SOUND & SHAPE – The Love Electric

Mixing the spasmodic sounds of The Mars Volta and the tranquil interludes of Pink Floyd, Sound & Shape give us their unique brand of prog rock with The Love Electric, a five-song EP marking their second release to date.

The title track starts off the album with hectic guitar passages backed up by harmonious vocals. These harmonies carry throughout the album in several tracks, which provide some relief from the musical chaos that drive this album in a great direction. There’s something about Ryan Caudle’s vocals that reminds me Elvis Costello – but what took me by surprise was the unexpected use of saxophone by guest musician Jim Horn (who has worked with Steely Dan and Frank Sinatra) during “And We Begin As Two.”

This album has a level of unpredictability that definitely held my attention until the very end. The musical ability here is on point, especially the dynamic drumming of Jerry Pentecost during the last track, “The Solitary Journey.” I only hope these guys grow more and more experienced with each album they put out. What’s a shame is that odds are most progressive rock fans have no idea this band exists. Perhaps this album will open some ears and change that.

(Engineer Records, 210 William Street, Boonton, NJ 07005)

THE FLYING CHANGE – Pain is a Reliable Signal

Sometimes when you are listening to a certain song or album you can sense the exact feelings being conveyed by the musicians involved. When I listen to Simon and Garfunkel’s “America,” I can close my eyes and picture life crossing the country on a bus back in 1960s. Pink Floyd’s Wish You Were Here gave listeners an inside look at their feelings towards their friend and former band mate Syd Barrett. The same could be said about Pain Is A Reliable Signal by singer-songwriter Sam Jacob’s The Flying Change. The album tells the story of Erica, Jacob’s wife, and her battle with a debilitating spinal condition that leaves her in constant pain and leaves Sam and Erica’s relationship in near ruins.

The 10 tracks that tell this heartbreaking story hit you like a ton of bricks with their intense emotional tone. Jacob’s voice — especially on the first track of the album, “Broken Bow” — comes across sounding a bit like Leonard Cohen while being backed up by a beautiful choir of female voices. “If You See Something” lightens the mood with playful sounds of ukuleles and scattered horns; all while “St. Mary’s” rock distortion edge throws listeners a curve ball in the midst of all the somber tones.

By the end of the album, you feel as if you watched a movie. You truly feel Jacob’s pain and regret. There’s something brutally honest and haunting about the collection of songs featured here. They will pull at your emotions and leave you in a state of awe. Pain Is A Reliable Signal will not only please the ears but it will also leave your imagination reeling as it rides this emotional musical roller-coaster of pain, love, and fear.

(Scarlet Shame Records, PO Box 20680, Park West Station, New York, NY 10025)

EXETER – Grey Noise, White Lies

Self-describing their sound as “space rock,” Exeter rocketed onto the Austin, Texas music scene over four years ago and are now ready to send their debut full-length effort into orbit.

Grey Noise, White Lies attempts to grip the listener with a mix of driving rock tones and spacey guitar riffs that drift about from song to song. The album opens up with “Bittersweet Vanity,” a lively tune that really showcases their drummer Ky’s skills. The title track comes in halfway through the album in the form of a very impressive instrumental sound that clearly highlights the band’s instrumental prowess. In terms of vocals, lead vocalist Mike shines on tracks like “Widowmaker,” but his overall performance throughout the album comes off bland and uninspiring, clearly a disappointment considering the instrumental tightness of his band mates. In my opinion, "Numb" is the best track on the album, capturing the very best of what Exeter has to offer. The track mixes their orbital ambient sound with intervals of heavy breakdowns and dark hard hitting lyrics.

Grey Noise, White Lies is a fairly solid first full-length effort backed up by a really impressive group of musicians. While it’s not exactly “out this is world” material, Exeter has an exciting sound that should continue to be fine-tuned as they mature as a band.

(Engineer Records, 210 William Street, Boonton, NJ 07005)

MARMOSET – Tea Tornado

Oftentimes in the realm of independent music, an artist or album comes around and banks on the idea of a gimmick rooted in simplicity and familiarity. A poet recites dark drab stories of love lost, drunken highs, and drugged lows while the band plays loosely along. Songs full of silly childish lyrics are only regarded as “cute” by adoring female fans.

This is pretty much the end result of Marmoset’s newest album Tea Tornado. Their sound can only be described as an attempt to capture the lo-fi post-punk garage sound that’s already been done a million times over. Tracks like “Hallway” catch the band attempting at a pop-psychedelic vibe, but cuts like “”I Love My Things” and “Written Today” are built around repetitive juvenile lyrics based on a garage rock beat. As someone who is new to Marmoset, this album does nothing for me in the way of bringing any excitement of a new musical discovery.

(Joyful Noise Recordings, PO Box 20109 Indianapolis, IN 46220)

HERMIT THRUSHES – Slight Fountain

What can only be described at multi-instrumental acoustic experimentation, Hermit Thrushes brings you their newest piece of work, Slight Fountain. This 14-track album comes across as a twisted yet respectable homage to the sporadic sounds of Frank Zappa and the Mothers of Invention, as well as the classical acoustic folk sounds of decades past.

The album tracks through quite smoothly considering some of the songs involve unconventional tempo changes, like in the song “Push.” One of the more subtle yet impressive cuts on Slight Fountain is an acoustic guitar instrumental track entitled “Headless.” “Found House” is an off-tune multi-instrumental psychedelic pop piece that accentuates the controlled madness that encompasses this band’s odd sound.

Although the likeliness of mainstream success with a band like Hermit Thrushes is unlikely, I think those with an open musical mind will enjoy this album for its quirkiness and heart. Heart…now that’s something missing in music these days, and it’s clear these guys aren’t afraid to show they have it.

(Joyful Noise Recordings, PO Box 20109 Indianapolis, IN 46220)

THE STARTOVER – S/T

My liking for the pop-punk genre has definitely dissipated as I have grown older. The days of being packed in a crowd like a sardine for a 30-minute set of MXPX or The Ataris at Warped Tour feels like light years ago. Although I’m not actively singing along to songs about heartbreak and teen angst in my late 20s, I know that many are at a point in their lives when three-part harmonies and catchy guitar hooks can work wonders. That’s why The Startover has my utmost respect with the release of their three-track self-titled EP. Hailing from the UK, These lads are laying down a vibe that should please those who fancy the pop-punk sound. Besides the harmonious vocals, the bands instrumental talent is fairly strong with several guitar and drum breakdowns throughout the effort. If you are a fan of the genre or just looking for a new sound to bring back those nostalgic teenage feelings, The Startover bring the goods.

(Engineer Records, 210 William Street, Boonton, NJ 07005)

ACTIONREACTION - 3 IS THE MAGIC NUMBER

Handclaps and a mid-temp rock beat starts off 3 Is The Magic Number, the debut album from the progressive rock outfit out of New Jersey. The eleven tracks contained on this disc have a mainstream rock feel, something I'm not too fond of these days. Jason Gleason's vocals seem to replicate Bono's (of U2) sound to a tee, therefore giving off a feeling of unoriginality. Musically the band is at top form but fail to really let loose. This meaning that everything sounds so scripted and planned out leaving no room for improvisation or experimentation. Although I wasn't all that impressed with this album, I'd recommend it to those who enjoy no thrills, no frills straight ahead rock.

(Review originally appeared in the December 2006 issue of Big Wheel Magazine)