gimmick. The vocals on this track come out sounding like a bizarre mixture of Dave Matthews and Adam Duritz of Counting Crows, but they’re effective in conveying the emotion of war and peace and the apathy of society towards the violent world we all live in. Gotta’ say, I love the bass tones and sound the production team got out of the drums! Both instruments sound huge without overwhelming the song, without burying the message of the song or crushing the guitars as they strum out their melodies. Pretty frickin’ cool song!

Matter of Time closes as strongly as the disc opens. “Take It Back” is another ballsy rocker littered with some damned fine guitar work, heavy textural stuff, volume swells, huge waves of chorus and delay . . . simply put, great elements that add flavor to the music. Note the low end work as the bassist strays out of the pocket just enough to keep the listener guessing, adding flourishes of interest as the guitars create ambient sheets of sound. The vocals, as they’ve been throughout the album, are a solid, powerful entity. It kinda’ has that Live sound, especially in the guitars, but also in the way Syn composed the song, grandiose and epic while remaining confined in a five minute piece of music. Album closer, “Matter of Time,” is a piece taken straight from the mind of Page/Plant. The arpeggios plucked from the acoustic six string combined with the vocals give the listener the sense that something big is happening, something epic, and sure enough . . . when the band goes electric and the chorus hits it’s crescendo, it’s like all of those great Zeppelin moments revisited. This song also has me hearing a bit of Doyle Bramhall II, in particular, the Welcome album.

I can’t find a damn thing on Syn other than a few references that they did exist at one time or another, and that they released Matter of Time. Other than that, they seem to be another band that’s been lost to history, another carcass left to rot on the side of the rock n’ roll highway. It’s really too bad too coz’ if this album is any indication of potential future music, then we could have had a nice collection of honest, high quality rock that would have made the 90’s feel like less of a wasteland. Though they constantly remind me of other artists, they never sound so much like anyone else that it sounds like they’re lifting anybody’s schtick. There’s a good combination and balance of old and new sounds mixed within these songs and the album is worth every cent that you spend on it, especially since most of the copies that you find will be in the bargain bins. Matter of Time rocks, it soothes, it’s soulful and high energy and ultimately, a gem of music that was grossly overlooked when other, much less adequate, music engrained itself in our social conscious.  -  Pope JTE

Buy here: Matter Of Time

Nemo Joe - Still Spinnin'

Sometime back, a number of months ago really, I wrote up a review on a progressively tinged rock band from Minnesota called Oceans. Though filled with many memorable moments, the element that sticks in my head the most is the warm as a lover’s bosom bass tones. I mean, the low end on that disc made everyday feel like summer. So, when word came across the Ripple News Wire that the bassist from Oceans was working on another musical project called Nemo Joe, I got down right excited. And then I waited . . . and waited . . . and patiently waited some more, until postman Sal with sweat on his brow, clambered up the steps to our office and deposited the album on my desk. I’m not certain why Sal keeps this route. We’ve yet to give the guy a Christmas card as a gesture of appreciation for his years of service. I hope the dude doesn’t go all axe wielding and maniacal on us . . . mental note: Purchase Sal a fruit basket.

Once again, I digress.

Still Spinnin’ from Nemo Joe is a fairly straight up rock album, featuring some elements of heavy distortion leaning in the way of 90’s era grunge. I had expected Nemo Joe to have more of a prog-rock thing going on, probably because of the bassists association with Oceans. But, it turns out that most of the songs are shorter and more concise, in a standard rock n’ roll vibe, dealing less with musical virtuosity and more with the craft of catchy songwriting. There aren’t any songs dealing with heavy subject matter like foreign wars, human rights, drug addiction or suicide. These songs are in the classical rock n’ roll sense of having fun while giving the listener glimpses of the struggle of simply living and heartache through personal tales, sometimes told in a humorous or cleaver manner.

“Fear” kicks off the disc with a full scale ballsy rocker with tight breaks and a great amount of musical dynamics. First off, the main riff running through the song is compelling in its simplicity, once again showing that a musician doesn’t need the most technically elaborate to drop a bad ass riff. It’s actually a very zen philosophy. Beauty is within the simplicity. And here, we see that less is more. The space around the notes allows the sound to reverberate longer, carry deeper tone, and opens the air for all of the instruments to shine together. Very possibly the heaviest song on the disc, “Fear” borders on the spectrum of metal. Listening to this track through big speakers is a must! There’s a lot more going on in the music than one might hear in a more casual listen. The bass work of Paul Hansen is monstrous, stuffing great fills into the tightest of nooks; guitarist Mark Johnston lays down a freakish sounding wave of guitar textures for a solo, and drummer Rik Wenzel acts as the train engineer . . . shoveling scope after heaping scoop of coal on the raging fire to propel this beast through the soul.

“7th Heaven” opens with a heavy as lead low end groove. The overall sound of the song takes me back to the mid 90’s and post grunge sounds that filled the airwaves. Dissonant growls of distorted guitars over walls of rhythm make up the core of the song, but it’s the vocal performance that suddenly shifts my focus from my shoes to the world around me. The song in infused with a healthy dose of fun. It bounces and grooves, keeping the mind off of the tumultuous surroundings and focused more on smiling. Listen to the guitars, not so much in their role of rhythm, but more in the way of the textural melodies that Johnston sprinkles throughout the track.

“Throw Away” is pure enjoyment! Not only does Nemo Joe provide a great rockin’ soundtrack, but the lyrics are well written, describing a symbolic love being left to rot in a trash can. This is as great a rock n’ roll song as there is! It’s upbeat, well crafted, has great instrumentation running through it, and the lyrics are sold through a compelling vocal performance. The break at the midpoint is awesome . . . as the guitars have an almost psychedelic quality to them, swirling around the open spaces and casting a hazy shade over the music. Also, listen to how tight these guys get once the guitars return to a more rhythmic role, crashing in time with the off kilter groove of the rhythm section. It’s refreshing to hear rock played with such gusto. “Throw Away” feels immediate and comes across in this almost manic sense where the singer’s frustration becomes real. And then, the acceptance of having his love thrown away sets in and he gets on with his life. Love it!

Listening to Still Spinnin’ was just what the doctor ordered. The album took me out of the place of listening to the intricate details and cosmic dynamics of a lot of the music I had been listening to, and giving me something that was maybe a little less serious, less precise. Nemo Joe is a throwback, in a lot of ways, to the fun time spirit of rock music in the 50’s. Though I never felt like I was rockin’ around the clock, I did feel like I had to watch out for Runaround Sue. Nemo Joe provide a great selection of songs that deal with the emotional rollercoaster of love and relationships, in most cases, in a lighthearted fashion. There are no super heavy goth-y moments where the pain was so bad that I wanted to hide from the sun, garb myself in black, start wearing make-up, and then contemplate my own demise. Still Spinnin’ is made up of a more adult, more realistic idea that love comes and goes, and we might as well enjoy it while we can and get on with our lives. Musically, the album is too the point, with only a few songs breaching the four minute mark. I like that. Clean, simple, get in, get out, no one gets hurt. And ultimately, since the songs are of a shorter nature, it’s easier to go back and listen to them time after time without having to commit to a massive build up. Joe may be an average name, but Nemo Joe . . . well, there’s nothing average about these guys. - Pope JTE

www.myspace.com/nemojoe