Monkey Bones has a little fun at the expense of reality television with its song (its title song, to be exact) “Television”. After all, who doesn’t have a few sardonic thoughts about so called reality television? Men, women, and children exit any semblance of reality right after the cameras begin to roll, right? But isn’t this also a case of, ‘Look who’s calling the kettle black?’ Because if you’re looking for reality, you certainly won’t find a whole lot of well grounded individuals populating the drug and alcohol saturated late night, downtown clubs of AnyBigCity, USA (AKA rock & hangouts).

This band is from Tulsa, Oklahoma, which likely has a lot more centered people than, say, Los Angeles, CA. Michael Barkett is the lead vocalist, guitarist, and master of ceremonies for the group. He can sing real pretty, which is exemplified by the mid-tempo “Magic.” And when spits out rockers, like “Star Soul Rising”, he does so with an Axl Rose-esque snarl in his voice.

Alan Bates plays Keith Richards to Barkett’s Mick Jagger, with stinging lead electric guitar lines. Many of these tracks bring bands like Soundgarden and Stone Tempo Pilots to mind, although the Monkey Bones sonic doesn’t have the same low end growl associated with those acts. Nevertheless, tracks like “The Answer” contain a similar menacing crawl to them. The slight boogie groove found on “Hammer Comin’ Down” nicely matches a Guns N’ Roses feel with Barkett’s Axl vocalizations.

This group is not just a good sounding band, however; Barkett is smarter than your average front man. He especially shows these smarts during “Sell Your Soul”. In a rhetorical manner, Barkett converses musically with one who claims rock & roll’s going to save his soul. He replies, “Well, I’d like to see the plan.” Just as Monkey Bones know that television – particularly reality television – is vastly overrated, they also realize rock music cannot be the end all and be all of anybody’s life.

A song like “Sunny Rays” offers a welcome break from all this CD’s serious talk. Like the sun breaking through the clouds during a rainy period, its lyric basks in the emotional glow of romantic love. Just knowing that your girl loves you is sometimes all you need to get by. “Rock Me” may be one of this CD’s more somber relationship songs, but it’s got such an irresistible groove, it’s hard not to feel guiltily good while it plays. Bates guitar part on it chugs along like an unstoppable locomotive, and his solo is one where every note fits perfectly, instead of the show-off-y heavy metal riff-ery so popular in hard rock these days.

It’s so tempting to laugh whenever Victoria’s Secret puts together one of its annual rock and fashion shows on television. Let’s be serious; much contemporary rock is little more than fashion statements put to a 4/4 beat. Monkey Bones, bless their hearts, would never quite fit into such a shallow showcase. This is a meat and potatoes rock bend, in the best possible sense of that term. They write songs, not just riffs. They have something to say, not just to show. So do yourself a favor. Turn off your television, and turn up Monkey bones, instead.

Review by Dan MacIntosh

Dan MacIntosh, Reviews Monkey Bones, Television

It always starts off well with a band who cites Syd Barrett as an influence.  Ten points for Frantic Planet.

The record open “Games We Play”, beginning with a snappy guitar riff and drums and bass to complement it nicely. Steve’s vocals kick in almost right away and I’m treated to a catchy tune that gets my feet tapping from the get-go.  I start listening to the lyrics as the song unfolds before me, and I am enthralled. “Games We Play” is basically about manipulation.  The lyrics are thought provoking and will bring to mind the times we have been played, hurt, taken for a ride.

As for the instrumentation of this piece, I absolutely love the guitar work.  It sounds fantastic and there is clearly some serious talent here.  The rhythm is contagious and the drums make it work.  The bass falls in place perfectly and the sound of this song is very good.  Steve’s vocals are perfect for this piece.  His voice blends smoothly with the music and everything flows together extremely well.  With the lyrics, Steve’s vocals, and the instrumentation of this song, I would be absolutely delighted to hear “Games We Play” performed live.  This is a crowd pleaser like none other.

The second track, “You’re So Cold,” gives me a better sense of what Frantic Planet can do and what they are really about.  It’s got a bit of a British punk rock feel to it and it just flows beautifully.  Steve’s vocals are vaguely reminiscent of Iggy Pop combined with Billy Idol, and a bit of Richard Butler from the Psychedelic.  This is a great piece of music and Frantic Planet has done it perfectly in their signature style.

“Lonely Days Again” tones it down a notch, showing the lighter side of this band. This is a melodic tune that makes me want to hold someone while I close my eyes and drift off into oblivion, feeling warm and safe and content. The instrumentation on this is gorgeous. The sound is excellent. Steve’s vocals really come through crisp and clean. I can also hear each individual note that comes from each instrument. “Lonely Days Again” is currently my personal favorite so far.

The next piece, “No Control,” starts with a guitar riff that makes me think of Kings of Leon for a minute. There is some funk going on in this one, then Steve starts to sing and I am reminded again of Richard Butler with a touch of Ian Curtis of Joy Division.  The guitar really takes this track to a new level and this is another stellar piece of musical talent put on display by Frantic Planet.

The final track, “California Nights,” takes it down quite a few notches with a Jim Morrison approach.  Eerie, giving chills, this song has serious attitude and I dig it.

Frantic Planet combines several influences on this short five song album, and I am confident that there is much more lying in reserve.

Review written by Rhonda Readence

Reviews, Rhonda Readence

What do you get when you cross Pat Benatar with Chrissie Hynde, add a bit of Linda Perry and a dash of Lita Ford?  You get Lily Sparks with a twist.  Women of rock ‘n’ roll take heed.  Lily Sparks has come out swinging with their album Cooper Cobra.

It begins with “Stars,” a fantastic song about stars, guitars and muscle cars. I t’s also about feeling fine and free, cruising down the road with some good tunes blasting and the wind in your hair.  This is a killer track that simply rocks.  Niamh’s vocals are spot on and she sounds extraordinary.  The guitar screams, the drums and the bass are right in synch, and “Stars” sounds spectacular.  There is an old school feel to this piece that makes me feel cooler just by listening to it.

“Let Go” starts a little slower and I totally dig the guitar riff.  Niamh’s vocals are sultry and sexy and she sounds nothing less than perfect.  I thought she sounded great while listening to the previous track, but I had no idea the sheer talent she had in those pipes of hers until I started listening to “Let Go.”  Voices like that are few and far between.  The whole song is seductive from Niamh’s voice to the rhythm of the drums and the bass to the guitar riff.  I don’t think I’ve ever heard a more seductive song.  I would love to see this performed live.  I could just imagine the looks on the faces of every male concert goer in attendance.  They would be standing there gaped mouthed and drooling on themselves.  That’s the power that this song has.  That’s the power of Lily Sparks.

The next track, “Walk Away,” has a catchy groove and rhythm to it, and I am once more impressed with Niamh’s vocals.  There is a bittersweet undertone to this piece, and beneath the pure unadulterated rock feel of it, there lies a quiet peaceful sort of pain that tugs at the heart.  “Walk Away” gives me a sense of the softer side of Lily Sparks, especially while listening to the lyrics.  At the end of this track, I am left remembering good times that have passed but have left me with warm memories.

“Where We Are Today” is definitely a softer tune and I’m glad to hear it.  They slow it down a notch and I find myself really focusing on the instrumentation in this one.  As usual, Niamh hits it and she sounds amazing, but this track allows me to see what the rest of the band is made of.  The sound of this piece it truly phenomenal and each member of the band are in tune with the others, and I’m not just talking about being musically in tune.  I get a sense that the members of Lily Sparks are in tune with each other mentally and emotionally as well.  This is a great collaboration of talent and it could not possibly sound any better.

The final track, “The Girls,” has a slightly country vibe to it and this catches me by surprise.  I wasn’t expecting a country flavor, but I welcome it.  It only goes to show that Lily Sparks is diverse and can play several different styles of music, which is always a good thing for any band.  “The Girls” is definitely the slowest track on the album and it’s more of a story than it is a song.  The lyrics take me to other places in my mind and I am there; in New York City, on Bleecker Street, heading to O’Donnell’s to have a few rounds with the girls.  There is excellent imagery in this piece. I feel warm and friendly towards a place that I have never been, and I feel even warmer towards this band that has made me feel a little bit of everything.  I went from feeling cool and walking with a strut,  to remembering old memories and feeling that old bittersweet pain, to feeling nostalgic for a place that I have never been. When a band can bring forth so many emotions that are so wholly unconnected, that’s when I know I’ve just heard something extraordinary.

Review written by Rhonda Readence

Reviews, Rhonda Readence Cooper Cobra, Lily Sparks

Sexy Mathematics are indie rock at its finest. With guitar fuzz galore and high intensity percussion accompaniment throughout their debut six-song EP, Integration, Sexy Mathematics are well on their way. While some tracks embody more of an electronic vibe easily pictured playing at clubs, others are straight up solid rock tracks that I can only hope to experience live in concert.

After spending years crafting indie pop melodies in his basement, Chris Daviduik decided it was time to record his best material at a studio. The resulting masterpiece that is Integration, he describes as “a blend of piercing guitars and orchestrated synthesizers with alternative rocking drum and bass lines driving the songs to completion.” I couldn’t agree more. Based out of Saskatoon, Saskatchewan, Canada, the band consists of Chris Daviduik on guitar/vocals, Liz Syrnick on synthesizer/backup vocals, Dylan Smith on drums and Brandon Mellish on bass.

“A Novel Romance” kicks things off on Integration with plenty of guitar and percussion textures blending well with Chris Daviduik’s vocals. He sings softly at first, before a gritty guitar interlude envelops the track. At three and a half minutes long, the song is a glimpse into the rest of the EP and a solid portrayal of Sexy Mathematics’ talent.

Having spent years crafting each song to perfection, Sexy Mathematics’ debut EP demonstrates countless hours of hard work and perfection. With an EP this strong, one can only wonder what their next release will bring. “Who Knows” segues effortlessly after “A Novel Romance.” A guitar heavy track, it is the singer that is in the background on this song. “I don’t think this love is what we had in mind or resolved/Changing is young and over-rated,” Daviduik sings. The guitar riffs quickly capture the listener’s attention wholeheartedly while the musical accompaniment remains at the forefront of this track instead of the singer. Not always in the best interest for a band, but it works well on “Who Knows.”

“When Isometrics Collide” is as close to a psychedelic experience as one can have listening to music. Heavy in synthesizer, Daviduik sings, “Start seeing your life as the best thing to happen to me or anyone else alive,” among plenty of guitar fuzz. “When Isometrics Collide” leaves the listener begging for more. Just over halfway through the EP, the song presents an ethereal quality with Daviduik’s seductive singing style and accompanying music.

“The Void” and “Set Up!” close Integration strong and with incredibly high intensity. One of the more upbeat and gritty tracks on the EP, Daviduik’s singing style throughout “Set Up!” brings slight resemblance to that of The Clash. The song powers through from the guitar entrance to the fade out of the song, leaving listeners wanting more.  An accurate portrayal of an up-and-coming indie rock band, Integration promises great things for Canada’s Sexy Mathematics.

Review written by Annie Reuter

Annie Reuter, Reviews Integration, Sexy Mathematics

Benny Paul has mixed classical guitar mastery, alternative-punk style of vocals, folk poetry with a heart of bluesy country, and somehow produced a solid rock album.  I hope that is adequate, there are so many styles going on here it is difficult to discern any single influence.  The album My Kind of Normal stretches the fabric of the time-space continuum by synergizing so many great influences, that a style unique to Benny Paul is distinguished by range and ability. From raw screeching guitar solos to subtle classical melodies, his music is an exciting still undefined indie worthy of tearing up college radio around the world, and beyond.  The song Are You Happy especially hits home as a sure-fire hit on that scene.  The punk guitar and vocals conjure the spirit of the Sex Pistols, if Paul is a bit less vulgar and gives more sensible advice lyrically.  This kind of album is incredible for the massive extent and reach of artistic expression; one track your imagining moshpits and the next song it’s more like a folk jam-fest.  This is not normal.  This is Benny Paul’s normal, and life just wouldn’t be as interesting without such estranged perspectives.

Lyrically the subjects can range from love and misfortune, to striking juxtaposed comedy, when Paul sings “All I want for Christmas is a cardboard box,” it is humorous with stinging irony.  The song itself sounds funny, playful, but the message is poignant.  As cities around the world feel the depression, inner tent-cities have sprung up as my grandparents described the depression.  This is the kind of writing we usually find in Elvis Costello or Eric Clapton, great empathy for the common class, a message to help the poor and an incredible way of introducing painful subjects so that they do not offend, but grab the listener by the heart strings and tug gently to get the message across more effectively.

One must listen closely to Benny Paul’s singing.  His lyrics are brilliant, but his diction is muddy.  This is not a bad thing.  Honestly, it reminds me of a more lackadaisical Michael Stipe, who is -I must confess, a personal favorite- the lead singer of possibly the greatest band of all time, R.E.M.  One can hear the potential bursting from Paul’s voice; however he struggles with note resolution on occasion and has a tendency to mumble that takes a bit of power away from the impeccable guitar.  This may be a similarity between the two vocally.  There are two versions of Just a Touch by R.E.M.; one the familiar release on Life’s Rich Pageant, the other a live studio cut from And I Feel Fine.  The latter version is soft and mostly weaker then the album cut.  The difference is almost shocking, and all it took was a little more power, yet calm relaxed vocals on Life’s Rich Pageant, to boost the song into sensation.  I am highly biased, but this is a good musical example of where Paul’s voice also needs courage.  Sometimes I’m waiting for him to really build the vocals, only to have a soft song all the way through.  But this is a minor critique, the same way I would say I couldn’t understand early Stipe at first.  To put that into perspective, Murmur is still my favorite album, diction be damned.

Just because My Kind of Normal isn’t any sort of pop album doesn’t mean that it won’t be a treasure in your music collection to appreciate in value over time.  The album is indeed a work of art to be studied and enjoyed as the songs grow on you.  Benny Paul’s sense of alternative sound is only strange at first because it is at once, respectful of the past and groundbreaking.  If this is normal, this critic can’t wait to see Paul’s kind of supernormal.

Reviewed by Julian Gorman

Julian Gorman, Reviews Benny Paul, My Kind of Normal

Hawk and Dove. What a fabulous name for a band. The name alone brings to mind visions of perfect blue skies, crisp clean air, and the unlikely possibility of a hawk and a dove flying in harmony together. It’s a peaceful image. And because this is the vibe that I got from the name of this band alone, I was anxiously anticipating what their music would sound like. I wanted to know if the images that came into my mind fit the vision of this band.

So I began listening. The album starts with the song “Furious Armies” and it is as melodic and soothing as I thought it would be. It is almost hypnotizing. I found myself swaying back and forth with my eyes closed, just soaking up the peaceful vibe and the lyrics that carry so much hope. The guitar work on this piece is fantastically well done. In fact, all of the instrumentation is stellar. The sound quality is phenomenal and it is obvious that Hawk and Dove have put much time and effort into crafting this album.

The second track, “Stain,” has a more back country feel to it, as in old cowboys hanging out in front of the general store waiting for someone to come say hello. I picture a dusty, hot desert, cacti, and rusty pick-up trucks driven by land weary Native Americans with a handful of children with haunted eyes riding in the bed. The lyrics of “Stain” are tainted with sadness and melancholy accompanied nicely by the violin. The rhythm of this track is slow and smooth and each member of the band has the chance to show what they are made of. The guitar really carries this piece, but it would be nothing without the drums, and the drums would be nothing without bass, and holding it all together are Elijah’s vocals and the melodic violin. There is so much going on in this piece, but it is so exceptionally well done that it simply flows together effortlessly. I also get a much better sense of Elijah’s vocal ability, especially towards the end of the song when he opens up a little more. “Stain” is not just a piece of music; it is also a work of art.

“Boy on the Moon” begins with a dreamy and spectral guitar riff that is accompanied beautifully by Elijah’s vocals. And due to the fact that this track begins with nothing but the guitar and Elijah, I am focusing very closely on the lyrics. “So much time I don’t know what to do, tell me, Mister, are we leaving soon.” That is how the song begins and for some reason it is haunting and comforting at the same time. “Boy on the Moon” has rather deep meaning, I am sure, and it is somewhat of a sad song. I am discovering that Hawk and Dove have the ability to make me feel lonely and yet comforted, isolated and yet open to every possibility, help captive and yet feeling free. And that’s only what the lyrics do to me. The music is spectacular and this song clearly shows that Hawk and Dove have unlimited potential and that each member has an unending supply of talent.

The final track is titled “Muscle Breaks” and it is a live one. I find this extremely intriguing for many reasons. Studio and live cuts have very different sounds to them for the most part. Live recordings are not nearly as polished and professional sounding as studio recordings and that is what lends them such charm. Hawk and Dove, however, sound just as tantalizing with a live recording as they do with studio ones. “Muscle Breaks” is a compilation of talent, heart and soul. That violin again…… It can give a person chills. In fact, it just did.

Hawk and Dove have obviously mastered the art of creating original and captivating music. This EP is alive, colorful and thought provoking, not to mention the sound is just phenomenal. I look forward to hearing more from these talented and gifted musicians.

Reviewed by Rhonda Readence

Reviews, Rhonda Readence

Fusion is always exciting, be it a bit strange at first.  At the turn of an age, the scene of all creative expression goes through a symbiosis that ultimately, by deconstructing everything that came before it, reassembles itself into something that seems completely new.  Terrence McKenna coined this sort of change as the “Archaic Revival,” a way of taking all old or broken ideas and remixing them with modern failures to fix them, a sort of pastiche.  Thus every experience, especially failures, is of vital importance to new philosophical concepts.  This also means that the truth is never pretty.  For someone who has went to hell and back again, the truth is a road full of twists and turns, deception and temptation that destroys dreams, takes lives and hinders cultural progress.  The promise of Return from Broken is revitalization, the ability to see the worst of your insides and survive to become stronger.  Matt Soren has composed a fierce, clever culmination of mechanical industrial electro with a progressive sensibility and initiative to fight for survival against his greatest enemy: himself.

Don’t get me wrong and think that this music is masochistic, it is not.  It does however deal with subject matter on that level.  Anyone who hasn’t abused intoxicants or been close to taking their own life might find the album depressing.  On the other hand, those who have been addicted, abused and considered taking their own lives should find this sort of truth refreshing.  Soren’s ability to see through the pain and dream of ways to defeat the inner critic, though very glib in subject matter, are conceptually positive in outlook.  That being said, Matt is not yet fully recovered from his treacherous past, perhaps in a more vulnerable place then before.  Taking such a risk to share these thoughts is honorable.  Many of the songs deal with the moment we virtually all get stuck in, perhaps the moment of creation, or right before.  It is that place where you begin to make something wonderful, be it art, music, or anything creative, where the inner critic decides that everything is wrong, that the world is ending, that we’re worthless and every old problem starts to eat at the soul.  Songs like Broken start out in an intellectual quagmire, as Matt despairs “I still can’t let go, even though it’s the one thing holding me down.”  But by the end, he is talking sense, explaining the problems, asking for help and more importantly, planning a future that isn’t desolation for its own sake.

Much of the album is depressing; reaching to the interpersonal depravity that is familiar in early Nine Inch Nails, both is musical form and lyrical subjectivity.  However, the majority of it is too personal.  A perspective so inside one’s own life experience is a bit egomaniacal.  After a while, I simple have to tune out all the “I”s and “you”s simply for sanity and utilitarian use in everyday life.  The advice Soren offers is actually quite good when applied objectively and externally.  When his ideas are inwardly projected, it is quite easy to feel a sort of pseudo-sadness that is the illusion of caring, but honestly more like self-pity, loathing, and a sort of distrust of self that always comes with poetry too inwardly driven.  The poems are quite good applied to others who are in need.  It will be refreshing to here Matt move beyond the self-obsessed problems to some of the real issues we face as a society.  Until then, I am sorry to say, that most of these are love songs!  They may be detached, unromantic, technically difficult love songs, but initially most of the writing is centered on whomever the special “you” he is singing about, actually is.  Many times this magical romance solves the darker problems.  Drug addicts often refer to their substance of choice with such regard, and that is where one can identify just how intense of a problem dependency is.  The illusion that a substance can solve problems is a message that billions of people are in denial of and need to hear.  This is a difficult message to deliver, harder to create, and we have lost many great artists to it.  Even though the truth hurts sometimes, this is fighting the good fight.  Those whom have never experienced what he is talking about, take something you do all day everyday and simply stop; for instance, stop eating gluten or watching TV for the rest of your life and let Matt know how easy it was.  Then let us assure you, the unnamed substances he is referencing are even more difficult to refuse.  It almost always takes a complete lifestyle change, and Return from Broken is a multimedia journal of that sort of resolution to health.

Striking piano parts provide moments of unexpected warmth.  The song Surrender gradually wells up with subtle synthesis supporting the piano that builds until small chimes and mellifluous strings.  As the lyrics relinquish, “You know how desperately I tried, and it never was enough,” one wants to stay in the beauty of the moment, forever listening to more and more of this building symphonic beauty, but it’s impossible.  Vocally Matt Soren is very interesting, as some sort of cross between Trent Reznor (NIN) and Maynard Keenan (Tool) but less polished and with far less vocal breath support.  Soren’s raspy sort of whispers couldn’t be better, but the strong sustained power-house wailing of the aforementioned artists is rarely found.  Some meditation, voice lessons or whatever could go a long way for improving the ferocity of his sound.  A couple of the slides between notes do not resolute as quickly as they should either.  However, when Soren does get off it is only for seconds and then he is right back in his comfort zone again, a sort of droning baritone.  A higher technical difficulty in the vocals would breath even more life into these songs.  But you have to hand it to the guy, as he is the only band member and doing many times the work of a standard vocalist with a band supporting them.  In that light, his singing is already better then most front-men.  The impeccability of the instrumentals indicates that Soren doesn’t have much work to do to get everything fine tuned.  He just needs to hold our a few notes longer and really belt his voice (safely) on a few of the harder songs.  It is really cool when his voice is going through the effect processor and hits choruses like an electric guitar, favoring more of an alternative singing style.

The subtlety of Return from Broken is empowering and heart-breaking in the same instance. If it wasn’t for the concept of returning from this state strong, the album would be a collection of threnodies.  It is funny how much a title can matter.  If I didn’t know Soren’s ultimately positive outlook, say for example this album had been named merely Broken, it would be difficult to accept such negative observations.  But that is what is truly inspiring about Matt Soren; after seeing such despair in the world, after seeing the worst, one must go on, get stronger, and figure out some sort of solution.  Naturally then, the album starts off dismal which may throw some people off at first, but this conceptual album requires your attention start to finish to get the positivist perspective.  The ending is a very rewarding journey worth the time and emotional hardship.  Soren has done something nearly impossible that all great artists must do.  He has been to the bottom and now on the way up he is inspiring others to lift themselves out of despair and forge their own happiness.

Reviewed by Julian Gorman

Julian Gorman, Reviews Matt Soren, Return from Broken

On first listen, it is apparent that Elijah Miller is a passionate poet and born artist. His nearly always smoothly flowing words delicately weave a variety of thoughtful images and capture an appreciable range of feelings.

Also on first listen, this collection may not seem all that musically impressive. The basic songwriting and melodies are quite simple. In this day and age, that most often means derivative, and it is. (Who can escape that?)  However, largely due to highly refined production and expert instrumental accompaniment, the subtle voicing variations and numerous nuances grow on you with repeated listens. Lovingly set in an admirable orchestration of dynamics, the players float in and out and back and forth effortlessly, from open, sparse airiness, to crunchy, garbled grungy confusion. These are high marks of professionalism.

Yes, we’ll definitely be listening to this one more than a few more times in years to come.

Let’s take a brief word ride through each track:

1.  A favorite, the opener “furious armies” confidently escalates its unrelenting slow march across fields of facets. Its deceptively one-dimensional, gritty glittering, slow drone vocal melody plods like a soldier through the mud. And yet, through the tough trek, there is an incorrigible optimism shining ahead and above, leading the way to some kind of inevitably glorious victory—someday. Supporting players provide expert encouragement to this military man with always anchoring root-5 bass, perfectly matched innovative drumming, and wonderful Weezer/U2-like guitar work that supports, soars and triumphs. Love the guitar slow fade-in, evolving tone at 2:09! An exceptional creation.

2.  Enter the 1-2-3 waltz “stain”, albeit with heavy lyrical emphasis, as usual. A good mix that is a bit silly and fun, and mostly more than a bit serious. Fine build up and complementary, well-coordinated and flowing musicianship. A sweet, poignant violin singing in at just the right times, a solidly supportive and sensitive rhythm section, and a melodic guitar alternating appropriately between clean and dirty tone, all make up the perfect blend with Elijah’s prolific poetry of surprise and delight. A King Crimsony flavor to parts of this one, with that fuzzy hollow tube guitar sound and diminished chords, largely originated by Mr. Fripp. The welcome instrumental interlude at about 2/3 in takes us for a happily melodic, lilting and spirited ride. Next we find ourselves hitting back into the more serious minor-based, darker intensity. Lots and lots of fit-’em-into-the-music-as-needed words, Dylanesque style—gotta say it all! Suddenly, it’s over with a sweet little vocal finale, dedicated and committing that “I will give just to you…”.

3.  No, it’s not What the Man Said—it’s nothing so nearly characteristically McCartney lyrical light. Instead, this “boy on the moon” waxes much more poetic in lyric, and poignant in music. Like other tracks here, this one builds, adding layer by layer, rising up into a slamming intensity. At its climax finale, the passionate pleading for the boy to “come back” is underscored by a 4-count hammer crescendo of semi-chaos with which to take us up and out, rising in his spaceship, taking off smoothly into outer space. Quite a trip…

4.  “muscle breaks” mixes it up a bit, as the solitary live piece here, though it’s hard to tell the difference from the studio cuts—next to no room ambience is detectable, and there are no crowd sounds. Regardless, like the rest, it is a high quality song and a fine recording, likely done direct-from-board. The feel here is a slightly sprightly bittersweet happy sadness, featuring prominent violin and a wonderful surprise banjo twangin’! Such a beautiful scene do they all paint together, happily married to a lovingly sloshy percussion. Marvelous composition and performances all around.

Reviewed by Mike Ososki

Mike Ososki, Reviews Hawk and Dove, Rocking Chair

Rocking Chair is a four song EP, and a prelude to a full length CD by the band Hawk And Dove who record and perform in the New York City area.

Elijah Miller, a singer-songwriter who left his work as a Union Organizer to pursue his passion for music, fronts the group. The first to join him on this journey was guitarist John Kleber, who adds a bit of banjo as well.  Adding to the group is Stephanie Sanders, who although she has a degree in jazz and a background in piano, is playing bass here. Another interesting instrumental voice in the mix is the sweet and haunting violin work of Rachel Lyon, who also plays mandolin. Keeping time and rounding out the ensemble is veteran drummer Dave Butler. Although Elijah is the principle vocalist all the members of the group sing as well.

The music of Hawk And Dove has elements of alt-rock, folk, country, and a psychedelic flashback or two. Elijah’s deep, personal, and poetic lyrics are conveyed in a sometimes-laid back, sometimes-forceful style that shows him as a storyteller as much as a vocalist. There were moments where his music brought to mind that of another once young NYC songsmith – Bob Dylan. There is an enigmatic quality in the lyrics that invites repeated listening to get inside them and glean the meaning and depth of the stories they tell. The group perfectly supports these tales by providing texture and musical context with dynamics that range from rocking to melodic and melancholy.

Although slow in tempo, the rock influence is felt on the first tune, “Furious Armies” where an insistent beat and electric guitars drive the song along to its feedback-laden conclusion. The second piece, entitled “Stain”, provides an interesting juxtaposition in that it starts off musically as a folk-inflected waltz while painting lyrical pictures of urban imagery. Picking up steam in the middle section it evolves into a very nice instrumental interlude featuring interplay between violin and guitar, adding other instruments as it goes.  On the next song, “Boy On The Moon”, a sparse guitar and vocal introduce the song and carry it along for the first couple minutes as it slowly moves into a mid-tempo groove with the rest of the band joining in. The rock influence is very present again towards the end of the song with high-energy lead guitars and Elijah delivering his vocals with passion and conviction. The final tune, “Muscle Breaks”, shows the more acoustic folk-influenced side of the group. With a bit of a back porch Americana feel, guitar and violin open the front door for us to come and sit a spell. I especially liked the unusual counterpoint of banjo and bells later in the song.

This four song EP certainly piques my interest to hear what will follow from this talented group. Audiences in NYC can hear what they are up to in various venues around the city. The rest of us will have to wait for their next release – I hope it’s not too long.

Reviewed by Michael Diamond

Michael Diamond, Reviews Hawk and Dove, Rocking Chair

This reviewer is a self-proclaimed music snob, who hangs out with other self-proclaimed music snobs. I’m talking about people who quiz each other on the names of Pavement’s successive drummers over lunch. Believe me when I express to you my surprise that this unassuming little EP caught my attention in a big way.

New York quintet Hawk and Dove blends vocals, drums, guitar, bass and violin. These four tracks tap into genres that have lured picky music connoisseurs for decades, from sleepy Americana to driving indie and even post-rock. The result is emotionally riveting, bringing indie firecrackers We Were Promised Jetpacks to mind. Instrumentation is captivating and varied, from minimal, ponderous bass to meandering interplay between violin, guitar and drums. Vocals are dynamic, delivering plaintive lyrics and jumping from genre to genre, occasionally taking on a jazzy warble.

The first track, “Furious Armies, is a plodding ballad tinged with post-rock. Dark, introspective guitar mirrors a subtly restrained passion in the vocals.

The second track, “Stain,” begins as a folksy sing-song reminiscent of Joanna Newsom, and soon builds to an emotional dirge.

The EP’s strongest offering, “Boy on the Moon,” at first seems minimal and plaintive. Even snobs have feelings, and I’ll be returning to this one on lonely city nights. Guitar and violin dance somberly with vocals that are appealingly relatable. The song builds into an epic ballad and collapses into feedback after a satisfying guitar tantrum.

The fourth track, “Muscle Breaks,” is quiet and slow, with pretty strings and sad vocals reminiscent of folk darlings The Decemberists.

Those who look down their noses at Top 40 charts will find something to embrace about Hawk and Dove’s first offering “Rocking Chair.” And whether or not we admit it, we’ll all be eagerly awaiting the full length.

Reviewed by Kendra Atleework

Kendra Atleework, Reviews Hawk and Dove, Rocking Chair