Philly six-piece Audible recently released their latest EP “Isolette”, which as of this writing you can still download for free here – but move fast, as I’ve been assured that’s only temporary. In fact, you might want to do that now, and have these great new tunes as a companion for the review. Go ahead. I’ll wait for you.

Congratulations! You’re in for quite a ride. This is the band’s first outing since their fabulous 2009 full-length “In Simple Intervals”, and it serves up the story arc of a rock opera of yore without the two-record length, while packing twice the emotional wallop.

Before we get into the content, if you dig smart pop-rock with guy/girl harmonies and great musicianship with a loose, authentic vibe, you’ll love this for nothing other than the music. There are great memorable choruses in these mostly mid-tempo, introspective tracks – songs that smolder and evolve as they reveal their secrets. Interesting guitar tones, airy vocals, and masterful arrangements are anchored by some seriously tasteful and musical drumming (I just HAVE to call this out here – because drummer Steve Cawley really plays for the song – on several of my many repeated listens, I’ve delighted in just focusing in on what he’s doing). So, you could concentrate solely on the music…but you wouldn’t be able to escape the palpable emotional undercurrent – the air around these pieces is heavy with it.

So that’s where the content comes in – what we’ve got here isn’t trumped up emo-drama equating crushes or feelings of personal isolation to epic struggles (I mean that’s fine too, in it’s own way) but something that is in a whole different league of “real”. The story goes like this: Audible nucleus Mike Kennedy was all set to start touring behind “In Simple Intervals” with the band when his wife (and Audible’s bassist) Kristine went into extremely early labor just 25 weeks into her pregnancy. If you’ve ever been there (and I have), that’s the “holy shit, we’re not playing games here anymore” type stuff that makes pretty much everything else you’ve gotten worked up about recently pale in comparison. And amazingly, Mike went ahead and documented the experience in these songs – they should put this in the Library Of Congress for its sociological value alone.

But let me be clear about something: this collection is anything BUT a “bummer”. Maybe the most amazing thing about it is the way that even in the darkest moments, the optimism is palpable. You actually don’t need to have had a similar experience to hear yourself in these songs – and that, my friends, is true songcraft. If you know the background, it’s fascinating and the metaphors come a little clearer – but if you don’t, it’s still the story of wrestling with major uncertainty and knowing what it feels like to be completely powerless, pushing through it while waiting for the clouds to clear, and the final quiet release of having made it (check out the gorgeous “Fourteen Weeks”).

Yes, like all good rock operas, there’s a happy ending – on the EP and in life too, evidenced in little Alex’s appearance in the video for “The Last Thing I Remember” filmed at the band’s Y-Rock session at WXPN’s studios. Funny I should mention that, since the band will be joining us at that very location this coming Friday (3/19) at the second Used Wigs Live event! You will NOT want to miss this!

Russ Starke

That’s right, Russ’s favorite. Not claiming to be an exhaustive list or a definitive list. So don’t tell me it was criminal of me to ignore the latest Jimmy Buffet album. It was downright heroic.

1. Tegan And Sara – Sainthood
2. Avett Brothers – I and Love and You
3. Passion Pit – Manners
4. Phoenix – Wolfgang Amadeus Phoenix
5. Bishop Allen – Grrr…
6. Langhorne Slim – Be Set Free
7. Neko Case – Middle Cyclone
8. Dirty Projectors – Bitte Orca
9. Kings Of Convenience - Declaration of Dependence
10. The Decemberists – The Hazards of Love
11. Boy In Static - Candy Cigarette
12. Metric – Fantasies
13. Nickodemus – Sun People
14. Rodrigo Y Gabriela – 11:11
15. Sufjan Stevens – The BQE
16. The Swimmers – People Are Soft
17. Maserati – Passages
18. Joe Henry – Blood from Stars
19. Bidiniband – Land Is Wild
20. Edward Sharpe & The Magnetic Zeros – Up From Below

CD: The Land Is Wild

Ah, the solo album. You can’t really have one in the traditional sense unless you’ve spent some time in an established band, thereby ensuring that  you’ll never be able to objectively release any music ever again without bearing the crushing weight of its legacy. So how did Dave Bidini, one of the founders and three primary singer/songwriters of the Rheostatics (“one of Canada’s most influential and most unconventional rock bands” – who amicably went their separate ways in 2007), manage to keep it fresh on his first official full length? Read on, friends.

Dave is a bit of a unique case in that he’s been a successful published author since the late 90’s (8 books and counting – For Those About to Rock being a nice little intro to his style and personality and Around the World in 57½ Gigs and On A Cold Road being pithier next steps) – so he has a large and very legitimate body of work outside of the music that first brought him to prominence. That’s one reason why, with his latest recording “The Land Is Wild” with his newly minted Bidiniband, you don’t really get this feeling of listening to an unsteady bird that has flown the coop to attempt his own “Jazz Odyssey” – but rather one of listening to an artist creating something that is a more concentrated extension of various strengths and past lives.

Don’t get me wrong, one of the initial fascinations with this recording was listening to the subtle musical signatures that highlight Dave’s unique contributions to the Rheostatics sound – a bit like musical archaeology with plenty of “a-ha!” for all. But then I started to focus on what I would say is the Dylanesque approach to this particular set – the stories and the words are the main focus here (always a strength), and the music is more the vehicle. Almost all of the sounds found here are organic, the musicianship tasteful and uncomplicated, and the production aiming almost exclusively at creating maybe not a living-room atmosphere, but certainly one of intimacy that lets the songs themselves take center stage. This is in keeping with Dave’s one-man-with-a-guitar troubadour adventures as of late, relating  non-fictional stories like that of the demise of hockey player Bryan Fogarty (the epic title track), fictional ones like that of a rock band getting stranded on a desert island and having to eat their drummer (“Desert Island Poem”), and social commentaries like “Last Good Cigarette”.

An absorbing release that isn’t out to burn down or disavow a proud legacy, but isn’t content to ride on any coattails either. Truly, another intriguing step by a Canadian original – veering off the already virgin path cut by the Rheostatics into a fresh, waste-deep blanket of snow.

Photo by Jason Strong

CD: Setting Fire To The Great Unknown

Usually around this time of the year, some springy and rough-around-the-edges pop gem grips me and becomes my “windows down” album as I start to anticipate summer (until the first 90 degree Philadelphia day, when I lament Springs and Autumns that used to last more than a week). So, it’s a bit curious that the latest collection to grab me by the collar is the Greycoats’ “Setting Fire To The Great Unknown” – a more atmospheric and cinematic affair with some stormy undercurrents.

After one listen, Todd said “yeah, you know, right away I thought that this sounded like something up your alley” – I’m not sure he was able to put his finger on why that was exactly, but I knew it was a reference to the killer production – for which I am admittedly a sucker (but only when it is wrapped around substance, of course). The musicianship is solid, the performances tight and thoughtful, and the vocals crisp and icy.

I had to check their lineup several times to convince myself that this wasn’t the latest side project of Sleep Station’s David Debiak, because epic tracks like “Revenge” would sound right at home on “After The War” or “Hang In There Charlie” (worth hunting down as well – fantastic collections). At other times I was reminded of the soaring of Geneva (“La Résistance”), and I’m trying dearly to stay away from using the ol’ Coldplay crutch because that’s such a tired reference, but they’ve pulled a few things from the same spice rack – sonically, anyway.

However, what really sets these songs apart (and forgive this sounding all high on the hog) is that they’re just a bit smarter than all of that. You don’t get the sense that they were written as catchy choruses and then just had verses sutured to them, but rather that their sole purpose was to convey the stories within – and the sounds that ended up carrying those stories just happened to be the ones most emotionally appropriate.

But while emotion does run deep in this set, that’s not to say that there aren’t catchy moments – “Goodbye, Sweet Youth, Goodbye” in particular is a pretty upbeat piece of pop for such a heavy sentiment – and it sounds like it came from the sandbox Keane has been playing in as of late. But for my money, it’s the sublime “Revenge” that gets me every time. The majestic coda is a beautiful battle cry of building harmonies over a tasteful syncopated drum line that just delivers one of those “oh YEAH” moments with every listen.

Well done, fellows – hopefully we’ll see you on the east coast soon. If the attention you’ve been getting from the networks recently continues, I imagine that’ll be happening sooner rather than later. Keep it up!

More: www.myspace.com/greycoats

- Russ Starke

CD: In Simple Intervals

Now THIS is the type of recording that usually grabs me around this time of year — full of great pop sensibility, layered guy/girl harmonies, and chiming guitars with just the right amount of grit on them. I’m talking about the first self-released recording by Philly’s own Audible — including local scene breakout Mike Kennedy (Matt Pond PA, Mazarin, Lefty’s Deceiver), his wife Kristine (currently incubating some twins — congrats, guys!), and another veteran of a favorite band of Used Wigs — Ed Hogarty of the Bigger Lovers. And let’s go right ahead and shout out vocalist Mary Garito, guitarist Jim Kehoe, and drummer Steve Cawley — because they’re all integral to this great musical layer cake I’ve been listening to the past few weeks.

“In Simple Intervals” has been out since May 19th and is available for download right from Audible’s website — where you can quickly get yourself a copy of these 10 little indie gems. If you’re planning on attending the first Used Wigs LIVE event in Ardmore PA on 6/12, I wouldn’t waste any time — you want to be able to sing along, don’t you?

The set kicks off in a way that seems to be making a statement — “we’re here, we’re doing this, we’re doing this right, and we’re doing it on our own terms”. How else would you accomplish that but with a dramatic intro chord reminiscent of the intro to ELO’s “Evil Woman,” giving way to a hazy vocal with watery guitar strumming, and then capping it off with a head fake into a poppy upbeat groove punctuated by glockenspiel? Correct. There is no better way.

Hazy is a good word to use — many of the songs sound like they are pouring out of a pleasantly yellowed Polaroid snapshot of a summer day, restrained in their execution with lots of great arrangements and musical dexterity bobbing in the waves (the odd-time turnaround 3/4 of the way through April is Real is a great example).

Hours Ago (Sad Mac) has a great little guitar hook that reminds me of one my favorite pop songs from the recent years , the Weepies’ “Hideaway,” the layered harmonies on “Dust From a Broom” (with some “in the round” action) are fantastic, and when they appear on “By Decision” it has that eerie/pretty quality that made the vocals on A Charlie Brown Christmas so affecting — this is what those kids would have sounded like on a heartstring-pulling indie track after they aged 20 years.

Then you’ve got my two personal favorites — the clicking-clacking joy of “Miles to Minutes” and channeling a bit of Tilly and The Wall and The Go! Team on “Like a Code”. A great outing and a firm first step down a new path for Audible. Looking forward to seeing them live on the 12th!

More: www.myspace.com/audibleband

- Russ Starke

CD: Pain Is A Reliable Signal

When we last checked in with Sam Jacobs, we were reviewing the latest release from LiPSTIK – the EP “There Is Only One Thing”. At the time, work on the follow-up full length was already underway – and it has finally arrived, along with a name change for the group to “The Flying Change”. Lest you think that was off the cuff, it was inspired by the poetry of family friend and Pulitzer-prize winner, Henry Taylor, who happened to be the college roommate of Sam’s father. Swish!

This is one of the reasons why I like Sam and his music so much – take a look at the blog over at www.theflyingchange.com when you have a few minutes to kill, and you’ll see that this is a thoughtful dude who likes to have meaning and substance behind his art (and his thoughts about what constitutes “art” and good music are right along the lines of what we argue about so often on the podcast). Better yet, that intellectual and artistic framework is there if you’re into that sort of thing, but you’re not beat over the head with it – a sentiment that some people seem to have walked away with from the latest Andrew Bird outing.

Anyway – the new full length. Probably one of the strongest endorsements was blindly playing the track “Dirty White Coats” for Jeff – who said “wow, that is a fantastic song – who is that?” Indeed, on an album full of high points, that track is probably my favorite – with its gentle ukulele, strings, and harmonies – it obscures the dark subject matter: “it’s about how doctors (well some doctors at least) can cause great harm and pain and how the process of sticking needles and tubes and machines in people, at least intuitively, seems to run contrary to the notion of making them feel better”. That insight will produce one of those “woah” moments during your second or third spin of the track…but that has always been Sam’s calling card: “painful words over uplifting music”.

That’s not to say that the whole album is heavy in that sort of way though – in fact, there are some downright rockers (“St. Mary’s”), and the playful take on the subway slogan “if you see something, say something” on the track “If You See Something”, is purely infectious.

In a nutshell, when you listen to the first song and the smoky vocals kick in, the first reaction may be “ah, OK – this will fit nicely alongside my Bon Iver, Iron & Wine, and Over The Rhine albums”. But don’t be fooled – this album is a journey, and it echoes of many different locales, emotions, and musical influences. As you progress, you’ll first start to notice all of the tasteful instrumentation filling out the arrangements (horns, flute, strings…and, you cheeky devil, is that a harpsichord in there?), and then the strength of the rhythms hits you. For me they evoke a more subdued version of “The Honeymoon Is Over” by The Cruel Sea (a fantastic old gem worth hunting down itself) and the production of one of my favorite albums of all time, Willie Nelson’s “Teatro”.

The Flying Change. What’s in a name? Nothing. The proof is in the pudding – and this one is rich, complex, and worth a sample. Join the conversation and enjoy the ride.

More: www.theflyingchange.com

- Russ Starke

Chicago-based photographer Lee Klawans just informed us that he was the man behind the iconic picture of Marnie Stern that we used for our CD review of her latest release – which led us to take a look at his other material (like the great shot of Company of Thieves at the Metro shown above). Not only does he have great taste in music, he’s got gobs of up-close-and-personal shots of his fantastic subjects. He’s got a real knack for capturing the small details that make you feel like you’re there…like a close up of Gina Knapik’s (Venom Lords) ankle tattoos…check him out!

Website: Lee Klawans’ Music Photography

First, let me be clear about something – I am by no means an expert on contemporary R&B. It’s not that I don’t like it, just that when it comes to R&B and Soul, I tend to gravitate toward the classics. I guess that’s why I’ve always perked up when music by Javier has entered the shuffle around our house (we have a copy of both of his full-lengths), because while it is unmistakably contemporary (“neo-soul”, I’ve seen him labeled), there is a definite nod to those classics through some of his more organic tone choices and a valiant striving toward timeless song craft in what can be a very fast moving musical lane.

When we heard that Javier would be at the Tin Angel in Philadelphia, a small and intimate acoustic venue in Old City, I was curious as to how his recordings would translate – and what the approach would be. Drum machines? Backing tracks?

When Javier walked on stage with a MacBook in hand – I thought I had him figured out. Not by a long shot. I expected a fun night of good music – I didn’t expect to be completely won over the way I ended up being, literally imploring him at the end of the show to release a stripped down album akin to what we had seen that night because I was sure it would knock people to their knees in the same way that they must have been the first time they heard Keb Mo’s “Every Morning”. His albums are fantastic, don’t get me wrong – but seeing this guy live is essential to understanding the true depth of his talent, which is perhaps still just a tad under the radar.

First of all, it goes without saying that he is a phenomenal vocalist – his albums clearly capture that. He’s definitely a showman (albeit a low-key and grounded one), but for all of those American Idols who attempt to drench every note with by-the-numbers arpeggios and trills – Javier is an example of what soulful embellishment can sound like when done tastefully and appropriately. He is, after all, following in the tradition of the great soul singers – all of whom knew how to reinterpret a song in this way and drag the emotion out of it, kicking and screaming.

However, I was in no way prepared for the phenomenal guitar playing – not only was it technically impressive; it was completely second nature. He effortlessly went from soulful ballads, to re-workings of his better known tunes, to classically inspired guitar instrumentals, and treated us to a few covers as well – including an absolutely incredible cover of Collin Raye’s “Love, Me” that surprisingly left me with a lump in my throat (that was the first of two times – the second was on Javier’s own “OK, Here’s The Truth” – a surprisingly catchy tune for how completely devastating it is…brilliant).

He also revealed his love of James Taylor with two somewhat obscure covers by “JT”. In response, someone from the audience said “what, Justin Timberlake?” And this is where things really got interesting…Javier sort of smiled and zoned out for a few short moments, strumming a few chords…and then broke into a note-for-note perfect (actually, better than the original) take on “Cry Me A River”. In case you don’t know, there aren’t a lot of people who can do that in the “popular music” world. I know many artists who can’t even remember how to play their own songs if they haven’t practiced them for the upcoming show – but Javier is a throwback to the musicians of the early part of the 20^th century – those guys for whom music was a language that they could just inhabit and command at the drop of a hat. This was in further evidence when fans were shouting out songs that he hadn’t played any time recently (in a few cases, ever), and with three or four strums, he’d be off – sounding 100% rehearsed.

But there’s one other aspect to this artist – he’s a really down to earth guy with a great sense of humor. After that “JT” cover, he was joking with the audience about the music in commercials, and as audience members shouted out jingles, he deftly started playing them – who would have ever thought the Juicy Fruit theme could sound so cool?

Oh, and that laptop? He used it to show us some videos he had shot of his baby girl laughing as he played peek-a-boo with her – the whole audience infected by the giggling. Boy, was I wrong.

An intimate evening with a true class act – I rarely have as much fun as when I’m watching someone I consider a “virtuoso”. Anyone can sing, but not like this. Anyone can strum three chords, but his fluid playing and jazzy arrangements are something else entirely…the kind of thing that I hope inspires a new generation to continue the endangered tradition of true musicianship. I have little doubt that all it will take is Javier being in the right place at the right time, and being able to see him at the Tin Angel will be a thing of the past. Keep an eye out, and do not miss him when he is in town.

Visit Javier’s Website

CD: Strange Scars

Our love affair with New York artist Julia Brown began back in 2001 after hearing her debut release Jubilant Newborn Alien Haze and subsequently being sure to catch all of her Philadelphia appearances when she swept through town. After the flurry of critical praise, international touring, and appearances following that release, we waited anxiously for the next one…but conversations with the ever-approachable and accessible Julia have revealed that although she was sporadically writing and recording, she was mainly in a period of collection, observation, and personal exploration…waiting for the muse to return and make sense of everything, musical and otherwise.

Luckily for us, the muse returned this past year, and as a result we now have “Strange Scars” to inhabit. I mean that quite literally…my first impression of this album was that each song is like its own film noir – filled with characters whose skin you climb into and experience their unique worlds of light and shadow. They all clock in between four and five minutes, and each one leaves you feeling like you’ve taken a long emotional journey when it is through – it’s actually a pretty strange sensation.

My second impression was, “how the heck does someone write songs like this?” These aren’t your typical sing-alongs that you’d sit in music class and determine what the structure is (A/B/A/B/C/A/B). They’re like musical portraits…musical novellas…which in no way should convey that they’re haphazard or all over the place, because their flow is so logical and organic…are you wondering what the heck I’m talking about? That’s good – pick this album up and give it a spin, and you’ll be equally speechless. Or, like me, tripping over yourself trying to find words that do it justice.

In the wrong hands, these little masterpieces could have been turned into mini rock operas with tons of layering and sweeping string sections and all of that, because heck, I think that’s what I’d be tempted to do with them to try to realize their inherent power and weight. But the power ultimately comes from precisely the opposite approach – there is so much restraint in the production, letting Julia’s vocals and ever-sharpening guitar work shine…tracks like “Hole” and “London Days” in particular are just devastating in their beauty.

Elsewhere, pay attention to the killer band that Julia assembled (who also play with amazing precision and restraint), who shine on tracks like the opener “Sunday Streak” and “Ayn Rand”. Plus, wouldn’t you know it, Julia has Chris Brown twiddling some knobs and playing organ on this recording (who is closely associated with the Rheostatics, ahem) – if that ain’t a recipe for kicking some arse, I don’t know what is.

I tell you what, I heard some of Julia’s demos over the past few years, and they were all absolutely amazing, and not ONE of them is on this recording. So, here’s hoping she continues to mine that treasure she’s been gathering and gives us more of it in the near future. Look for dates in your area soon and stay up to date at www.juliabrown.com – and perhaps she’ll also be able to accept our invitation to join us on the podcast when she rolls through Philly. Stay tuned, and go out and get yourself some Strange Scars!

- Russ Starke

CD: Computer vs. Banjo

Well, 2008 is almost ¾ over, so start getting ready for those year-end lists (you can bet a few of them will be supplied by our own Jeff Lyons, too). This year has been such a blur for me that it’s going to take some thought to get my picks all sorted out in my head. But one thing is for sure, since I’ve been living with the self-titled release from Computer vs. Banjo, the track “Guitars Need A Sinner’s Touch” has vaulted itself right up there with my favorite individual tunes for the year.

When I first heard their name I thought they were either going to be a real tongue-in-cheek act a-la Cake or some smirking folkies who got their hands on some sequencers, had a mind blowing Newport ’65 moment, and well, you know the rest. Not so! Overall this sounds to me like (wait for it) the guys from Toad The Wet Sprocket and SixteenHorsepower got together and put out a recording helmed by the guys from Soulwax (swish!).

Oh, there actually are banjos here – but utilized very sparingly. They’re never the centerpiece of the track (or, rarely – “San Joaquin” and ‘Give Up On Ghosts” are welcome exceptions), and when they do show up they tend to have watery processing applied to them that you don’t often hear – adding a really unique tone to the sonic palette.

OK, so, the aforementioned “Guitars” is just the knock-down killer of the lot – but there are a few others with similarly memorable choruses over expertly crafted downtempo grooves that bubble to the top for me (including “Outerspace” and the gorgeous mandolin-powered “2Heavy2Hold”)  which could have made for an absolutely epic EP if rounded up together.

That’s not to say that this LP is a misstep – it just takes what you’d hear on that EP and plays around with some more stylistic changes and experimentations in between. Check out  the 4-bit digital glory of “Concealed” – I would bet money that one of those samples is from Atari’s “Yar’s Revenge”…um, only EVERYBODY’S favorite fly-based video game. Actually, the whole album is worth your time and attention to let it grow on you – the only track that doesn’t really connect for me is “Magazine Queen”, but that may only be because I have such an aversion to songs about women in magazines…being seventeen…being beauty queens…that’s territory better left for Journey or David Coverdale or some other castrato in purple spandex.

So, did you listen to enough great music made THIS year to have a complete hipster top 10 to post on your Facebook page? If not, this lil’ nugget may just help you round out that list. Go banjo, go!

- Russ Starke