Album Of The Week: The Train Set’s Never California

What do you think of first when 80’s indie rock from Britain first comes to mind? Maybe The Smiths, The Stone Roses, The Sisters Of Mercy or even The Charlatans? Well, what if there was a band that started during that period but just released an ? That’s what’s happening with The Train Set and their album Never California, which be officially released off of Firestation Records on September 7. Any Britpop fanatic (I know there are a few of you) and anyone who worships the mantle of Ian Curtis, Steven Patrick Morrissey, Johnny Marr, Ian Brown and John Squire should love The Train Set’s latest release. If not, then please throw your music snob card out the window, and go hide in whatever miserable cave you came from.

Never California is a series of singles the act put out during the Second Summer Of Love heyday of the late ’80s, and it makes me wonder why they didn’t achieve the success of their contemporaries. It could have been that they went away way too soon after their formation, which is an absolute shame. A first listen will show their incredible talent, and you’ll know why Noel Gallagher, formerly from Oasis, holds them in such high regard.

Why did The Train Set disappear? Will they get back together? Well, they got a Facebook page up. Is it a fan page? Why haven’t you looked them up already? Maybe my top tracks off of the Album Of The Week will do the trick.

Definitely influenced by the Madchester scene, “She’s Gone” has a little bit of jangle, a hint of synth and a bit of a blues aesthetic. The lead guitar really gives it an edge with riffs showing up through the track. With surfy tone, “Stop Stalling (Sob Stories)” has impeccable rhythm and a hell of a beat in the chorus. The riffs in “Gets Me Down” reminds me of the ’90s alt-rock band Cracker; it’s also catchy and groovy, and you’ll definitely love it.

Will The Train Set do a reunion show? Are the members still alive? I have no idea, but I’d love to see them play in the States. So you know what the hell I’m talking about, get a copy of The Train Set’s Never California when it comes out on Labor Day. What a better way to spend a day off than listen to a killer album?

Listen to “She’s Gone” here: https://www.youtube.com/watch?v=yMmzJNL8wNY

The Train Set’s Website: http://www.thetrainset.co.uk

CD Review: Adam Michael Rothberg’s Soul Of A Man

In 2013, Boston musician Adam Michael Rothberg was diagnosed with a rare and potentially life-threatening cancer. The treatment and fallout from his illness has resulted in his introspective new CD, Soul Of A Man.

The moody title track was performed by Blind Willie Johnson in 1930. The percussion by Fabio Pirozollo nicely complements Rothberg’s haunting vocals. “I’ve traveled different countries/Traveled to the furthest lands/Couldn’t find nobody could tell me/Tell me what is the soul of a man,” Rothberg sings.

“Gonna Be Fine” is about the lonely life of a musician on the road. Rothberg’s lyrics brilliantly capture this theme. ”Too many motel rooms sucking down diesel fumes/we all smelled like locker rooms/too much love on the phone.”

“Only Human” is about the sometimes frustrating struggle to find true love.

“Crazy For You” was clearly inspired by the works of Paul McCartney and Randy Newman. It’s a romantic jazzy composition and a throwback to a more innocent time. It’s the best McCartney tribute you could ever hope to hear.

Another highlight is “The Guitar Song,” an upbeat folk tune featuring a banjo and mandolin. “Take my vintage Cadillac car/but don’t you touch my guitar,” Rothberg sings.

“Postcards from the Moon” is an intriguing look at what God thinks of humanity. “I’d like you to walk in my shoes for a mile/I made the world in one week/But so what/Cause I watched you destroy all I made.” “Lullaby” and “Shirley’s Gone” close out the album. They are a pair of contemplative songs about death.

Befitting the title of his album, Rothberg sings with a tremendous amount of passion and soul. These songs are imbued with heart and stir the emotions of the listener with genuine feeling. The backing musicians also do a spectacular job.

Soul Of A Man can be purchased at CDBaby.com. Some of Rothberg’s songs can be found on iTunes. Rothberg is currently touring around Massachusetts to promote the album. For a full list of dates, go to his website: amrsounds.com.

Rob’s Album Of The Week: Vundabar’s Gawk

With a mix of garage rock and jangle pop, Boston’s Vundabar have a uniquely infectious sound that couldn’t be more evident than with their upcoming release, Gawk, the band’s spectacular follow-up to their debut, Antics, that came out in April 2013. Driving chords, fuzzy riffs and a song structure that alternates between emphatic and soft tones are abundant throughout the album. Strikingly original while not going too over the top, Gawk gets weird, but in a cool way that’ll keep you from putting down your headphones.

Vundabar was born from the sense of alienation many of us felt in high school. This feeling spawned the songwriting partnership between Brandon Hagen and Drew McDonald when they were both in their early 20s. In addition to alienation, Gawk deals with identity, perception, detachment and subtle bitterness with absurdist humor accenting the entire album. There are points of jarring energy that’ll hit you during various tracks, but it’s only a part of Vundabar’s creativity.

Read an article, watch TV or just walk down the street, and you’re bound to see something absolutely crazy. It’s a wacky world out there, so take a break with my top tracks off of the Album Of The Week.

I love the grooves of “Oulala” along with the catchy twee pop that brings a sense of smoothness to a track that features a lot of distortion and a few downbeats. Reminiscent of bands like The Cars and The Talking Heads but with a dose of serious edgy rock, “Alien Blues” is adorned with a rhythmic shine that keeps up with the band’s catchy style. “Bust” has some soft tones while going back to the scorching riffs that are all over this quick and energetic number.

On July 17, Vundabar will play a kickass local rock show at The Middle East Upstairs located in Cambridge, Mass, with Pile, Creaturos, Ian and Milk. Grab a copy of Gawk when it’s released on July 24. It’s kind of all over the place and it’s kind of not — compacted weirdness that you’re going to love.

Stream “Oulala”: http://vundabar.bandcamp.com/track/oulala

CD Review: Richard Thompson’s Still

On his new album, Richard Thompson, one of the all-time folk greats, proves once again that he’s Still got it (sorry about that one, it was right there!). He’s made a career as a road warrior; you probably won’t find the Bon Jovi tour rolling through Middletown, Ohio, or Grass Valley, Calif, but years of touring off the beaten path has earned Thompson a die-hard fan base.

He hasn’t had the familiar career of a music legend; as a teenager in the ’60s, he helped create folk- rock in Fairport Convention, and in the ’70s through early ’80s he released critically acclaimed with his wife Linda. But his best work came 20-plus after he separated from his wife and moved his operations to California, deciding to start over as a solo artist.

Still isn’t as guitar-heavy as 2013’s Electric, but any Thompson album is genius when it comes to sprinkling gems of guitar wisdom that reward repeat listening. It could be the leads alongside a chorus or a two-bar solo before a verse, but his playing is always fascinating (“Patty Don’t You Put Me Down” and “Long John Silver” stand out). Side note: To see some serious guitar wizardry, get to one of his electric shows.

While his more well-known English contemporaries like Page and Clapton became guitar gods by ripping through pentatonic scales, Thompson created a style truly his own, using hybrid picking and drony down-tunings. His solos are intense, meandering affairs, full of off-notes that are cleverly resolved. “Pony In The Stable” perfectly mixes Celtic folk and electric guitar, and “Josephine” shows his masterful folk fingerpicking.

Still was produced by Wilco chieftain Jeff Tweedy and features Thompson’s longtime associates Michael Jerome and Taras Prodaniuk on drums and bass, respectively. It doesn’t seem like jumping aboard Team Tweedy yielded any big breakthroughs compared to past albums. But Thompson is a shrewd operator, and I suspect that Tweedy’s name recognition and the possible access to a whole generation of indie fans was a big factor.

Along with his fretwork, Thompson is known for his absorbing lyrics, the best of which remain squarely on the depressing side of the spectrum. “She Never Could Resist A Winding Road” tells of a love who got away and “No Peace No End” is an entirely bleak affair illustrating what it’s like to have nobody. “Where’s Your Heart” is a melancholy ballad that revisits the familiar Thompson theme of a love gone sour (“so strange to hear you/talk about love/is it just yourself/you’re enamored of?”).

The closing track, “Guitar Heroes,” shows that Thompson isn’t just a virtuoso alien as he imitates his biggest heroes, like Django Reinhardt and Les Paul. But the song ends with a solo of his own, and that may be the best moment of the entire album. He sings “I still don’t know how my heroes did it,” and this song shows us just how lucky we are; if he focused all his efforts on impersonation, he might have ended up just another guy learning Chuck Berry riffs in his basement.

Still is yet another engaging effort from an artist who has been able to steadily release interesting albums for decades while still sounding like himself. If you’re already a Thompson loyalist, you’ll not need much convincing to give this album a listen, but if not, start with this, then you’ve got almost 50 years to catch up on!

Still can be purchased here.

Album Of The Week: Used Cassettes’ Rock N Rills Sometimes you can find awesome music in the least likely of places. It was true for me this week when I embarked on my old habit of surfing the web for tunes I’ve never heard of before, and I’m pretty sure I found a gem with Used Cassettes’ latest release Rock N Rills. The Seoul, South Korea, rock ‘n’ roll act have a distinct catchiness to their songs to go along with distorted and noisy riffs. In a land that musically is mostly known for their brand of K-Pop that’ll annoy the hell out of you, it’s amazing and refreshing to see that Seoul has a flourishing indie rock scene.

A band that was formed as a drunken pact between friends Ollie Walker, Patrick Walsh, Danny Arens and Matt Spence, Used Cassettes have a sound reminiscent of Pavement and Sonic Youth with a tinge of Lou Reed-esque coolness to create a unique style that’ll have you hooked. Some songs are kind of long and abstract, while others are absolute rippers. A few are party anthems and at the same time there are a handful of somber and heartfelt tracks. Variety that comes straight from the heart, Used Cassettes are a diamond in the rough when it comes to their rhythms and beats going with the chords.

Have you been to a festival near you yet? Well if you have, then awesome. If you haven’t, then what are you waiting for? It’s summer in New England, which means that it’s festival season and you gotta get your friends together and get out of the house. While you tune up for the drive to a remote location with all of your favorite bands, take a taste of my top tracks from the Album Of The Week.

The surf rock boogie down monster jam “President” is a groovy track all about being in a foreign place and you’re trying to figure out who’s running the joint. Straight party rockin’ “Wasted” gives the rebellious side of you a kick while making you want to bask in a bunch of libations. Another one I like a lot is “She Got Burned,” adorned with pop aesthetics coming from the song’s structure. The chorus will definitely grab you.

Being from South Korea, Used Cassettes won’t be hitting the US anytime soon, but let’s hope that they make their way over here in future so us live music fanatics can check them out in person. Until they invade your friendly neighborhood music venue, grab a copy of Rock N Rills from Used Cassettes. Killer music by some cats from Seoul with a lot of soul if you catch my drift.

Stream Rock N Rills here: https://msbsound.bandcamp.com/album/rock-n-rills

Used Cassettes on Facebook: https://www.facebook.com/usedcassettesseoul CD Review: Sarah Kenyon’s Love Again

If Sarah Kenyon decided today to pack it all in and give up on the business we call music (and heaven knows that will never happen …) she would do so having already accomplished far more than most in her position ever will. With the voice of an angel and a face to match, Kenyon has fronted the ’90s-influenced alt-rock indie band GrandEvolution with a ferocity that somewhat contradicts her cherubic demeanor. In fact, since 2002 she and her cohorts (including a drummer who worked out so well she actually married the fella) have gone after rock’s brass ring with the single-minded persistence of a heavyweight prizefighter training for the championship belt. Under Sarah Kenyon’s leadership, they’ve released a new album like clockwork every other year since their inception, and in doing so have honed their writing and recording skills to an art form.

And all of this tenacity and hard work has paid off for GrandEvolution in some fairly impressive achievements, including working with great acts like Soul Asylum and Everclear, and earning accolades from fans and critics alike. Let’s face it, Pulse Magazine doesn’t give out Worcester’s Sexiest Musician Awards to just anyone, ya know! But make no mistake, dismiss Sarah Kenyon as just another pretty face at your own peril, because this New England Institute of Art alumna is poised to make her mark on an audience far wider than the surrounding areas of Wormtown.

Never sitting creatively stagnant for any stretch of time, Kenyon has momentarily veered from her GrandEvolution juggernaut to pursue a solo project in the form of a two track CD single “Love Again” and “Let Go.” The latter is a sharp divergence from her edgier alternative side, mostly devoid of heavy crunching guitars often associated with her GrandEvolution day-job. In a crystalline vocal performance, Kenyon draws the listener into the song so deep, it becomes something just short of hypnotizing. “In the moment let go and fall into me. Let go and set yourself free — In a moment when you feel it it can change everything. In the darkness you wake up and find that it’s all just a dream, so let go …”

The single “Love Again” is three minutes and 20 seconds of pure radio-ready power pop. Though more upbeat than its counterpart, Kenyon has created another short yet potent mini-masterpiece. Along with project producer Peter Hubbard (of the band Whiskey Bent), Kenyon utilizes her strong commercial sensibilities, along with strings, keyboards, and oh that voice: “Lay your body next to mine, let me hold you one last time – Just tell me one more time how to love you again before I die.”

Sarah Kenyon is an overachieving Renaissance woman who’s paving her own path through a world that often rewards mediocrity and also-rans. Whether fronting her band, going solo or embarking on a much-rumored modeling career, Kenyon consistently brings to the table a work-ethic and enthusiasm for the project that all but guarantees success.

CD Review: Matt Vanaria’s Soaring

What I’m about to say might not win me any popularity contests among the younger indie crowd, but as a rule I frown upon artists recording their commercial releases in their “home studio”(a.k.a., mom’s basement), armed only with their laptop and a midi controller keyboard. Skipping over the professional recording studio environment, with its visceral, almost magical trappings that add immeasurably to any musician’s project, is akin to skipping over the 12-year classroom experience and just jumping right to taking the SATs (sorry homeschoolers … ) Rarely have I been impressed with a CD project born from what I’ve considered this shortcut.

But today I’ve had to seriously reexamine this dogmatic philosophy after hearing what I consider to be a skillfully crafted, fully-baked, four-track EP from local musician Matt Vanaria titled Soaring. This homespun project is unabashedly culled from the heart of Vanaria, a craft beer loving military serviceman, who makes it clear that his purpose is to certainly entertain, but more importantly, touch as many souls as possible through his art: “If there is something to aim for in my music, it is to bring out shadowed passions of lyrics that have meaning to anyone who has ever felt something before — I tend to bring out what others cannot describe but through lyrics and music …”

Matt Vanaria’s overall style can best described as an updated version of The Goo Goo Dolls, with a slightly edgier alternative vibe. The track “Until You Walk Away” enters with searing guitars and heavy bottom end, but soon Vanaria’s vocals unveil a vulnerability rarely found in today’s “alt-rock” sound: “The golden silence comes around, until you walk away. Undecided by those who’ve died, until you walk away. All remains are the stories, page after the page. Black as night upon the sight, until you walk away.”

Another standout, “Everything Inside,” is one of those songs that would fit perfectly in a teen-movie, playing during the scene when the 20-something boyfriend learns his girl has been diagnosed with some rare fatal disease that she picked up last year in the Peruvian jungle, during her stint in the Peace Corps. Does Peru have jungles? No matter, because the point remains that Vanaria pours emotion, real or otherwise, into his performance: “Every time you enter the room you light the flame inside. Never had a question within my thought, I never felt so alive. I don’t need no simple gifts or to pretend when I’m with you. All I need is the love you give from when you say you love me too.”

From reading through his Facebook, it appears Matt Vanaria is appending the EP with some forthcoming recordings that I’m anxious to hear. Credible singer-songwriters are fast becoming a rare commodity. But Matt Vanaria has already established himself as one such artist to keep an eye on.

Album Of The Week: And So I Watch You From Afar’s Heirs

A wave of electrifyingly experimental rock has been coming out of Ireland & Northern Ireland over the past few years. At the forefront of this underground explosion is Belfast’s And So I Watch You From Afar. With a sound that hits numerous dimensions, at times being progressive then flowing into a hyper metal and hardcore punk style, this quartet could very well be the most epic band to come out of the British Isles in quite some time. Their fourth studio album, Heirs, is a superb example of how this band has evolved from being a completely instrumental monster to a triumphant force that has inspiring lyrics.

Let me be honest, when And So I Watch You From Afar first added vocals on their previous release All Hail Bright Futures in March 2013, I was a little turned off. Maybe it was because it was something I didn’t expect from a band that only released instrumental tracks before, or maybe it was because I just didn’t get it. With Heirs, I do now. A feverish pace and a boom that coats each track like icing on a cake makes And So I Watch You From Afar’s new release a fantastic return to form. Energizing and invigorating in so many ways, I suggest pressing play on this bad boy while indulging in your morning cup of coffee.

It’s about that time in New England where we go outside, relax with the best of friends and enjoy our surroundings more. What would be a better way to get you amped up for some fun in the sun than with my top tracks off of the Album Of The Week?

My favorite track off of Heirs has to be “Fucking Lifer;” the thumping bass from Jonathan Adger really makes this one a head banger for the ages. Purely epic in immense fashion, “Wasps” has scorching riffs coming from Rory Friers and Niall Kennedy that possess so much power it can destroy a brick wall. With a weird beginning that’s sonically spine tingling, “Animal Ghosts” will make your eyes bulge with excitement as this fearsome foursome rhythmically unites to being a raging musical entity.

And So I Watch You From Afar are currently embarking on a tour of Europe where they’ll be playing at Islington Assembly Hall in London on May 1. Let’s all hope they roll on through Providence or Boston soon for what will be a righteous time that few will forget. Until then, grab a copy of Heirs when it’s released to the masses on May 4. It’ll wow you, astound you and it’ll definitely impress you.

Stream Heirs right here: soundcloud.com/sargent-house/sets/and-so-i-watch-you-from-afar-heirs

Album Of The Week: Kuroma’s Kuromarama

2015 has been a unique year so far for album releases. A lot of acts from the independent underground have been putting out quality material over the past few months, which makes the halfway point of the 2010s pretty enjoyable. Another act that deserves to be put in this exclusive group are psychedelic power pop phenoms Kuroma and their new release Kuromarama. A lot of energy with a cool groove, this quartet has catchy lyrics to go with a rhythmic structure that creates an infectious sound. If you’re looking for the tunes to get you amped for summer, Kuroma might just be that refreshing discovery that you’ve been craving.

One interesting thing about Kuroma is their numerous connections with fellow psychedelics MGMT. James Richardson and Hank Sullivant have gone on tour with MGMT on numerous occasions by assisting the duo of Ben Goldwasser & Andrew VanWyngarden, and Goldwasser actually produced Kuromarama. There’s a distinct influence from MGMT on Kuroma’s sound with the pop sensibilities and aesthetics that’s abundant from track to track. With the rock riffs from the guitars to go along with everything else, you can’t help but fall in love with the music.

I’ve noticed quite a rarity in New England these days — people are actually smiling! Maybe because the weather is warmer and the sun is shining, but it’s better than the winter we all had to deal with. Keep that smile going and indulge in my top tracks from the Album Of The Week.

Exuding pure fun and bringing a righteous vibe, “Love Is On The Way” is one of the top candidates for being the rock song of the summer. If that guitar doesn’t get you in a good mood, I don’t know what will. With more of a punk tone, “20+ Centuries” is fast and rhythmic; it’ll start a dance party in your humble abode no matter who’s around. The opening beat sequence of “Simon’s In The Jungle” makes me think that it would be in one of those cheesy driving instruction videos from the 1980s, but it’s an excellent example of the catchiness that Kuroma possesses.

Wondering if Kuroma will be heading to Providence anytime soon? Well, you’re in luck! They’ll be at The Parlour on April 25 with badass alt-rockers Ex Hex and local indie pop act Littlefoot. It’s going to be an awesome show amongst a jam packed weekend of musical madness, so plan accordingly. While you’re there, pick up a copy of Kuromarama. It’s catchy, groovy and all sorts of awesome.

Listen to “20+ Centuries” here: soundcloud.com/realkuroma/20-centuries-1

Horse-Eyed Men’s Grave Country Reimagines the Cowboy

If you’ve never heard of the Horse-Eyed Men, it’s time to take notice. The two-man band made up of brothers Noah and Dylan Harley has been impressing audiences at local spots like The Parlor and Nick-a-Nees with nothing more than a few guitars, a bass drum and snare pedal contraption, and some hilarious and bizarre banter. With the help of a cash infusion from the Danish Government, The Horse-Eyed Men have created a true masterpiece in their album Grave Country.

It’s hard to deny that we’re experiencing a traditional American music revival, but no one expands the parameters like the Horse-Eyed Men. Though Noah, the band’s primary songwriter, described Grave Country as his attempt to write a country album, the subject matter is hardly the typical “drown my sorrows with a bottle” country tropes. The Horse-Eyed Men give you tales about the inexorable plight of the American businessman (life, stress, death, rebirth) and old ladies’ heads falling off. The subjects range from the whimsical to the weighty, but the lyrics always hit you like a sock in the gut.

The pedal and laid-back tempos conjure images of the archetypal cowboy, walking alone through the windswept prairie. The Harley brothers also take it a step further and ask: What if that lone soldier swallowed a few stiff cocktails and headed to a 1920s jazz club? The swingin’ ragtime numbers add vivid flashes of color to the album. “Dyspepsius Majorum” eerily compares being in love to having a tapeworm (“we share the same food and the air that we breathe”) and “Drunkard’s Ball” could be this generation’s drinking anthem (“You can’t regret what you don’t recall!”).

The band has a sizable amount of material aside from the album that focuses on such piercing issues as the Earth’s primordial soup and dietary restrictions, and they’re gearing up for a run of shows with Spirit Family Reunion starting this week. I recently spoke to Noah and Dylan about Grave Country’s unlikely origins and a few other subjects.

Jake Bissaro: You received financial backing from the Danish Government to record Grave Country. How did that happen?

Noah Harley: Europe is basically the tits! I was living in Berlin at the time (summer 2013) playing with some other projects. We got the opportunity through The Danish Arts Council, an arm of the government designed to fund artistic projects. They actually have a special grant to foster musical cooperation between Danish and American musicians, and we applied to be the Americans with the help of our friend Anders Christoperson (who ended up producing the album).

Dylan Harley: The grant also included enough to fly me out there. I just got a call from my brother out of the blue like, “Hey, do you want to come out to Copenhagen?”

JB: What was the recording process like?

NH: We got really lucky because the grant didn’t just cover the recording; it paid for us to rent an apartment for two and a half weeks, and living expenses, food, and everything like that. And I even got to fly back later on to record a few more songs!

DH: It also covered production, mastering and vinyl pressing. We spent two and a half weeks in a small studio and we were able to get great musicians like our former bandmate Carlos Santana (not that one) on and Hugo Rasmussen (legendary Danish studio bassist). Spending weeks with these guys allowed us to really develop a rapport and a feel for each other’s playing. Having these professionals around also gave the album a multi-generational feel, and made it more than just a few young guys screwing around in the studio. NH: It was a totally surreal experience, especially playing with Rasmussen. Like, this guy has been doing it for like 50 years, played on hundreds of albums, and he’s in here jamming with us! He was essential to the feel of the album.

JB: You’re located in different cities. Do you consider yourself a part of the Providence music scene?

NH: Yes, Providence has been really great to us. We’re located in different cities, which is a blessing and a curse. I have contacts in New York and Dylan has contacts here, but it’s sometimes hard to organize things. We play in different bands, but this project is always great to come back to for both of us.

DH: Here in Providence there’s much more camaraderie than in other scenes; you start out as fans, then you become friends and everybody helps each other out. There are enough small stages that getting started is not super intimidating.

JB: I could be wrong, but your hometown of Seekonk, Mass, doesn’t seem like a place known as a traditional American music hotbed. How did you get into this type of stuff?

NH: Our dad [Grammy award-winning children’s songwriter and storyteller Bill Harley] always had folk music playing around the house, and from there I got really into traditional American music. I never really lived in the Carolinas and Virginia, but I don’t think you necessarily need that to get the essence of the music.

DH: I got more into the alt-country scene, stuff like Lucinda Williams and Whiskeytown. Townes Van Zandt was also a big one for both of us.

JB: What are your plans for the future?

NH: We hope to go back overseas to Europe this coming fall and do some more recording.

The Horse-Eyed Men will open for Spirit Family Reunion at The Columbus Theater on April 9 and at The Sinclair in Cambridge on the 10th. Grave Country can be purchased here.