If only Cam were as talented a vocalist as he was an arranger, the album would be considerably better as it continued on.  Cam’s vocals on “Sweet as Sugar” are barely audible, so it’s hard to judge them there, but on later songs like “Critical Mind” and “Envy Free Reaction” they are occasionally cringe-worthy.  Surprisingly, they work quite well on the album’s third track, “Co-Define”.  Incidentally, this is also the strongest song on the album.  The atmosphere combines quite well with Cam’s rather soothing vocals to craft a beautiful song that is the closest thing to a single that can be found here.  If any of the tracks here had the chance to crossover from the club to the radio, this is it.

Omega and the Aspirin deserve a great deal of credit for some of the experimenting they do on this record.  The fourth song, “Ponyo”, is a lengthy instrumental piece that the bulk of which seems too subdued to be danceable.  However, the song actually features a good deal of progression, changing in tone from one piece to another.  Though the group cites bands such as Daft Punk and Orbital as having a kind of similar sound, “Ponyo” sounds more in line with the experimental ambiance music of Brian Eno.  The gentler nature and experimentation of this track does stifle the flow of the album in general, but taken out of the context of the other songs, it shows a talent Omega and the Aspirin possess that is atypical of other such groups.

Coincidentally, (or perhaps not) the following track, “We Must Arm” is also very reminiscent of Eno’s work.  The song, which heavily samples a Winston Churchill address to the United States, sounds like it could’ve been an outtake from the legendary 1981 Brian Eno & David Byrne album, My Life In The Bush Of Ghosts.  It would be shocking if none of the members of this trio had listened to this album at any point because the similarities are startling.  The use of Churchill’s lines being played over a light dance beat makes a profound statement as he repeats, “Is this a call to arms?” in time to the beat.  Had this song been released 30 years ago it would’ve been mind-blowingly innovative, today it is still remarkably experimental as it harkens back to the work pioneered by Eno & Byrne.

The last four songs of Omega and the Aspirin are not nearly as strong as what’s found on the first half of the album.  Though the sonics and arrangements are still there, Cam’s vocals bring the songs down a bit and even though Cookie and Boz are still playing the arrangement very well, the songs just tend to be not as interesting.  They also have the unfortunate effect of blending into one another, a problem that may be easily rectified by playing the album out of sequence.  Either way the songs aren’t bad by any means; “Critical Mind” is pretty infectious and doesn’t over stay its welcome, but they lack the punch of the album’s first half.

Omega and the Aspirin are not going to win over anyone who aren’t fans of electronica or dance music already.  This self-titled effort is heavily symbolic of the genre itself even though it breaks from the mold a bit with its sonic experimentation.  Even then, the experimenting breaks the momentum despite showing a unique talent. Regardless, the experimentation is unique to few enough tracks that the rest of the album can be enjoyed otherwise, while diversifying the listening experience enough to make the album a bit more engaging for other listeners.  Ultimately, if you’re a fan of the genre, you can consider this album to be a required listen, but if you’re not, there’s not going to be enough substance here to convert you.

Review by Heath Webster

The on Fires are a rock band. But they’re also an electronic rock band. And an indie rock band. And a punk rock band. And a trance-jam band. It’s all here on Betrayer. This group knows how to appeal to modern audiences who thrive on variety and genre-bending, as well as versatility within individual songs. They are clearly well on their way to harnessing an original rather than merely easily popularized sound, even if they still have a few small steps to go.  Tracks on Betrayer are long but diverse and with an interesting structure. Each track’s road map has obviously been carefully crafted. While the group could improve their already excellent songwriting even further by choosing a strength and sticking to it, such variety on one record does provide an interesting listen.

Faster songs are characterized by shouted group choruses, catchy, aggressive riffs, and dynamic vocals. An excellent example of this style is the first track, “Coming Home,” which is one of the album’s highlights. The roadmap, riddled with rises and falls, is vividly reminiscent of Six Flags’ Goliath. This is a real rock song ala AC/DC, with group shouts invoking oi punk.

The third track, “Precious Injury,” is notable in its introduction of electronic elements, taking on an industrial/club edge and reminding the listener slightly of new era AFI or Blaqk Audio. “Melancholy” and its instrumental introduction are slow and trancelike. Piano and guitar wail, overlaid by sad and plaintive lyrics. As with many tracks on Betrayer, reverb is so thick that guitars, drums and vocals are often wet to the point of dripping.  The listener is taken in an entirely new direction with the sixth track “Without,” a mid-tempo psychedelic jam. Heavy reverb, especially on the drums, bogs the music down slightly, as does repetition, but this track does add the The on Fires impressive range in genre.

Another highlight is “Open Arms.” Female vocals are tough while incorporating pretty harmonies. The shouted call and response chorus is playfully reminiscent of Green Day. The track is punky while maintaining classic elements of rock and roll.

Betraryer also boasts several indie rock tracks. “Sorry Now” and “Skeleton” are cute and pleasant, reminiscent of Arctic Monkeys or Cut Off Your Hands. However these songs incorporate synth and heavy production, which is prevalent throughout the album. Such production seems unnecessary given the already hooky, skillful songwriting. Tricks like these blur the band’s energy and passion, and the listener, while trying to focus on a solid guitar riff or clever melody, may be easily distracted by layers of affects. Similarly, “Nobody Wants” shows potential for gripping energy, but a marsh of synth and effects strip it of some of its rawness.

“Island” is an especially interesting track, beginning with a punky, spoken rant. Vocal delivery here is similar to indie rock darlings Dismemberment Plan, adding further diversity to the repertoire of The on Fires. However, a clappy chorus detracts from the song’s original lure.

Another highlight off Betrayer is the twelfth track “Hotel Room.” Clever lyrics about an affair are delivered through pretty male and female vocal harmonies. “Hotel Room” is catchy to the point of being contagious. There’s nothing wildly new going on here, but this is bound to be one of the most fun pop rock songs of the summer.

The title track is a relative disappointment compared to the songwriting prowess displayed by The on Fires on other songs. “Betrayer” is a dirge-like ballad, slow with excessive effects. Seemingly plucked from a rock opera, this closing track diverges from the honest and fun-loving tone of most of the album.

The more exciting and original tracks on Betrayer are the faster ones and those that fall within the realm of indie rock. The on Fires have a remarkable skill when it comes to writing hooky vocal and instrumental parts. However it is difficult to determine where this band’s heart lies: with the electronic beats, trance-jams, indie rock jingles, or the punky ballads.  While the diversity that this band harnesses can be of great benefit, more work in the areas that interest them the most will lead these musicians to harnessing a more original sound.   Similarly, while The on Fires are undoubtedly passionate, lesser production may contribute to this album and help the band explore their musical expertise. As the band grows and develops, listeners can most likely expect future releases to rely more heavily on creativity and songwriting talent than reverb and production.

Perhaps it would primarily behoove this group to step away from the safe zones of the genres they explore: trying something new and different with the synth, avoiding tried and true rock riffs, and shrugging the mask of heavy production. No matter which strength they choose to hone, there is no doubt that The on Fires will continue to provide listeners with the ride of their lives.

Review by Kendra Atleework

The band is made up of three people known only as Cam, Cookie and Boz.  No last names here. This band is all about mystery.  The biggest mystery is where their name came from. There’s not an “Omega” or “Aspirin” in the band!  But that doesn’t matter–they deliver dance music that will keep you moving from dusk to dawn and maybe a little bit into the next morning as well.

The album opens with the peppy “Sweet As Sugar,” a perfect track to get your body moving, be it for dancing or exercise.  The sparse vocals are perhaps the only thing that detracts from the song.  They seem ghostly and don’t suit the mood of the music.

By the time the first song ends, you will be ready for something more, and the Hi-NRG “Jaffa” delivers, with a hard thumping beat that will leave you exhausted even if you aren’t dancing. This song was meant for a smoke-filled dance club.  The lush soundscape “Co-define” sweeps us up to the stars as Cam chants “Co-define.”  The rest of the vocals are reminiscent of synth pop greats Depeche Mode.

“Critical Mind” has an almost rock-like beat that might have you thinking of a song by The B-52’s, but once that initial beat is gone, so are all similarities to that Athens, GA band.  “Critical Mind” is a dark, aggressive-sounding song, plagued by the song title being repeated over and over.

The spoken word of  “We Must Arm” is annoyingly repetitious.  It samples from the famous speech made by Winston Churchill in 1938 “We Must Arm. Britain Must Arm. America Must Arm”.  Winston Churchill’s voice does give a dark, mysterious quality to the track, but the song is a trial to listen to. “Buttons” has a strange vocal as well.  At one point it almost sounds like a muddled Bill Cosby.  It mars an otherwise great, spaced-out sounding track.

“Envy Free Reaction” and “Carefully, Silently” are tracks that could well have been penned with a little help from Erasure’s Vince Clarke.  Envy has a very perky beat to it.  This is also one of the tracks where the vocal really works, even though most listeners would be hard-pressed to tell you what was being sung. Carefully is the album’s closing track and its placement on the album couldn’t be better.  It isn’t a throwaway last song on the album, but more a track that lets things wind down with grace.

In nine tracks, Omega and the Aspirin bring you full circle. They start out at a reasonable pace, get you sufficiently worked up and then let you down gently.  The album is definitely one that begs to be played start to finish in a rave-like setting.

So put on something shiny or sparkly and prepare to get your groove on, because when you listen to Omega and The Aspirin you’ll want to get up and dance, and you won’t want to stop until the last track has finished.

Review by Andrea Guy

Within Betrayer is a tour of the Rock-and-Roll Hall of Fame from the perspective of a homeless vagabond who snuck in to laugh at their rivals and glorify their idols. The On Fires pick and choose from classical anthems as much as they embrace the late punk era.  Guitars are alternatively juicy but never buzzy or annoying.  Producer Rick Parker has a real talent for mastering distortion and taming punk ferocity into an album that is balanced well enough to be turned up all the way.  There is little else better then some of these guitar / synthesizer symbiosis sounds chiming in between frequencies and haunting vocals.  The On Fires have nothing to fear and are ready to set the world ablaze with music.

Vocalists Max Harman and Marty Xennoff are that rare combination; female and male singers who actually sound peerless in duet.  The Harmonies are effortlessly contagious and hum in the memory.  It is easy to pick up on the vibe and start singing along with the melody by the second or third listen.  And it never sounds pretentious of classically choral, always punk harmonies delving into dark minors that resolve with comfort, yet still are quite unique and refreshing.  This musical fusion is sublime, grabbing everyone in the audience and giving them a part to get lost in.  “Sorry Now” is an especially fun song to use for blowing off some steam.  Shouting along is cathartic, just don’t hurt yourself trying to keep up!

Despite being such a strong duo, one feels a little lost sometimes when only Max or Marty sings alone, though usually poetic, the song “Melancholy” doesn’t seem to fit, if still enjoyable.  It seems that Max Harman may run into similar problems as Donna Jean Godchaux did with Grateful Dead Heads, as she’s trying to compete in a genre that is typically male dominated.  Her voice is weakest, unfortunately on “Melancholy” because of the sliding in the chorus, “Mel~lan~choly follows me ~ar~ound,” is reminiscent of a song from 1911 Vaudeville, “My Melancholy Baby,” famous until the mid 40s.  Despite the slides, the song is potently depressing in a very good way, as the emotions are truly real, but one yearns for more vocal precision from Max’s voice, such as in “Arms Open,” where her confidence and strife are powerful.  Harman’s and Xenoff’s vocals both sound best supporting each other, or alternating for dramatic effect.  Xenoff sounds very lonely when he breaks down in the solo to “Without.”  Marty captures the tone of desolation nearly whispering “Got myself another heartache, drive myself to an early grave and if I seem a little restless, it’s ‘cause I can’t see no-” and then yells “Escape!”  These experiences are real and the authenticity shines through their poetry and intensity.  Their accents are quite hip and charming, well suited to the grit and ferocity of their chosen fusion of genre.  Even an ugly American such as me finds their yokel twang swaying to that raw Aussie roar and punkish slang.  Enviably cool sound.

Some of the synthesizers are really inspiring for capturing 80’s retro electro and fusing it to this new punk genre.  In “Sorry Now” guitar and drums mimic a synthetic Thurman like ghostly sound that is incredibly creepy and energizing simultaneously.  The song rolls with ease into “Nobody Wants,” progressively growing into a more tangled frustration “Scratchin’ the walls, should be easy enough to make it,” showing a potential attention to detail reminiscent of anarchistic inspiration within punk and classical rock.  The romping bass of Naomi Brockenshire balances the rumbling drumming of Simon Newberry giving important foundation to the creative expanses of the other two members.  The subtle consistent power of their support really allows for these incredible harmonies to take flight.

The On Fires are doubtlessly a wonderful synergy of musical styles that demand your ears attention.  Betrayer is insightful, funny, punk-grunge anarchy.  A well-rounded band growing into world fame, this album is the best stage for their evolution to really become exponentially awesome.  Little quibblings aside, the honesty and raw indie edge are real and much appreciated in these days of over-produced pseudo-punk.  It is not a perfect album, because that would be dishonest.  The best moments are the little glimmers in-between that may very well be the future of international punk.  The heart and soul of The On Fires is genuine burning desire that puts the majority of pop-rock to shame with their combination of technical skill an musical imagination.

Review by Julian Gorman

Off the top of the album things get swinging, exploding with big band energy.  The ensemble of instrumentalists is always on top of these new compositions, playing them as if they were jazz standards.  Because of that confidence, most of the songs fool one into thinking they actually are classical jazz tunes.  In “Talking About Me” the scope of quick musical references to the past are neatly arranged in ecstatic reverence.  Almost as though it were a montage of what to expect on the album, the first song really gets things moving and is what’s so exciting about Key’s creative gifts.  The instrumental chorus gives it all a full warm sound that is undeniably mesmerizing, advancing the jazz form, and a vacation for the ears.

Composer and Pianist Key J has surrounded himself with, give or take a couple instruments, an octet of brilliant musicians on the same vibe.  Their style is difficult to pinpoint within the cornucopia of jazz taste.  It is perhaps easiest to classify then as a sort of Post-bop Jazz found in the likes of John Coltraine, Thelonious Monk or Miles Davis, and has the ability to sample from harp bop, modal jazz or free jazz without breaking the core swinging rag-time soul of the music.  However, this is just a style choice, as the hard dissonance and chromaticism are tastefully done as accents, rather then the crux of the entire song, such as be-bop.  In this way, Key J’s compositions sample from all classical forms of the art and still manage to have its own voice and style notably different from any of the labels.

Perhaps most remarkable is Key J’s sense of timing.  Syncopation and tempo are always impeccably done.  Delicate attention to detail is most notably obvious in the soft and patient retardo captured in Duke Ellington’s classic “Prelude to a Kiss.”  It is nice to see all original work alongside one fantastic cover song, as it gives us a wonderful contrast to the new songs.  Perhaps some of Key J’s most delicate work can be found here, and it speaks volumes to his future potential as a composer.  This instrumental version is on par with the more popular lyrical versions done by Ella Fitzgerald or Billy Eckstine because of the vulnerability found in the piano.  Each note is played with the same attention and care as a vocalist, showing everything from ferocity to frailty.  Similarly, tension of the piano in “Resemblance” plays alongside a desperate sax echoes the same eccentric taste with darker emotion.  Highly refined but still empathic so that a high level and intelligence and feeling are being poured into this album from daftly trained skill and a passionate love of music.

Key J and his ensemble may have what it takes to make jazz hip again.  Much of what is missing from contemporary music is the gritty reality of the music being paired with the refined taste of the old styles; like aged cheese and fine wine, they go much better together then separate.  Transition beautifully balances the old and new to make a high class jazz masterpiece.  Key J could easily compose music for vocals, but the instrumental artistry makes it unnecessary, letting the drums horns and strings speak for themselves.  This is a wonderful album for anything from just hanging out with friends to throwing a classy party.  It is difficult to imagine Key J excelling in technical music ability much beyond this, meaning all there is left to do is play his music around the world and spread the sound.  It is rare for such intellect and feeling to be exhibited by the same composer, making Transition a gem of an album.  With this sort of jazz combo consistency, this writer is really looking forward to the new future of jazz.  Now, can someone get this man a full orchestra, too?  Key J can only get better from here on out.

Review by Julian Gorman

“Blonde Hair and Broken Hearts” features a wall of heavy crunching guitars and unfortunately Alyre’s voice is not strong enough to carry it through.  The timbre of his vocals is not a good mix with harsh tones.  The other pitfall of this tune is that the strings clash with the guitars as well.

Joining Alyre on his debut is Katrina, who sings a duet as the voice of an angel in “Come Down To Me,” but the beautiful spell these two artists cast in the beginning of the song is broken when an onslaught of garage rock noise overtakes them.  It is fitting to use instrumentation to aid in telling the musical story but not at the expense of overwhelming both the vocals and the message.

To make up for this, the two singers work well together in the title track with Katrina on backup vocals adding sweetness to the song with her lovely harmonies.  The bongos open the number creating a chill, jamming coffeehouse flavor.  The electric guitar is used sparingly between phrases and the acoustic work in the bridge with the bongo introit is great.  With the different overlapping layers it is disappointing that the coda is truncated.

Alyre’s best performance is “I Will Stay” where he sings in a call and response format with himself with excellent dovetailing effect.  The string work is much more tasteful and the acoustic guitar solo in the bridge is well executed.  Alyre however does fall into the trap of trying to sing too dramatically and loses his center of pitch on occasion.

The most radio friendly number is “Help Me” with its retro 90’s innocent pop melody.  The quick lyrics and cute acoustic back up is reminiscent of Smash Mouth and holds true to the adage that less is more.  Alyre’s vocals sound comfortable and not strained in the least with all of the acoustic work nicely complimenting the song.

“You’re Not Alone” is on the album as a full production number and as an acoustic version, with the latter being better.  When Alyre is not drowned out by loud guitars that cover his vocals, his true qualities are able to shine more.  Like Mark Wahlberg’s troubled character Chris Cole, in the rock movie “Rock Star,” Alyre does better with less show and sounds more natural and believable in an acoustic setting.  With his raw talent and Jersey roots, he could do more with his music by branching out and trying different musical ideas with his songs.

Review by Kelly O’Neil

With two continents covered, The On Fires were ready to spread to North America, and released Betrayer to propel their arrival in the US.  Adding Naomi Brockenshire on bass and Simon Newberry on drums for their studio work, this combination of musicians helped bring just the right amount of energy to the band’s songs. The style of The On Fires seems to simultaneously incorporate the old styles of rock ‘n’ roll and the new styles of today’s bands. At times, they seem to fit in more with today’s bands that can be found on current radio formats, with a punk/glam feel to their music at others.

“Coming Home” kicks off Betrayer, an upbeat track that combines the feeling of punk rock with just a little bit of the off-kilter style of Devo, while “Hanging With The Living” feels like a nod to the sixties’ bands that were creating the straight-out rock of the time.

“Precious Injury” suggests a cross between The Motels and Duran Duran. The style here brings to mind these two bands before they were both “commercialized” by their respective record labels. The song sounds like it belongs on college radio back in the ‘eighties.

With the song “Melancholy,” the listener gets to experience, for the first time on this album, the beautiful voice of Maxine as she takes the lead on this track. The piano-driven tune, coupled with the strings on this track, brings to mind a song written in the style of Queen, while “Without” lets their modern-day influences shine through with the flavor of Coldplay and Stereophonics.

Betrayer is a solid fifteen-song collection. Each song on the album has something different to offer the listener, and this makes it a joy to listen to.  It draws you in and keeps you interested to hear what else the band has to offer.  Maxine Harman and Marty Xenoff are a fine writing team, and paired with their additional studio and stage musicians, The On Fires is definitely worth checking out.

Review by Matheson Kamin

The race car rhythm and airy chorus of “Hooked on You” is an energetic start to the record while the bullet-like back-beat and synth frenzy of “Just So You Know” rockets in from outer space. The third track, “You Are Everything,” the strongest song on the album, has so much infectious rhythm in it that if indie electro-dance DJs knew about this Latin dance slap in the face, they would be begging to remix it.

The songstress explores Latin flavors of meringue pianos on the grinder “You Are Everything” and composes a dance party with sonic urgency on “Stop Talking.” The latter song brings with it a girl-power force that echoes early No Doubt à la “Don’t Speak,” or Janet Jackson’s “Nasty Boys.”  Even though Ms. Rose tends to experiment with different dance rhythms on songs like “It’s You That I Love,” she doesn’t veer far from the core pop hooks that make the songs so appealing.  But don’t be mislead that she would appeal solely to the commercial masses; deeper listening reveals more.

Although the majority of tracks are in the same vein as commercial pop and dance radio, there are undercurrents of progressive dance in a couple of the songs. “Now I’m Gone” possesses a Middle Eastern sound that eventually peaks into a trance-like crescendo.  It’s songs like these that fall outside the terrestrial radio realm.  This is the area where Ms. Rose can break the mainstream dance club mold, much the same way Santigold has done in the hip-hop world.  If Candy can push the edges the same way she does on tracks like “You Are Everything” and “Now I’m Gone,” her music will carry with it not only commercial appeal, but brand new audiences.

Meet You In The Club is one of those albums that can be played straight through a gym workout or long car drive to somewhere far and intriguing. One part dance party queen, and another progressive dance club vixen, Ms. Rose has the pop goods and dance music chops to break through both commercial and indie underground success.  Fans of Katy Perry, Lady Gaga and Christina Aguilera should buy this record now.

Review by Mike Morgan

“Hangin’ With The Living” begins with some melodic guitar work that sets the pace for the funky groove of this piece.  With slightly darker overtones, this track has attitude and spirit.  Fans of the horror punk genre might be pleased with this compilation and the macabre subject matter of the lyrics.  A mellower and more melodic Wednesday 13 comes to mind while rocking this track.  “Precious Injury” takes the album down a slightly different path with a post-80’s beat that is reminiscent of New Order.  The sound quality of this track is brimming with perfection and The On Fires do a fantastic job harmonizing.  The song is well balanced, brilliantly engineered and creatively innovative.

The On Fires slow it down a notch with the beautiful opening piano work of “Melancholy Intro.”  A haunting guitar rhythm accompanies the piano wonderfully and the instrumentation is flawless.  The intro flows effortlessly into the song “Melancholy” and the listener gets a much better appreciation for the diversity and talent of this collective during this piece.  The vocals are fantastic, the music is performed with perfection, and the sound could not be any better.  As the title suggest, the song brings forth a feeling of sadness and melancholy and it is lyrically compelling as well.  “Melancholy” ends with grace and rolls smoothly into “Without.”  The song placement on this album is genius.

“Without” is the single most defined and exquisite track on the album.  The On Fires are talented musicians, this is a given, but this piece truly showcases their understanding of music, how it makes people feel, and how it is supposed to sound.  There is a haunting melody that evokes a plethora of emotions ranging from bittersweet sadness to total rocking abandon.  “Without” is a classic, timeless piece of music that can stand on its own.  The musicianship is flawless, the lyrics are masterful, and the song never once lags or becomes repetitive in its six-plus minutes.  In fact, most would prefer that the song would continue on indefinitely.  The track rolls along smoothly throughout until it builds up to the orgasmic ending that is phenomenal.  Fans of exceptional music of any genre will be delighted with this piece, and fans of My Morning Jacket will be delighted with the jam session of pure unbridled talent that closes this track.  This is truly a masterful piece of work that is certain to outlast time itself.  Extraordinary.

Betrayer continues on with “When Monkeys Turn.”  Again, the sound quality is phenomenal with engineering perfection.  At 58 seconds, this short track is an excellent intro to “Arms Open,” which picks up the pace again.  Full of attitude and a 4 Non Blondes sort of vibe, “Arms Open” rocks as only The On Fires can.  This would be a great song to see performed live as it is full of energy and embodies the vibe of this band exceptionally well.  “Sorry Now” hits a bit harder than any of the preceding tracks with crunching guitar work and a fast tempo.  The harmonizing is excellent and the rhythm carries a sensation of careening through the universe at light speed.  This piece is alive, energizing and rejuvenating.  The vocals are well-delivered, the instrumentation is stellar, and this track is a classic.  “Sorry Now” is the signature song from The On Fires; The song that fans will most relate to when thinking of this collective and what they stand for.

“Nobody Wants” starts off with a slick bass line and a sound that is just out of this world.  Another lively piece from this energetic band, this song is brimming with confidence and talent.  The vocals are gritty, the guitar work is simply amazing, and everyone gets a chance to shine during this track.  One of the strongest songs on the album as far as collaboration amongst the band members go, this is a solid piece of music that can hold its own.  While listening to this, one gets the impression that the members of The On Fires truly enjoy what they do, most especially doing it together.  “Island” is a bit different from the other tracks on Betrayer and it’s refreshing.  The lyrics are delivered with an in-your-face attitude and they are not so much sung as they are spoken.  Fans of the Sex Pistols will be thrilled with this offering.  The album continues to take us for a ride with “Hotel Room,” which has the best harmonizing on the album yet, and that’s saying something.  The members of The On Fires compliment each other exceedingly well and that fact is made evident with this track.  A hard-rocking rhythm, fantastic vocals, and musicianship that are obviously the result of years of dedication and sheer talent, “Hotel Room” is yet another classic piece that makes The On Fires more than just a band.

“Skeleton” is quite possibly the most energetic track on the album and it carries a positive vibe that will be sure to get the feet tapping.  A great sing-along song that would be amazing to see performed live, this track is upbeat and full of vigorous chords and vocals.  The On Fires begin to close out the album with “Crook Plumbing,” a slower paced short track that leads the way into the title track, “Betrayer,” which is the final song.  It is an excellent song to close with and the tempo starts off slow with haunting piano work.  “Betrayer” is a dramatic, powerful, artistic piece that leaves the listener in awe of this band and what they are capable of.  Many bands have talent, but not all bands really understand music like The On Fires do, and not many bands can create something so extraordinarily vital and important to the current world of music.  The On Fires have demonstrated not only their sheer talent with this album, but also their love and understanding of music, and they have shared these things with the masses in the most brilliant way; By creating the masterpiece known as Betrayer.

Review by Rhonda Readence

Her latest offering, Traces of Grace, is nothing short of beautiful.  It comprises ten songs, some of which Wendy wrote and some covers.  Her style can best be described as folksy jazz with just a hint of country.

Some of the standout tracks on Traces of Grace are the covers, because of her extraordinary interpretations of classic songs such as Rod Argent’s “Time Of The Season.”  This particular tune has always had a strong sexual element, but when Wendy gives it her jazzed-up treatment, it takes sexy to a whole new level.  Her smoky vocals will leave listeners breathless.

The best cover, hands down, has to be “I’ve Got To Use My Imagination.”  Gladys Knight and the Pips made this song famous, and now Wendy is putting her own spin to it. Unlike the Pips’ version, Wendy slows it down. The lyrics pour from her mouth like a good whisky which leaves you a bit tipsy if you sample more than a glass. The only way you can describe her singing would be “smooth.”

Another beautifully-done song is her interpretation of the Smokey Robinson and The Miracles’ “I Like It Like That.”  The Miracles’ version is lively and smooth, but in Wendy’s hands the song takes on a more bluesy tone, and some of the notes she hits will blow your mind.

It would be wrong to ignore the songs that Wendy wrote for Traces of Grace. The album opener, “Get It Right” is a bluesy country number that may have some listeners thinking of Janis Joplin. The tune really rocks out and makes you want to move.  “Trace Of The Heart” is just the opposite.  It is a more laid-back song, with guitars that wail in sadness, which is perfect complement to a song about a lover who has gone.

Her voice soars on “Be My Baby,” a song with a heaping helping of blues.  This one sounds more than a little like Bonnie Raitt.

Traces of Grace is full of memorable tracks that will have you coming back to listen again, but none so much as “Folding.”  This song, above all others, really shows the world the strength of Wendy’s voice as well as her talent as a songwriter. “Folding” is more an adult contemporary love song, which alone sets it apart from the rest of an album that otherwise features plenty of blues and folksy-country-sounding tunes.

The album closes with “No More,” written by Toots Camarata and recorded by Billie Holliday in 1944.  Although it is hard to make comparisons between the two versions, it is safe to say that Wendy’s version is just as good as the original.

Traces of Grace is one of those rare gems–an album that can be played from start to finish without a bad song in sight. This is truly a must-listen for any music lover.

Review by Andrea Guy