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FINAL CUT REVIEWS & CHICANERY: OCT. 2009 - JULY 2010
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Jim Price
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Joined: 07 Dec 2002
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 Post Posted: Saturday Jul 10, 2010 
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FINAL CUT REVIEWS & CHICANERY: OCTOBER 2009/JULY 2010

I know, it’s about friggin’ high time I get another of these writs out there, as I’m backed up in CD reviews and need to clean house. CD reviews up shortly, but first a few accumulated commentaries and ramblings/rumblings of my cranium…

ROCKPAGE’S SILENT MAJORITY

Recently, a fellow Rockpager and I were chatting about…Rockpage. The other Rockpager indicated that he was planning not to visit or post on the website any more. Part of his decision related to irritation over some of the recent political bickering in the “General Discussion” area (welcome to the club!). But in addition, this person complained that other Rockpagers never showed up to see the shows he posted on the schedule and “Upcoming Shows” sections.

Are you sure “Rockpagers” aren’t showing up?

By “Rockpagers,” this person was referring mostly to the posters; the bands and musicians who most frequently post on the website…people whose faces and names he largely already knew.

But what about the “Rockpagers” who don’t regularly post, or people who visit this website who aren’t registered members?

Let me relate this to radio. In the radio business, it’s understood that only a small minority of listeners ever actively contact a radio station. Only a minority of folks will call in with requests, and only a small minority will call to participate in a radio talk show. The vast majority of listeners are passive listeners who hear what is being played or discussed, but aren’t motivated or interested in calling in to a station. If you listen to the Jim Rome Show, for example, Rome often references this; that the vast majority of listeners to his show are listening in offices or in cars and hear what is going on, but don’t have any incentive or interest in actually calling in or participating in the show. Only a small minority of listeners actually call in, email or text the program. The number of passive listeners who don’t participate actively is far greater.

This is the case on Rockpage. As of 1:30 p.m. on Friday, July 9, Rockpage had 3,514 registered users. Granted, a percentage of this number may no longer be active on the website, but a lot of this number probably still is and visits the site on a regular or at least semi-regular basis. Doing a quick and rough count of postings between Sunday, July 4 and Friday, July 9, some 90 different Rockpage members posted throughout the entire forum. If we assume that only a fraction of users actively post here, the number of silent members on this site during that same time period is much higher. And the number of visitors who are not registered Rockpage members is likely even higher.

Here are some numbers from Rockpage during a one-week period in early April…6,282 unique visits…number of pages on Rockpage visited: 62,076…441 posts made during that week’s duration.

Also, since I joined Facebook last year, I post links to my new recaps in “JP’s Corner.” The number of views on those recaps quickly jumps into the hundreds; figure that at least some of those viewers are taking time to explore other sections of Rockpage when they visit to read my recaps. And most of them are likely not registered members of this website.

According to what Rockpage main man Ron told me earlier, an average of 9.9 pages get viewed per visit by people checking out Rockpage; a high number indicating that most visitors here are interested and “local,” not just random visitors coming from a search engine hit.

Ron can probably present other pertinent numbers to back this up, but the bottom line is that many people still use and read Rockpage, even if they aren’t members or actively posting. And passive Rockpage visitors could just as easily be in your audience when you advertise a show; you may not recognize them because they lurk and read, and haven’t joined or actively post. So if you – as an area musician – are not using this site to post and market your shows, you’re ignoring a valuable resource for getting the word out. And if this website’s visitors and readers can’t read that you or your band is playing out somewhere, they aren’t likely to show up to see you, whether they are active posters or passive visitors. If you’re not posting your shows here, your loss…

THE UPS AND DOWNS OF MODERN RESTROOM TECHNOLOGY

Time for me to have an Andy Rooney moment, as I celebrate…and complain about…the marvels of modern restroom technology.

In recent years, we have seen many restrooms transform into safer and more sanitary “hands off” facilities. In men’s rooms (maybe ladies’ rooms as well, I don’t usually frequent those to find out), we have seen the advent of touchless urinals that flush themselves after each use, touchless sinks that use sensors to turn faucets on and off, touchless liquid soap dispensers, and touchless paper towel dispensers and blow dryers that also use sensors to roll out towels and air-dry wet hands.

I’ve become a fan of the “jet-powered” blow dryers especially. These are the ones that roar into action with the sound of a fighter jet taking off when you place your wet hands in front of them. Some of them (The men’s room at the City Hotel in Northern Cambria, for example) shoot air out at such an intensity as to produce “G-force” effects on your hands, practically blowing the skin from them!

Some of these are getting fancy, too. The Deli in State College (upstairs above The Saloon) has one which fires rotating jets of air on your hands to dry them! Incredible!

There is a down side to this restroom technology, however. At least for me, I have become so accustomed to the technology, it takes me by surprise when I use an “old-school” restroom where the technology has not yet been installed. I find myself having to backtrack to flush the urinal because it didn’t flush automatically; and I feel like a fool when I stand in front of the sink wondering why the faucet doesn’t turn on (I guess I should use the lever or knob, like I used to in the old days).

I salute the venues and restaurants that have installed this new technology. And to those who have not, GET WITH THE PROGRAM!

NOW SOME CD REVIEWS…

THE CLARKS – RESTLESS DAYS (High Wire Music) More than two decades after their beginnings at Indiana University of Pennsylvania, Pittsburgh icons The Clarks show that their creative spark still shines brightly on their latest studio effort, Restless Days. The founding cast of singer/guitarist Scott Blasey, guitarist/singer Rob James, bassist/singer Greg Joseph and drummer Dave Minarek provide another set of their signature brand of upbeat power pop over the disc’s dozen tracks. Country twang stakes a stronger presence on this album and informs a number of songs; most notably the opener “True Believer,” “Sunshine,” “The Runaway” and the ballad “In Between.” The group introduces new punchy and fun rockers such as “Trampoline” and “Soul and Skin,” plus the hard-driving bust on governmental chicanery “The Clowns.” Other highlights include the Byrds-flavored and darker-themed “Inside,” the descriptive and symbolic “Midnight Rose,” and an amped-up edition of Louie Armstrong’s “What a Wonderful World” to close the disc. Through it all, The Clarks again demonstrate their knack for short, catchy and to-the-point melodies; driven home with efficient arrangements and bright, multi-tiered vocal harmonies. Produced, engineered and mixed by Sean McDonald and recorded at Swissvale Music Studio; Restless Days lets those melodies and performances do the talking with a smooth, full sound devoid of clutter. After 20 years, Clarks fans know what to expect from this band, and Restless Days easily delivers on those expectations. But by dabbling in country tones and edgier lyrical turf, The Clarks continue to keep their formula fresh, and subtly expand their musical identity. (The CD can be obtained through The Clarks’ website, www.clarksonline.com.)

THE BADLEES – LOVE IS RAIN (S.A.M. Records) After a seven-year hiatus, The Badlees return to share their gifts of songcraft and artistry on their seventh studio disc, Love Is Rain. Over the disc’s baker’s dozen tracks, The Badlees revive and expand upon their signature brand of roots-infused rock and pop. Each song offers a distinct demonstration of the group’s knack for strong melodies; supported by clever, crisp arrangements which wrap around and enhance the mood and flavor of each number. The group embraces a modern-leaning arrangement on the catchy disc-opener “Peter Pan,” while slight electronic touches enhance the modern flavor of the punchy “Well Laid Plans.” The Badlees again deliver infectious roots-rocking ear candy on the first radio single “Waiting for That Star to Fall” and “Radio at Night”; and craft a surging arena-rock gem with “Anodyne.” The group displays their knack for delicacy on the piano-underscored ballad “Don’t Ever Let Me Down,” while revealing a crunchy vigor on the thunderous “Way Back Home.” Breaking Benjamin guitarist Aaron Fink makes a cameo appearance on “Part of a Rainbow,” which displays a slight Sgt. Pepper Beatles flavor and some George Harrison-like guitar work. The Badlees’ talents for thoughtful lyricism shine here as well; Bret Alexander demonstrates his knack for picturesque word imagery on the roots-infused rocker “Drive Back Home,” offers a touch of social commentary about the nation’s polarization on “We Will,” and celebrates memories with his late father on the reflective “Two States.” In the best Badlees tradition, folk instrumentation such as mandolin and violin help color and flesh out the song arrangements. Alexander’s production mastery makes each song radiate with fullness, warmth and personality. For longtime fans of The Badlees, Love Is Rain is like the return of an old friend, offering comfort with a familiar style and sound, yet revealing fresh new touches and raising the bar on their songcrafting artistry even higher. (The CD can be obtained through the Badlees’ Myspace website, www.myspace.com/thebadlees.)

HYBRID ICE – MIND’S EYE (no label) On their third album and first in 21 years, Mind’s Eye, storied Susquehanna Valley-based quintet Hybrid Ice provides some of their strongest and most elaborate song creations yet. Architects of the 1982 regional hit “Magdelene” (later covered by Boston on their 1994 Walk On album), the current edition of Hybrid Ice features 80 percent of the group’s original recording line-up: Robert Scott Richardson on keys, Rusty Foulke and Chris Alburger on guitars, and Rick Klinger on drums. (All four sing.) Mike Boarman takes over bass duties, replacing Jeff Willoughby, who retired from the group late last year. Over the disc’s nine tracks, Hybrid Ice updates their signature brand of classic progressive-flavored rock; weaving together detailed, powerful and captivating melodies with a variety of flavors. Arena rock-flavored anthems are still this band’s forte, demonstrated off the bat with the driving opener “Fight Another Day, as well as the hopeful and imaginative title track “Mind’s Eye”; and “Shining Star,” the lone track fronted by Alburger’s distinctive, high-soaring voice. Hybrid Ice presents a Beatlesque flavor on “Sadder Day Morn,” and mixes delicacy and edge on the acoustic-geared “Worth the Wait” and piano-driven “Only The Lonely.” There’s also a funk-tinged observation about society’s obsession with money on “Bring the Gold,” and a harder modern edge surfaces on “Stop Searching.” But perhaps the disc’s most stunning display is the closer “Faith Without Works,” a powerful, majestic, nearly 10-minute epic about self-realization and atonement; the song erupts along a complex rhythm and melody, and Richardson’s explosive keyboard roar dramatically escalates the song toward a quiescent midsection. Hybrid Ice’s crisp vocals and vocal harmonies remain virtually intact from the two-decade recording hiatus, and their arrangements and instrumental chops are as sharp as ever. Produced, engineered and mastered by Richardson, and recorded at Richardson’s After 7 Studios in Mechanicsburg; Mind’s Eye sounds appropriately big, busy and full, with voices and instruments all ringing out clear and triumphant. Mind’s Eye is a triumphant return for Hybrid Ice, an invigorating set that re-establishes the group’s masterful blend of melody, art, and rocking edge. (The CD can be obtained through Hybrid Ice’s website, www.hybridice.net.)

NINETAIL – HALF TRUTHS & HAND GRENADES (DRP Records) Ninetail’s 2006 debut disc, The Process of Conversion, established the prototype for the York band’s incendiary cyber-metal attack. The group ups the ante and anger on their latest CD, Half Truths and Hand Grenades. Again, tense, terse riffs from the guitar tandem of Don Belch and Chris Evan unite with ominous synth tones and sound bytes from Greg Weber; set against pulverizing rhythmic barrages from drummer Chris Appenzeller and bassist Griff. These turbulent backdrops catapult frontman J. William Heitmann’s ferocious vocal tantrums, as he rages against the lying, warmongering political machine and the mess it has created. A collage of malevolent keys and distorted sound bytes in the prelude “Karma” tosses a lit match into gasoline to trigger the rest of the disc’s explosion. Bristling with a Phil Anselmo-styled savagery and a Zack de la Rocha-like cadence, Heitmann tears into governmental deception on the title track “Half Truths & Hand Grenades,” indicts “W” and the previous administration on “The Decider,” offers a bleak forecast for our future on “My Belief,” and condemns the Washington war machine on “Parabellum.” But he resolves to defend his own ideals on “Trials of a Madman,” and persevere over life’s hardships on the Fear Factory-flavored stomp “Forgive Me.” Ninetail’s performances are constantly explosive and on edge, focusing their instrumental tenacity with a razor-sharp precision. Produced by the band and Frank Phobia, Half Truths & Hand Grenades sounds constantly busy and punishing; with the blend of sinister industrial tones and coarse guitar riffs effectively complementing Heitmann’s vocal fierceness. Not for the faint-hearted, Ninetail’s Half Truths & Hand Grenades is a sonic powderkeg detonating in a hornet’s nest; a furious symphony of destruction that raises the bar for Ninetail’s brand of cyber-metal aggression. (The CD can be obtained through Ninetail’s Myspace website, www.myspace.com/ninetail.)

VICTORY IN HEAVEN BLUES BAND – VICTORY IN HEAVEN BLUES BAND (Full Force Music) After a recurring health issue forced him and his steel guitar blues project, 61 South, to step away from live performing earlier this year, Sterling Koch reconvened work on several recording projects, including his previous Victory In Heaven Blues Band. On the new self-titled Victory In Heaven Blues Band CD, Koch explores a Texas-flavored, gospel-infused blues direction. With the exception of Larry Adam’s organ groan on a reverent rendition of Stevie Ray Vaughan’s “Change It,” Koch provides all the instrumentation and vocals over the disc’s ten tracks; playing guitars and bass along a programmed percussion backdrop. That rendition of “Change It” is one of the album’s clear-cut highlights, as Koch’s interpretation captures the spirit and swagger of the original. Koch also offers a punchy roots rock-flavored spin to Willie Johnson’s “City of Refuge,” gives lively blues-rock shuffle rides to Albert King’s “Down Don’t Bother Me” and Muddy Waters’ “Why Don’t You Live So God Can Use You,” and punctuates the slow blues of Memphis Slim’s “Mother Earth” with stunning guitar solo displays. The disc also features two collaborations between Koch and Mike Naydock: the Texas blues-flavored “Only Do Wrong for So Long” and the hopeful disc-closer “The Sun Will Shine.” And Koch offers two dazzling instrumental compositions, the Stevie Ray-styled leadoff track “Rumble-In’” and the faster surf-tinged “Bronson Rock.” As with previous Victory In Heaven Blues Band output, Sterling Koch’s passionate guitar work and rugged blues growl are front and center; riding along tight, sharp rhythms. The disc’s lyrical theme is again upbeat and hopeful, promoting an emphasis on getting one’s soul and life in order. Koch’s mixing is clean and basic, and his minimal production lets the music do the talking without excessive gloss or clutter. Through Victory In Heaven Blues Band, Sterling Koch again channels his love of the blues and a positive message, resulting in an inspired, uplifting listen. (The CD can be obtained through the Victory In Heaven Blues Band’s Myspace website, www.myspace.com/victoryinheavenband.)

PAN.A.CE.A – WE THE BROKEN (Susquehanna Entertainment) Northeastern Pennsylvania-based foursome Pan.a.ce.a hone their songwriting chops and expand their hard-rocking terrain on their sophomore CD, We The Broken. The group collaborated with The Badlees’ Bret Alexander, who co-produced most of the disc; and even enlisted the help of Breaking Benjamin’s Aaron Fink on three songs. The results demonstrate streamlined, focused melodies with catchier choruses, fleshed out with two- and three-part harmonies; yet still retain the rigid and abrasive edge the group established on their 2006 debut, All or Nothing. Singer Tim Farley, guitarist Paul Young, bassist Matt Jaffin and drummer Kevin Harry demonstrate their improved blend of hooks and crunch frequently; through such numbers as the disc opener “Too Little Too Late,” the fast-firing “Someday,” the title track “We The Broken,” the anthemic stomp “Hold On” and the Nirvana-like disc closer “This Life.” In the spirit of the first disc, the group vents more aggression on the incendiary “No More Secrets.” But Pan.a.ce.a subtly stretches their parameters by employing a backbeat-geared chorus on “Stay,” forging a sleek mainstream alt-rock flavor on “Children of Tomorrow,” devising a modern power ballad on “Now or Never,” and crafting a dramatic arrangement on the alternative rocker “Everything Is Different (When I’m with Her).” Pan.a.ce.a’s execution is tight and spirited, and the combination of Farley’s clear and solid singing style with layered, multi-faceted harmonies make the overall vocal presentation a clear-cut highlight. The band’s and Alexander’s production retains Pan.a.ce.a’s crunch and thunder, while the varying guitar tones and arrangement nuances provide more variety and keep things interesting throughout. Pan.a.ce.a raises the bar on their modern crunch on We The Broken; and the group’s catchier, more dynamic progression is a serious threat to expand their following and elevate their profile. (The CD can be obtained through their website, www.panacearock.com.)

XFACTOR1 – AMERICAN DREAM (KnightWolf Productions) Roaring out of Columbus, Ohio, XFactor1 brings the modern metal fury on their second CD, American Dream. The sound is unapologetic, full-throttled metal in the tradition of Pantera, Mudvayne, Snot, Slipknot and more. Dom and C-Lok provide the chainsaw guitar roar atop the rapid fire rhythmic barrage of drummer Ant and bassist Willie Jive. Frontman Qball provides the snarls, screams, growls and tirades, fusing the intensities and mood swings into an action-packed presentation. The seven original studio assaults offered on the disc vary the angles of attack and agitation, keeping things constantly churning and providing never a dull moment. On the more explosive side are the opening assaults “Fall Down” and the incendiary “3-2-1 DIE,” “No Mas” and “Blood Red Monday”; while “Shadow of Desperation,” “Never” and “Stay” explore darker and more shadowy metallic terrain. Smack dab in the middle of these original studio assaults is XFactor1’s torrid update of the Rolling Stones’ “Paint It Black,” giving this classic a rampant and caustic makeover. The disc then finishes with a demonstration of how XFactor1 does it live, with four concert tracks recorded in 2007 at the AlRosa Villa in Columbus. The performances of “Live Another Day,” “Into the Sun,” “Rise Up” and “Never” offer clear evidence that this band can deliver the goods on the stage as well. The production by R. Wolf and Joe Viers lets XFactor1 bare full teeth and render maximum abrasiveness with ample sharpness and thunder; the guitars rip and tear, the drums and bass pummel, and Qball sounds poised and ready to lunge through the speaker and rake talons across your throat! It all amounts to a combustible tinderbox of a metal disc; American Dream shows that XFactor1 can inflict damage both in the studio and on the live stage. Fragile furniture beware! (The CD can be obtained from XFactor1’s Myspace website, www.myspace.com/xfactor1.)

RAHWAY – SNITCHES GET STITCHES (Dead Eye Records) Named after the northeastern New Jersey “industrial wasteland” they call home, Rahway unleashes pounding, anthemic heavy rock on their debut disc, Snitches Get Stitches. This is badass rock that follows in the tradition of peak Motley Crue, Skid Row, Twisted Sister and Stone Temple Pilots; complete with roaring riffs, pounding rhythms, infectious hooks and abundant attitude. Singer Steve Visconti shows vocal range, howl, personality and swagger over the disc’s 11 songs and bonus track; and the rest of Rahway – guitarist Dave Cardenas, bassist Bobby Paffrath and drummer Steve Cardenas – goes for broke with all-out fury. The group sets the tone off the bat with the proud and boisterous “Machine,” with its rumbling bass line and smashmouth chorus. The rampaging and socially-tinged “Pull It Out” shows a Stone Temple Pilots demeanor, and Rahway maintains forward momentum with charges like “Highway,” the Megadeth-flavored “9/16,” the explosive “Cherry Bomb,” the rumbling “Barfly,” the nasty “Coke Whore” and the drag racing-inspired “Draggin’ Fire.” But Rahway delivers some impressive slower moments as well; such as the thunderous “Broken Disease,” about failing to achieve one’s positive potential; and the disc-closing power ballad “I Can Feel It,” offering Visconti’s strongest vocal display as he sings about ambition and chasing the dream. The performances are fiery and inspired throughout the album; with the band attacking these songs with confidence and vigor, topped with Visconti’s exciting vocal blend of melody, emotion and sass. Produced by the band and Vin Cin, Snitches Get Stitches sounds full-throttled and jagged, letting the band bare their teeth with a minimum of polish and studio gimmickry. Bottom line: Rahway kicks butt and takes names on Snitches Get Stitches; this stuff deserves to be cranked loud through coliseum speakers! (The CD can be obtained through Rahway’s website, www.rahwayband.com.)

GINA RIGGIO – ULTRAVIOLET CATASTROPHE (no label) On “Fingerpainting,” the opening track to her latest solo album, Ultraviolet Catastrophe, Gina Riggio declares “This is what my insides look like/And I don’t care if people stare.” The keyboardist and singer for local improvisational jam-music troupe Mysterytrain, Riggio proceeds to reveal her own colorful musical personality through the disc’s 11 tracks; weaving together elements of pop, jazz, blues and even classical music into thoughtful, multi-toned compositions. With a style often suggesting a jazzier Tori Amos or Kate Bush, Riggio isn’t afraid to paint outside the lines; crafting adventurous and intricate melodies that serve as backdrops for her lyrical dissections of emotions and thoughts. She offers contemplative themes on “One Way Out,” “Simple Things,” the tranquil piano ballad “Sleep” and the Beatle-like “The Cure for Everything”; and indulges her classical side on the soul-searching “Masquerade.” Referencing a location in her hometown of State College, “Martin Street” is more playful and jazz-driven; and the relationship study “Spitting Wooden Nickels” invokes a Van Morrison “Moondance”-like flavor. Also upbeat are the introspective “Body” with its search for identity, and the Latin-flavored jazz-pop of “Not Fooled.” Gina Riggio sells her words with a clear, calm voice and observational tone; as her own classical-geared piano flourishes blend with Tom Chojnicki’s deep cello tones, Mysterytrain bandmate Jacob Haqq-Misra’s variable percussion and Eric Barthmeier’s upright bass foundation. Recorded at State College’s Frigo Recording and Audible Images, and mixed by Marc Frigo, the disc sounds clean, clear and balanced, with Riggio’s voice front and center, the instruments given equal voice in the mix, and occasional layered vocal harmonies adding emphasis and depth. Gina Riggio bares more of her musical soul on Ultraviolet Catastrophe, expanding her own adventurism and artistry. (The CD can be obtained through Gina Riggio’s website, www.ginariggio.com.)

MATT OTIS – HOME FROM HOME (no label) Inspired by visionary leaders, authors and artists such as Gandhi, Nietszche, Orwell and others; Bedford’s Matt Otis examines spiritual and philosophical themes on his second CD, Home From Home. Strumming guitar and singing with a clear, floating voice, Otis carries out his thoughtful explorations over a broad musical terrain; backed by Jim Grassi on bass and Patrick Black on drums and percussion. Otis’ messages run deep over the disc’s six songs, as he encourages listeners to do some soul searching about the purposes of their own existence. The disc opener “Existence the Myth” ponders the meaning of existence itself as it evolves into a fast, driving homestretch. Otis suggests breaking down internal barriers and sharing feelings on “Padlocked Door,” which gradually escalates into a powerful, hard-rocking crescendo. On the gentle and folksy “A Revolution of Peace,” Otis concludes that peace among mankind starts with inner peace. The exotic-toned “1984” promotes independent thinking, “Unknown Truths” decries materialism in favor of self-realization; and free thought and self-realization set minds free on the disc-closing acoustic-geared title track “Home From Home.” Otis’ lyrics are intelligent and thoughtful, and he drives the messages home with a passionate delivery that evokes a variety of emotions. The arrangements are varied, as elements of folk, rock and occasional international flavors give each tune its own distinct flavor. Otis’ production is clean and basic, letting the performances speak for themselves without excess gloss or clutter. A thought-provoking listen, Home From Home offers both an exposé of Matt Otis’ own philosophies, and a look into his diverse musical world. (The CD can be obtained through Matt Otis’ website, www.mattotismusic.com.)

LEDBETTER HEIGHTS – BEYOND FAMILIAR (no label) Ledbetter Heights further hones their brand of passionate modern rock on their third studio disc, Beyond Familiar. The Shippensburg-based quartet again demonstrates a knack for captivating song hooks; reinforced with sturdy, intensifying arrangements and frontman/guitarist Nick Staver’s emotion-packed, full-bodied vocals. At their strongest, Staver, guitarist Brian Stoner, bassist Matt Franzoni and drummer Tim Carr display a quality comparable to peak Pearl Jam, Live and U2; crafting songs that steadily escalate in intensity to powerful crescendos. This quality shines brightest on “All Our Eyes” with its surging, driving arrangement; and two distinctive renditions of “Remedy,” one a slow-building thunderstorm, and the disc-closing ‘Bourbon Version’ with a tension-and-release flavor. Ledbetter Heights shows competency at a faster clip as well, briskly rocking out on the feisty opener “Tidal Wave,” “Your Presence” and “Still Fighting.” And the group masters softer terrain as well, demonstrating delicacy on the gentler and slower arrangements of “2nd Season Disease” and “Standing Scared.” Ledbetter Heights is tight and vibrant in their instrumental execution, and Staver’s dramatic and rangeful vocal delivery sells the emotional urgency of each melody and lyric. Produced by the band and Stoner, the mix is crisp and balanced, and maintains a tight equilibrium between polish and abrasiveness. Ledbetter Heights knows their sonic turf well, and further flexes mastery of it on Beyond Familiar. (The CD can be obtained through the group’s website, www.ledbetterheights.com.)

SHATTERED ICE – SHATTERED ICE (no label) Formed two years ago, State College’s Shattered Ice explores a tapestry of blues-rooted rock sounds on their self-titled debut CD. Featuring Gypsy & the Crazymoon alumni Tim Whitehill on guitars and John Lord on drums, lead singer Angelica Nardelli and bassist Dave Brown (since replaced by Pat Moore); Shattered Ice merges elements of hard blues-rock, jazz, psychedelia and even punk into an ever changing, albeit uneven, hybrid mixture over the disc’s ten tracks. On the plus side, straight-ahead hard rockers like the Led Zeppelin-flavored opener “Chills” and the faster “I’m Not in Love” are effective; as are the punk-driven “Ring the Alarm” and the psychedelic-tinged blues rocker “Shatter The Ice.” The Whitehill-Nardelli duet “My Heart Keeps Telling Me” explores a comfortably numb Pink Floyd-like flavor, while “I Walk the Night” finishes the album with a darker, more sinister tone. But two more adventurous exercises don’t work as well; the acceleration on the ballad “We Share A Special Bond” comes off sloppy, as does the transition to a Spanish midsection on “45 Days.” For much of the disc, Shattered Ice is instrumentally solid, but timing flaws occasionally surface. Vocally, Nardelli is an evolving talent, but shows a tendency to oversing and go heavy on the vibrato. Uneven and thin production hinders this CD, and the mix quality is not consistent from track to track. Their self-titled disc at best represents Shattered Ice as a diamond in the rough; but only time will reveal if they can improve and smooth out the rough edges. (The CD can be obtained through Shattered Ice’s website, www.shattered-ice.com.)

CHARLIE WHEELER BAND – HIGHWAY RUN (no label) Featuring members from Ridgeway, Warren and Jamestown, New York; the Charlie Wheeler Band hones their brand of classic, blues-driven rock on their debut disc, Highway Run. Namesake Charlie Wheeler plays guitar, flanked by keyboard player Anthony Brown, bassist Chuck Jacques, and drummer Darren Payne; Greek Cheronis sings lead vocals and plays harmonica. Over Highway Run’s 11 tracks, the Charlie Wheeler Band displays a wide expanse of blues-rooted sounds; driven forth by tight rhythms and a crisp balance between guitar and keys. The group lets it rip with driving rockers like the title track opener “Highway Run” and “Protect You,” offers a southern, Skynyrd-like sound on the Iraq war lament “My Mama Cried,” and crafts an escalating arrangement on the heavier-geared “In a Daydream.” Tight rhythms anchor three shuffle-geared numbers, including the rowdy “I Got to Ramble,” the bluesy “When the Lord Comes to Get You” and the hard-driving closer “Dreamin’ of You.” Guest saxophone player Steve Chapel contributes added flavor on the Robert Cray-like “New York City Night” and the funk-edged “Take Your Love From Me.” The instrumental execution is tight and varied throughout the disc, as the band mixes up their styles of attack to keep things fresh and interesting. Greek Cheronis fronts it all with a confident, soulful, high-ranging howl. Produced by Wheeler and Brown, and recorded at AllSound Group in Warren, Highway Run sounds clean, balanced and polished, with the instruments and vocals sounding clear and strong. Sharp instrumental and vocal chops plus versatility on their variety of blues rock makes Highway Run an impressive introductory set and calling card. (The CD can be obtained through the Charlie Wheeler Band’s website, www.charliewheelerband.com.)

DAYS BEFORE TOMORROW – THE SKY IS FALLING (no label) After enjoying regional success over the years as the frontman of prominent northeastern Pennsylvania-based cover band powerhouses UUU, Liquid A and PopShop; singer Eric Klein indulges his creativity with his progressive rock-geared original music project, Days Before Tomorrow. The group’s first full-length CD, The Sky Is Falling, introduces listeners to an adventurous sound that mixes elements of classic and modern progressive-flavored rock. An ambitious sci-fi themed concept album about aliens helping to save mankind from itself, The Sky Is Falling showcases lavish musicianship, soaring vocals and intricate melodies and harmonies over its 14 tracks. Drummer Jason Gianni’s and bassist Robert Maziekien’s busy, variable rhythms converge with dynamic, mood-shaping electric and acoustic guitar work by Scott Kahn and Derek Davodowich, plus colorful keyboard contributions by Kahn and guest Jason Buchwald. These tightly-wound backdrops set the stage for Klein’s powerful, octave-cascading vocals; often supported with full two- and three-part harmonies. The catchy and thematically symbolic “Lighters” and its reprise serve as the album’s beginning and terminus. In between, Klein’s story of scientific deception and alien intrigue plays out through harder-hitting exercises as “Can’t Go Back,” the title track “The Sky Is Falling,” “Can’t Do Anything” and “You’re Not the One”; as well as the milder, keyboard-driven and orchestrated “Wasted Years I: Confrontation,” the spacey and acoustic-geared “Wasted Years II: Sleepwalking,” and the multi-flavored “Wasted Years III: The Silence Is Deafening.” Days Before Tomorrow achieves a tight balance of infectious song hooks and inventive song structures; resulting in compositions that stand independently on their own, yet work well together as a whole set and story. Finishing touches by legendary producer Ron Nevison (Led Zeppelin, The Who, Europe, Kiss) and Grammy-winning engineer Earl Cohen (Christina Aguilera, Tina Turner) give the disc depth, clarity and professional-caliber polish to make the melodies and arrangements shine. With lyrics and narrative combined into a full-color CD booklet illustrated by artist Steven Bentley, The Sky Is Falling is also a throwback to the vinyl record era, when album covers and artwork were as important as the music itself. It all results in a stunning, all-around package; Days Before Tomorrow’s The Sky Is Falling sets the bar high with its well-crafted and innovative brand of progressive-flavored rock. (The CD can be obtained through Days Before Tomorrow’s website, www.daysbeforetomorrow.com.)

SKYFALL – SCENES (no label) Doylestown-based trio Skyfall’s beginnings date back to 2004, when singer/guitarist Ryan Asher and drummer Tom Szy started performing at coffeehouses as an acoustic duo. After the eventual addition of bassist/singer Darren McGuire, Skyfall introduces an intricate brand of pop songcraft on their six-song debut EP, Scenes. Skyfall’s music often sounds rooted in classic and modern Brit-pop; anchored by ornate yet catchy melodies fleshed out with detailed arrangements, relaxed vocals and tight, layered harmonies. The group tops their sound with soul-searching lyrics examining life’s ups and downs, and learning life lessons along the way. Both analyzing the emotional aftermath of heartbreak, the disc-opening songs “To Have Someone Leaving” and “Great Escape” lean modern; the former tapping an Oasis-like flavor, and the latter displaying a layered U2-like arrangement. The reflective title track “Scenes” taps a deep and ethereal vibe reminiscent of Depeche Mode. Skyfall’s roots tap deeper on the remaining three tracks, waxing McCartney-esque on “Bullet Holes” and “Like Everything,” and conjuring a doo-wop taste on the disc-closer “The Final Moment.” The vocals and harmonies are soothing yet strong, effectively bolstering the melodies and bringing them fully to life. Likewise, the instrumental arrangements lift and fall like waves, packing punch at the right moments to accent the songs. The production balances and polishes these arrangements into smooth, shiny finishes; enabling each song to glow independently yet gel together into a cohesive set. Scenes introduces Skyfall as clever pop songsmiths with focus and a sense of adventure; this set provides enough of a teaser to make listeners eager to hear more. (The CD can be obtained through Skyfall’s website, www.skyfallmusic.com.)

MY INNER ANIMAL – THE REVELRY (no label) On their debut CD The Revelry, Harrisburg-based quintet My Inner Animal steps outside of the box to establish their own fresh hard-rocking frontier. Singer William Houck, guitarists Mark Diodato and John Hoffman, bassist Milhouse (since replaced by Scott Randal Smith) and drummer Chris Heilig blend surging metallic aggression with experimental arrangements; yielding a heavy-rocking sound with alluring melodies, and unexpected twists and turns. My Inner Animal never stays in one place for too long; varying their instrumental dynamic between brasher and more subdued passages, and changing up rhythmic intensities and guitar textures. Likewise, Houck’s vocal delivery fluctuates between rangeful singing, bristling anger and somber detachment as he voices abstract lyrics examining personal and societal themes. My Inner Animal’s more visceral side cites the prototypes of Tool and Chevelle, evidenced on the throttling disc opener “II,” “Daisy” and the volatile “Betty.” The group’s more melodic leanings, on “Halo Hello” and “Bulletproof,” explore more Incubus-geared terrain, experimenting with different sonic textures within the songs’ frameworks. The group indulges its most adventurous arrangement on the slow-building “The Manic Literacy (Part 1),” while the disc closer “Ugly Today” taps a comfortably numb Pink Floyd-rooted vibe. Recorded at Seventh Wave Studios, the group’s and Jason Rubal’s production gives the disc a fullness and consistency through its mixture of lunging aggression and sonic exploration. The Revelry establishes My Inner Animal’s sonic terrain of heavy-rocking chops and progressive arrangements; and provides a compelling, stimulating listen. (The CD can be obtained through My Inner Animal’s Myspace website, www.myspace.com/myinneranimal.

FLUX CAPACITOR – THEY KNOW WE KNOW (Flexitone Records) Modern alternative and progressive rock flavors collide head-on with classic-styled psychedelic rock on They Know We Know, the daring debut CD from southeastern Pennsylvania foursome Flux Capacitor. Lead singer/guitarist Peter Specht, bassist Sean Moran, percussionist Jason Specht and keyboardist Michael Specht dispense with the rulebook and step outside the lines over the disc’s dozen tracks; merging Radiohead- and Porcupine Tree-like atmospherics with classic-styled psychedelia reminiscent of Cream and Hawkwind. The resulting hybrid sound grooves and captivates, with the various stylistic elements wrapping around engaging and inventive melodies; capped by colorful world-view and dreamscape lyrics. Flux Capacitor demonstrates a variety of angles here, from the Cream-meets-Robin Trower dynamic of “Moth,” and the Cream-infused “The World” and “Everything’s Happening”; to the driving Hawkwind space-rock experimentation of “The Game.” The group taps psychedelic Beatles whimsy on “Can’t Remember,” recalls an early Pink Floyd vibe on “Rain,” generates an aggressive funk-rock groove on “1,000,000 Faces,” and with help from guest percussionist Pablo Batista crafts exotic-flavored vibes on “Big Bad…” and “Insomnia.” Flux Capacitor’s versatility and arrangements combine with David Ivory’s masterful ingenuity behind the console to create a vibrant sound that never stands still for long and constantly explores new rocking terrain. The instrumental execution is tight, flamboyant and gearshifts tempos on a dime; while Peter Specht’s voice delivers a suitable blend of grit, range and intensity where needed. Flux Capacitor’s fluctuating musical sojourns make They Know We Know a compelling listen that establishes this band’s clever songwriting chops and sense of adventurism. (To obtain the CD, visit Flux Capacitor’s Myspace website, www.myspace.com/fluxhead.)

MYCENEA WORLEY – LOVE EP (no label) Harrisburg-based singer and songwriter Mycenea Worley welcomes listeners to her rustic musical world on her debut five-song EP, Love. Armed with her acoustic guitar and a gritty, emotion-packed singing voice; Worley observes life and explores emotions as she weaves together rock, country, folk and blues flavors around captivating song hooks to create her own distinctive heartland style. The Badlees’ tandem of multi-instrumentalist Bret Alexander (who also recorded, mixed, produced and mastered the disc) and drummer Ron Simasek support and color Worley’s song creations with varying arrangements that emphasize and accent the moods of each piece. Each song offers a different vibe, from the joyous disc-opener “I Love You” with Worley exploring emotions of affection, to the more serious tones of coming to grips with reality on the driving country-rocker “Nothing Like I Thought. She dabbles in rural blues-rock on “100 Days,” and shows a gentler, modern, keyboard-laced flavor on the hopeful “Blessed Be,” before closing the disc in a stormier vein with the darker and surging blues-rock of “Low.” Worley’s voice sounds confident and sincere, as she conveys her vast range of emotions and intensities. Alexander’s vibrant production brings out the full flavor of each track, further enabling Worley’s stylistic range to shine. Love is a convincing calling card that introduces listeners to Mycenea Worley’s rugged, rural style and sound; and will likely entice many of those listeners to want to hear more. (The disc can be obtained through Mycenea Worley’s Myspace website, www.myspace.com/myceneaworley.)
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Jim Price
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 Post Posted: Thursday May 26, 2011 
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