Praise For Wallflower.com | Indie Music Blog

THE SKINNY: Three Legged Fox’s sophomore release called Not As Far (Recorded and produced by Chris DiBeneditto of G. Love & Special Sauce, Slightly Stoopid) is a blend of soulful vocals, blues licks, reggae grooves, and feel- good vibes.

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Three Legged Fox was formed after winning the 2006 Battle of the Bands at the University of Delaware. The band now resides outside of Philadelphia and gigs around the east coast. TLF was voted #1 Best Rock Band in the 2008 Out & About Magazine Music Awards and has received airplay on more than 170 radio stations nationwide. My first listen of this 13- track album left me humming the catchy choruses weaved together by Kyle Wareham (Lead Vocalist/Rhythm guitar).

Not as Far contains tracks packed with tasteful instrumental breakdowns and heart- felt lyrics. The album has crisp percussive horn harmonies and tasteful guitar licks dancing throughout the tracks. If you like an album you can nod your head and sing along to then Not as Faris my top choice. "Slow Down" is my favorite track because it embodies that up beat reggae groove with quality vocal soul. Kyle Wareham brings it to church on the next track called Help. Here the band shows off their musicianship with nice chord changes and a soulful back up choir that will knock your socks off.

Three Legged Fox is a group of true artists and true musicians. The instrumentals are dazzling and the vocals/lyrics give you that emotional chill that we all look for.

"Slow Down" off of Not As Far:

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WEBSITE: http://threeleggedfoxlive.com
MYSPACE: http://myspace.com/threeleggedfox
TWITTER: http://twitter.com/threeleggedfox
PURCHASE: Amazon

FAVORITE TRACK: "Slow Down"
FOR FANS OF: BALLYHOO!

http://www.myspace.com/ballyhoo

THE SKINNY: I don't normally agree with the opinion of Pitchfork, but there have been a few exceptions and them liking The Antlers has been one of them. Hospice is a beautifully crafted, emotional record that you should give a listen to. Grab a pair of big headphones, curl up in bed and let the album play out in front of you.

WEBSITE: http://www.antlersmusic.com
MYSPACE: http://www.myspace.com/theantlers
TWITTER: http://twitter.com/theantlers
PURCHASE: Amazon MP3, iTunes

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I started this article with very different intentions. I have a few bands that I could write about and that I should write about. It has been months since I've posted anything. As I was listening to The Antlers, scrolling through the rest of my iTunes library, I knew what I needed to write about. The Antlers have been hogging my listening time for the past month, so if I'm coming out of my writing hibernation it should be to write about them. The Antlers are a three-piece band out of Brooklyn, N.Y. fronted by Peter Silberman. Silberman put out an EP by himself a few years ago before recruiting Michael Lerner and Darby Cicci to become The Antlers. They put out two EPs before recording their first full-length, Hospice. The album was recorded after Silberman finished a hibernation of his own. After moving to Brooklyn, he isolated himself for about two years.

It's not surprising that this record was made while Silberman was going through a hard time. It's one of the saddest albums I've heard in a while. You can tell just by the album name, Hospice, that this isn't something to listen to if you're looking for a pick-me-up. The album is a 10-track narrative telling the story of Sylvia, a terminally ill cancer patient with a lot of baggage. The album shows the frustration and fear that accompanies illness for the people dying and the loved ones who have to witness and prepare for that death. The music accompanies the story line using breathy tones, loud melodic choruses and distorted acoustic transitions. But what really carries Hospice is the story itself. If you are going to listen to the album I suggest getting your hands on some liner notes. The nine-minute track "Wake" is probably the most haunting song on the record  as he sings, "It was easier to lock the doors and kill the phones than to show my skin. Because the hardest thing is never to repent for someone else, it's letting people in."

Hospice may not be an easy listen, and won't be for everyone, but there is something about this album that keeps me listening. It is an album that grew on me after a few tries, and the more I listen the more impressed with it I am.

"Bear" off of Hospice

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FAVORITE TRACK: "Bear", "Wake", "Two"

WEBSITE: http://www.thealmost.com/
MYSPACE: http://myspace.com/thealmost
TWITTER: http://twitter.com/thealmostrules
MERCH: http://thealmostmerch.com/

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Monster, Monster marks the release of the 2nd full length album from The Almost, a band that began as a side project from Underoath's Aaron Gillespie. Looking back on what was a simple, glossy debut, The Almost have contrasted that with a grittier, more organic take on their established sound. Monster, Monster is a pseudo-southern collection of straight-up rock/pop songs that disappoint only in that they provide little variety.

The album kicks off like any powerful rock album would, with a punchy first track proceeded by a slew of similar but not as aggressive follow up tracks. The songs are good. They get stuck in your head, because well, that's what these guys are paid to do. But, the truth is I'm tired of this ride. If you like The Almost (and I generally do) then their new repertoire will no doubt have you repeatedly visiting their decked out myspace and checking out Aaron's charming culinary videos. Granted, the band is performing as a band here, which sounds odd, but Southern Weather was a solo effort by Gillespie, manning every instrument in the studio and allowing some friends to recreate it on stage. So, instead of what sounded like an articulately, though exquisitely, sequenced collection of songs now sounds like a snapshot of a youthful, energetic pop/rock band with enough imperfection and nuance to keep me from rolling my eyes.

The Almost's Monster, Monster reminds me a lot of a few other, recent, markedly successful records. I reviewed Sherwood's Qu last month with little enthusiasm for almost all the same reasons: I used to get CDs at a store and wear them down to their bare elements from repetitive play. We all did that. And, while I don't mean to dwell on this point too much because it's the same old schtick, the fact is that commercial music really does lose some value in comparison to less successful equivalents. The Almost are good musicians and adequate song writers and I, by no means, fault them for the production and release of Monster, Monster but I've got enough safe, typical rock music in my life. I'm looking for a band to take musical risks, try something new, and to put energy into branching out musically instead of worrying what their next tattoo should be.

THE SKINNY: Love & Reverie's The Mapping is a strong independent record with some reputable and impressive professionalism. The album is full of great melodies and a palpability confirming the band put their heart and soul into their best release to date.

MYSPACE: http://myspace.com/loveandreverie
TWITTER: http://twitter.com/loveandreverie
MERCH: http://loveandreverie.bigcartel.com

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Love & Reverie are an indie rock / pop rock band out of Richmond, Virginia responsible for what I think is a pretty unique sound, for a number of reasons. The band hits you like whiplash. I initially received their most recent LP release, The Mapping, with little enthusiasm until I found myself creepily searching my iTunes for Love & Reverie. I slowly began to hear the (very deep) value in the record despite it taking some time to grow on me, considering that now the band's epic, intricate guitars and and stealthily and ironically addictive vocal melodies are a staple in my daily music listening ritual.

The Mapping, sadly, was released over a year ago but I didn't want to let it get away. Musically, the album offers a lot of anthem-driven-chorus songs but is not redundant or atypical of what a lot of bands do: write 12 fist pumpers and call it an album. No, here Love & Reverie wrap these sing-alongs (if you would even call them that, considering the broad vision of every song) in a rather complex musical shell. The intricacies of the instrumentals are still approachable enough that fans of Copeland's simplicity won't be frightened away but also sophisticated enough that fans of more progressive indie outfits would appreciate.

The album is raw and dynamic and, unlike most indie rock and pop records, the songwriting here isn't just a band providing a backdrop for a vocalist. There is some subtle interplay between voice and guitar on the record which is cool, considering a band's icon is almost always solely the lead singer. The Most Serene Republic are notorious for this effect, and while Love & Reverie don't quite pull it off the same way, it's obvious they didn't intend to: a lot of the nuance on the record sounds like L&E are starting to blossom as songwriters, musicians, and performers. There are glimpses of beautiful moments showing promise for a follow-up record where the band will inevitably mature and trim the fat.

On another note, vocalist Noah Skelton doesn't always sound comfortable on The Mapping, usually during slower, less abrasive sections but always sounds right at home when the band gets huge and loud. It's only at these moments of skepticism that L&E pull a rabbit out of their hat and do something really sick. So, for me, it's only a matter of progress for Love & Reverie. The Mapping is an incredibly strong independent release and deserves many kudos for a DIY group of this caliber. The band has their work cut out for them, and their already loyal fanbase should embrace any improved and polished direction taken as they become more professional and successful music makers.

"Perfect Picture" off of The Mapping

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FAVORITE TRACK: "Perfect Picture", "Foot Steps"
FOR FANS OF: old Copeland

THE SKINNY: If you jumped on the Cartel fanbus when they released their self-titled second LP then Cycles might leave you slightly disappointed, but the record will definitely appeal to die-hards and fans of earlier albums. Cycles is proof that Cartel hasn't lost its youthfulness, energy, and ability to draw a crowd.

WEBSITE: http://cartelrocks.com
MYSPACE: http://myspace.com/cartel
TWITTER: http://twitter.com/cartelcartel
PURCHASE: Amazon, iTunes

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Since the release of the pop dynamo's self-titled second major record two years ago, I was convinced Cartel was one of those wild card bands. They had it all: a huge following, a reality show on MTV, legitimately talented songwriters and performers. Cartel, since then, has been on my watch list, not only because they never cease to write perfect, punchy pop songs but because I was convinced that with every album the band would mature further until they achieved some veritable plateau of musical greatness.

To my disappointment, Cartel's latest release, Cycles, isn't necessarily a step in this same direction. The album is an incredibly well-produced collection of happy songs with a similar feel. Most tracks have an upbeat pulse with driving drums which might be an executive move at expanding and appeasing to the band's popularity. To support this, there are moments where the guitars are so back in the mix that they're drowned by what sounds like a club synth, which is certainly an exaggeration on my part, but it's clear the band has traded their ability to craft appropriately complex pop / rock gems for a stricter take on their previous commercialism. Cycles, however, is actually very good and I won't criticize it for not falling in line with my vision for the band because that's silly.

"Deep South," a slightly heavier track which also happens to be a lot slower in contrast with the record, is refreshing. Vocalist Will Pugh does his signature persistent and energetic belting while underneath him flows a classic case of Cartel guitars, sliding around the chorus chords with unison bass and kick drum. The effect is way luscious, and there's plenty of this type of instrumental work on the record. "Let's Go", one of two of the record's singles (which you can stream below) is a great example of a quintessential Cartel chorus, full of sharply punctuated and rhythmic guitars with a never-ending drum pulse. This song, in particular, is extremely reminiscent of their previous album, Cartel. The lifeforce of Cartel is unarguably Pugh's radically addictive melodies, of which there are no shortage. The quality of these melodies are certainly above average though some tracks haven't infected me as hard as I was anticipating. On songs like "See Me Now" and "Conventional Friend" Pugh utterly commands the speakers with his swerving, indulgent vocal work.

"Let's Go" off of Cycles


Cycles is undoubtedly a record meant for live translation. The energy on this album is in no short supply. Breaks with huge unison hits while Pugh explodes forth with high-pitched melodic swerves as only he can do are prevalent and welcome. While I prefer other Cartel albums as strictly recorded works it's apparent that Cycles is meant to be learned on iTunes and lived in an audience.

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FAVORITE TRACK: "Deep South", "Conventional Friend"
FOR FANS OF: Cartel's Chroma

THE SKINNY: Tim Williams is the second artist in the Dovecote Records lineup (home to the very talented Trevor Giuliani) to see some spotlight on the PFW stage in recent months. His ambitious third full-length release, Careful Love, is a fun, 10-track album that contains some depth, despite the misleading gloss and poppy, addictive melodies.


MYSPACE: http://myspace.com/timwilliams
YOUTUBE: http://youtube.com/user/DovecoteRecords
PURCHASE: iTunes (10/20)

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Williams underwent reconstructive heart surgery before the writing began for Careful Love. Along with this came a significant other and a new and blossoming happy residency in Los Angeles. These experiences serve as major content on the record and the evidence is there, providing plenty of stories to accompany the lush backdrop provided Williams' studio band.

Williams' music is simple, intensely addictive, poppy, and just dark enough to not turn me away. Despite the generally optimistic lyrics, Careful Love does carry a bit of an eerie tone, which is probably a product of the sometimes obscure sounds produced by the band. Synth is a major component of the record, and the patches used on songs never repeat themselves, making each track memorable and significant; an amazing attribute that gives the album a generous amount of quality points.

My favorite and, I think, most important part about Careful Love is that Williams has made the decision to shake off the impedance of the singer/songwriter label and move into the band scene. The effect this change has on the album takes Williams from pleasant to gripping, and pretty to gritty. The lush and aggressive tones in contrast to Williams' melodic tenor on Careful Love are the difference between my forgetting about this record after I write this and me hitting repeat as soon as it's over.

"I Hit Another Wall" off of
Careful Love

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FAVORITE TRACK: "Ozone Street"
FOR FANS OF: Death Cab For Cutie,

THE SKINNY: London native quartet Noah And The Whale's latest release is an album set to film, both of which are entitled The First Days of Spring.

WEBSITE: http://noahandthewhale.com
MYSPACE: http://myspace.com/noahandthewhale
FREE MP3: Click Here

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Every once in a while, an artist of one field will take interest in another. An actor will start a band. A composer will paint his mistress a valentine, or in some cases, an artist will materialize a life-long love for another artform. Whatever the case may be, the final product is often something with great depth and ambition, be it simple or brilliant. For some, bridging the gap between sight and sound is a necessity because their art cannot be limited to just music and vise versa. Noah And The Whale have set to video their latest album release; a soundtrack and stand-alone record entitled The First Days of Spring which will accompany a film of the same name, both of which are primarily the brainchild of Charlie Fink, Noah's frontman.

Upon first listen of The First Days of Spring, it is apparent that the album is quirky and plays a bit like a movie score. Having not seen the accompanying film, however, I can tell you that the album plays smoothly and beautifully all by itself, allowing the nuances of these eccentricities to punctuate the music just as it would the film. The album is extremely passive, on the whole (especially from the beginning), and leaves plenty of room for a visual aesthetic as it slowly lulls you into more upbeat tracks like "Love Of An Orchestra," one of two of the album's noted singles, which begins with what sounds like a professional choir paving the way for a very Sufjan Stevens-esque track full of unison choir lines and an upbeat, highly percussive groove brimming with personality and an addictive vocal melody. Following this swell is the second of two instrumentals on the record, justly named "Instrumental II," which is a simple and lovely reverberated solo guitar melody, providing yet another texture to an album that is all variety.

The second half of The First Days of Spring is entirely more captivating than the slow but effective first half. It's this contrast, however, that brings the album together as both a soundtrack and a record, as opposed to an unrelated collection of music. This effect is nothing short of brilliant, and furthermore I'm nothing short of very impressed at how these young Londoners have quite literally composed an exceptionally cohesive and mature sophomore (yes, only their second) release. As the album comes to a close, tracks like "Slow Glass" provide the period to the end of the sentence. The atmosphere painted by the track speaks finale without any climactic finish, but with an unambiguous closing mood. Following this is the album's last track entitled "My Door Is Always Open" which provides one of the most haunting moments on the record as the band joins in unison atop a fresh folk guitar strum: "I love with my heart, and I hold it in my hands, but ya' know my heart's not yours."

As is with most any recorded work, there will be good and bad moments which severely dictate how often we listen, what mood we're in when we listen, and why we listen to a record. Noah And The Whale's The First Days of Spring, however, is not a run of the mill record, but quite literally a soundtrack; a collection of music with highs and lows that contribute toward a bigger picture. And, though this isn't an entirely new idea, Noah And The Whale certainly lie among a small minority of music makers that have done it well.

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FAVORITE TRACK: "Love of an Orchestra"
FOR FANS OF: Volcano Choir, Sufjan Stevens

THE SKINNY: Sherwood's Qu is an excellent example of catchy, well-produced, simple, and safe indie-pop that will appeal to fans of the genre, but like most things, isn't for everyone.

MYSPACE: http://myspace.com/sherwood
TWITTER: http://twitter.com/realsherwood
YOUTUBE: http://youtube.com/sherwoodband
PURCHASE: http://www.sherwoodmusic.net/

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Sherwood have returned with their fourth release, Qu; a bold statement toward a general maintenance of the band's youth despite its veteran status in the pop / rock world. Unlike most indie-pop bands that tend to slow down, "mature" musically, and eventually disband after a few releases, Sherwood have successfully grabbed hold of their career as a band and punctuated their already popular catalog with what will no doubt be the band's quintessential record.

Qu is musically similar to Relient K's more recent work with a heavier focus on audience supported anthems. Everything on the record is fully conducive to loud sing-alongs, with the exception of two more acoustic-driven ballads entitled "Worn" and the album's closer, "No Better". Nate Henry, the band's lead vocalist and bassist, sings confidently while behind him an effective, albeit slightly too cute, band harmonizes every catchy hook making for a very ear friendly experience. The album isn't particularly deep or complex, by any means, but the strength of Qu, for me, lies in the overall pleasantness of each track.

The pretty nature of the music here, however, might not be enough to delight fans of more aggressive stuff.Qu is definitely a very glossy, pretty record that probably won't change the music world. The instrumentation is simple and well-executed, but not risky, raw, or spontaneous. This play-it-safe sound is acceptable and doesn't need an explanation, especially from a band with a great and clearly content following. So, if you're like me and hard to please and often turned off by very poppy stuff, you probably won't find Qu very satisfying. If you're not like me and you like catchy melodies, music you can blast and sing along to with friends, and bands that are committed to delivering their fans exactly what they want, than Sherwood's Qu is probably just what the doctor ordered.

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FAVORITE TRACK: "Not Gonna Love," "Free"
FOR FANS OF: Relient K,Waking Ashland

WEBSITE: http://thealmost.com
MYSPACE: http://myspace.com/thealmost
TWITTER: http://twitter.com/thealmost

After my first run in with The Almost, less than three years ago, I was hooked for a good few weeks on front-man Aaron Gillespie's strained and gliding melodic hooks; though, Aaron's reputation and general brilliance in UnderOATH was enough reason for me to get familiar with the new project. Just a few days back on October 6, The Almost released a preliminary EP entitled The Monster which is meant as something of a teaser to a full-length album which will drop on November 3. The EP contains three tracks from the band's upcoming Monster Monster release as well as two b-sides. So if you're a newcomer to this addictive five-piece, The Monster ep could be your gateway to fandom.

The music on the ep is relatively similar to that of the band's first release Southern Weather, but sounds a little more cohesive and raw, probably because Gillespie isn't manning every instrument, making the listening experience a little more live, rather than studio, which I like. For fans of past works, The Monster ep offers much of the same dripping harmony stuff, but again, is composed of backing music which I've found to be pretty cool and even a little risky for a poppy rock band. All in all, The Monster ep is a smooth transition from Southern Weather into what will probably be a mature, exciting sophomore release for The Almost.

THE SKINNY: Though Daisy lacks the innovation and musical dynamics of past releases, its deeper exploration of elements present in The Devil and God are Raging Inside Me make it a worthwhile listen.

WEBSITE: http://fightoffyourdemons.com/
MYSPACE: http://www.myspace.com/brandnew

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Brand New is a band known for its tremendous growth. The progression and maturity that accompany each new album far surpass what many bands could hope for in their entire careers. I think part of this success stems from the length of time that the band allots before releasing something new. They have time to grow together as a band, experiment with new sounds and ideas, as well as give thought to the direction they want to head in. After The Devil and God are Raging Inside Me forged a new path for the band that was so widely received and respected, most fans anxiously waited to see where the next album would venture.

For me, however, Daisy does not depart from the spirit of Devil and God all that much. While the familiar hints of Brand New remain -- the driving melodies, the incorporation of distorted, dissonant noises and recordings (in this album, they are primarily snippets of old church hymnal songs), and lyrics woven with irony and religious overtones -- there is still something that feels off. Maybe it's the abrupt parts of the opening song "Vices" where Lacey's voice seems more like a painful shrill, or maybe it's that none of the songs sound as polished or manifold as past tracks like "Limousine." Although it has taken me more than several listens to realize, it seems that the unsettling, disjointed vibe could in fact be what the band intended.

Notions of cynicism and jadedness appear repeatedly with religious imagery of irredeemable betrayal, judgment and loss of faith. The continuity of such themes suggests that the questions of faith and redemption loosely posed in The Devil and God are Raging Inside Me were reflective of a much deeper struggle. The final track, "Noro," concludes with the following: How am I ever going to know peace? // How will I ever see the light through the trees? // I want to burn down everything we've begun, I want to kill and eat my young. // Because I'm on my way to Hell. // Well I've tried. God knows that I've tried. These lyrics conveniently embody the album's overarching desire for closure and a disassociation from the past.

Where there was once growth, there is now a sense of stagnation and disillusionment. Though Daisy possesses many profound and thought-provoking moments, it's hard to step away from the album without feeling like it's the band's goodbye, or at least their resignation from the music scene for a good while. Given the complexity and variety of music Brand New has offered fans and listeners over the past years, I can only hope that this is not the case.

"Sink" off of Daisy:


"At The Bottom off of Daisy:


FAVORITE TRACK: "Sink, At The Bottom"

THE SKINNY: Up until the release of Manipulator, the band's third full-length album, The Fall of Troy had a reputation for off-the-wall guitar licks played in odd time signatures while the guitarist and bassist went back and forth screaming and singing; completely insane for only three young men. With a new line-up change, The Fall of Troy attempts to bring that insanity back with a few twists along the way.

WEBSITE: thefalloftroy.com/
MYSPACE: myspace.com/thefalloftroy
TWITTER: twitter.com/thefalloftroy
PURCHASE: Amazon MP3, iTunes

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The album starts off with a track that the band has had on its myspace for some time now, "Panic Attack!" It's a great opener for the CD and gives fans a taste of what's to come on the album. It's a lot heavier and in-your-face compared to most of the tracks on Manipulator, which is what I think most fans have been craving since Doppelgänger. It also showcases the band's mature sound; the side they've been trying to develop since loosing bassist Tim Ward.

The first track flows effortlessly into the second, "Straight-Jacket Keelhauled." This song is complete insanity from beginning to end. It starts off as a screaming duel between Thomas Erak and the new bassist Frank Ene and then follows with one of the best riffs on the album. From there it goes back into the duel then into a nasty solo to finish out the track. This song is extremely reminiscent of the sound that fans got used to after the first two TFoT releases.

The fifth track ("Single") is one of those upbeat, Manipulator-esque songs on the record. While it doesn't contain tons of super intricate guitar licks or many hardcore elements, it is still one of the most solid arrangements on the album. On Manipulator, many of the pop tracks sounded like they were made simply because the band was trying to branch out from what they created on the first two albums. However, the pop tracks on this album sound more controlled and have a tighter link to the sound many fans associate with TFoT.

In the Unlikely Event takes the best parts of Manipulator and ties them in with TFoT's old sound. This, in conjunction with the incredible production value of the album, makes for a more mature, larger-than-life sound that anyone in their right mind would love to listen to.

"Panic Attack!" off of In the Unlikely Event

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FAVORITE TRACK: "Straight-Jacket Keelhauled"
FOR FANS OF: Previous TFoT albums, Tera Melos, The Mars Volta, Thrice

THE SKINNY: The Black Seeds' latest record is a quintessential reggae album with plenty of groove to appeal to any fan of the genre.

WEBSITE: http://SITE.com
MYSPACE: http://www.myspace.com/theblackseeds
TWITTER: http://twitter.com/TheBlackSeeds
PURCHASE: Amazon

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The Black Seeds have hit a giant aesthetic nerve with their new album Solid Ground. It is a brilliant mix of Reggae, Dub, Funk, and Soul. The feel good lyrics with the tender rhythmic devices is a great balance. Every track delivers something special throughout the album. You’ll be listening to slow dub reggae one track and then be thrown into some deep pocket James Brown funk on the next one. The album mixes genres back and forth as mentioned, but what really binds the album together for me is the heavy brass harmonies. The band does reggae perfectly and then switches up on the lag beat Funk. Also, you can hear influences from the Roots, Sublime, and my favorite funk group called Lettuce. The bari-sax is so heavy and solid under the rhythms.

My favorite track is "Love Is a Radiation". The reggae groove, lyrical phrasing, and percussion are everything I look for in a great reggae track. The vocal harmonies answering after the main leads put the lyrics straight to your head. This is where the brass shines by playing scarcely, but at the most critical build up times. Funk, Reggae, and Soul listeners MUST give a listen to Solid Ground by The Black Seeds.

"Slingshot" off of Solid Ground

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FAVORITE TRACK: "Love Is A Radiation"
FOR FANS OF: Lettuce, James Brown, The Roots, Sublime

THE SKINNY: Energetic, charismatic folk-rock group releases its fourth album. While the band has matured, it has not lost its charm.

WEBSITE: http://www.sk6ers.com
MYSPACE: www.myspace.com/sk6ers
TWITTER: www.twitter.com/sk6ers

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A little more than three years ago, I stumbled upon a musical gem called Stephen Kellogg and the Sixers, completely by chance. It was one of the greatest accidental discoveries I've made.

The core trio of the Sixers -- Stephen Kellogg, Kit "Goose" Karlson, and Brian "Boots" Factor -- is a folk-rock hybrid group hailing from the Northeast. The group formed in 2003, and through its innovative songwriting and exuberant live performances (they have all been known to drop their pants mid-performance), have developed a fiercely loyal fanbase.

The Bear, which hit stores and iTunes on September 8, is the group's fourth album. It is a fitting followup to their 2005 self-titled album and 2007's Glassjaw Boxer. The raw, reminiscent lyrics evoke the thoughts and sentiments that can only come from the joys and sorrows of life. The album could be a soundtrack accompanying the thoughts of a man reflecting on all he's endured, speaking to an assortment of younger, less experienced friends or family members. The pervasive theme of the album can be summed up in the title track's reprise: "Sometimes you get the bear / sometimes the bear gets you / sometimes you're gonna win / sometimes you're gonna lose / but you know in the end / there's no apologies."

While the band has retained some of its former gentle brightness (as evidenced in the lullaby-esque "Oh Adeline"), the band has branched out to the arena of longer, more instrumentally focused ballads. "Mabeline", which is nearly seven minutes long,
tells a tale of breaking the law and getting caught. What speaks louder than the words is the instrumental breakdown approximately four and a half minutes in, when the simple melody speeds up, backed by a complex drum beat and quick piano.

The Sixers have clearly matured. Lyrically, they are less lighthearted and naive. Musically, the kazoo is missing from the musical accompaniment. While Glassjaw Boxer initially struck me as a more adult, occasionally darker follow-up to the upbeat self-titled, The Bear takes that element one step further. They have not lost their lovably lackadaisical musicianship or element of exuberance, but it has undoubtedly been toned down. The Bear also plays up the southern and folk subtleties of the previous albums.

"A (With Love)" off of The Bear


"Satisfied Man" off of The Bear

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FAVORITE TRACK: A (With Love), Satisfied Man
FOR FANS OF: Whiskeytown, Traveling Wilburys, Old 97s

WEBSITE: http://dejhamusic.com
MYSPACE: http://myspace.com/dejhamusic
PURCHASE: Direct

July 28 of this past Summer marked the date of Dejha Colantuono's first solo album release. Tea & Vodka not only showcases the vocalists airy alto, but boasts production from Matt Bayles. Bayles' back-catalog includes work with Pearl Jam, Mastodon, and Isis. From the get go, listening and reviewing was pretty effortless because the sound and mix of the album are incredibly professional.

Tea & Vodka is primarily a dark pop/rock album. Instrumentation includes some digital effects and synth and garage-type guitars rocking on simple, over-driven riffs. My only disappointment with Dejha's first studio effort is the sometimes boring instrumentals. The guitar parts are rather repetitive and don't catch my ear to much length. Contrary to this is the album's drums, performed primarily by Matt Chamberlain whom livens up the sound stage with plenty of percussive command. Every song has a great groove and, despite my beef with some of the melodic instruments, stays interesting in both the beat and vocal departments.

Dejha's voice is the dry, warm, tube amp equivalent to the American pop scene's solid-state vocal tone. Melodies on the record aren't intricate or too ambitious but Dejha will hit some pretty dissonance from time to time to keep things interesting. It's my feeling that the melodies and notes are almost inconsequential to the tone of her voice. Dejha's texture and vocal personality are what make Tea & Vodka hip and original.

Colantuono is a vocalist who is, to my surprise, rather well known and respected by music professionals already. It seems the only other next step, oddly enough, is to get her new album Tea & Vodka heard by the public masses.

"Color Blue" off of Tea & Vodka

WEBSITE: http://mikerofe.com
MYSPACE: http://myspace.com/mikerof
TWITTER: http://twitter.com/mikerofe
PURCHASE: iTunes, CDBaby

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Mike Rofé is a singer/songwriter that I was introduced to recently. He's an artist full of a myriad of different tones, both lyrical and musical. Upon first listen, I wasn't struck by Rofé's music, texturally, but impressed at how each song on his most recent record, Hang On Romantic, maintained a consistent feel but jumped around like a rabbit in a leaf garden. Mike's music is, at its roots, very honest, well-produced, easy to listen to, and most importantly easy to understand because it is simple, happy music.

Rofé's Hang On Romantic draws influence from a number of important artists including Bob Dylan, Elvis Costello, Paul Simon and sometimes showcases abilities from these same talents. Barry Goldberg from Bob Dylan's stage band appears on Rofe's record as does Michael's brother Peter of the prestigious L.A. Philharmonic. Also on the record are Phil Leavitt of Dada, and Alex Del Zoppo of Sweet Water. With this, the record plays smoothly from start to finish as each track carries a personality of its own, spurred by the nuance of a variety of studio talents and Rofe's introspective humor.

Despite the influences Mike Rofé notes on his release, I thing this album will appeal to fans of an almost vintage 90s folk rock sound like Blues Traveler, Barenaked Ladies, and Bruce Springsteen whom, like Rofé, often creates a feel good party atmosphere. The point here is there is a focus on fun simplicity and it is executed beautifully. You'll find yourself mimicking Rofé's signature dipping melodies that hover around his modest guitar strumming which merely serves as the vessel that helps you hum and dance along. For me, Rofé's Hang On Romantic isn't an album you pull apart and dissect. You just put it on and let it do its thing.

"The Ocean" off of Hang On Romantic

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FAVORITE TRACK: The Ocean, We've Got It All
FOR FANS OF: Bruce Springsteen, Barenaked Ladies

THE SKINNY: Passionate jazz vocalist debuts first full-length effort.

WEBSITE: http://www.sarahtolar.com
MYSPACE: http://www.myspace.com/sarahtolar
TWITTER: http://twitter.com/sarahtolar
PURCHASE: Amazon

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Each day musicians, actors, singers and artists from all reaches of the world move to New York City in hopes of making it big in a place that breeds and thrives on creativity. Sarah Tolar is one of those individuals with ambitious dreams who has taken a chance to pursue the hope of becoming an original artist despite the odds.

Tolar earned her Master's degree in Jazz Studies at the University of North Texas taking her knowledge of the art form to a level most do not. However, an advanced degree and awards were not enough for Tolar who could not deny her desire for songwriting.

Tolar recorded her first full-length effort Big Blue Moon in New York with producer David Cook. The album displays the knowledge and skills of what Tolar knows best with a folk-country flair. "Big Blue Moon" does seem to lack personality that would make the album truly her own. However, it remains comforting and warm with a familiar feel. This album is reminiscent of music one looks to listen to on a rainy Sunday afternoon, curled up with a glass of wine. The album features musicians who have played with known acts including Harry Connick Jr., Diana Krall and Jennifer Hudson; an impressive group to support a blossoming songwriter. "Along for the Ride" and "Don't Call Me Baby" have an old school vibe displaying the rasp and personality in Tolar's voice. While "Gettin' Back to Me Again" is a soulful ballad in the vein of Norah Jones.

Tolar's first effort is truly respectable, but there is room for growth to truly find who she is as an artist. There is no doubt that Tolar has a respect and deep passion for jazz as well as talent as singer, but now is the time to take her love and turn it into something of her own to truly define herself.

"Don't Call Me Baby" off of Big Blue Moon:


"Gettin' Back To Me Again" off of Big Blue Moon:

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FOR FANS OF: Norah Jones, Carole King, Idina Menzel

THE SKINNY: The Slant's "The Makings of This House" is emotionally driven, progressive folk at its best.

WEBSITE: http://www.theslantmusic.com/
MYSPACE: http://myspace.com/theslantmusic
PURCHASE: CDBaby

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If you're looking for extreme vocal prowess and a sick organic groove then The Slant will be right up your alley. The band is a melting pot of typical folk instrumentation outlined with heavy hitting drums and a deep back beat that have continually had my head bobbing during my exploration of The Slant's "The Makings of This House". Some tracks on the album are a bit gypsy in nature which makes for some weird song transitions as you listen, though its not unpleasant by any means. The style variety is often strange, but I suppose I'd be complaining if every song sounded identical, wouldn't I?

My favorite track, "Stand Fast", is one of the band's very raw, pulsing, and transient grooves where you can't exactly make out what's going on in the background, but you do know its some sort of drum serving as a snare. The song grows and diminishes appropriately until finally a mandolin enters the sound stage and you're reminded that you're listening to The Slant and not an old Death Cab song. This track ends way too soon.

What must be stressed, most of all, is that the group has an uncurbing ability to make an intensely varied collection of music. As I listened to this frustratingly short and teasing album, I found myself repeatedly checking my media player to make sure "shuffle mode" was off. This isn't to say that the tracks are unrelated or don't fit well together, but I was simply so impressed at the tone and atmosphere the group created on each track because it's always so vastly different from the previous track. The Slant are a great group that serve as a reminder to the fact that originality is underplayed and seldom heard in music today.

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FAVORITE TRACK: Stand Fast, Where the Seas Are Black
FOR FANS OF: Porcupine Tree, Sigur Ros, Death Cab for Cutie

THE SKINNY: Another album from rock powerhouse Thrice. Beggars is comparable to recent efforts with a small taste of their classic sound thrown into the mix; a combo that should keep both generations of fans happy.

WEBSITE: http://thrice.net
MYSPACE: http://myspace.com/thrice
PURCHASE: Amazon (pre-order), iTunes

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The sixth studio album from Thrice is scheduled to hit the stores on September 15 in physical form (it is already available for mp3 purchase via above links). Beggars is the first album to follow the collection of records grouped into The Alchemy Index, a four-disc release with titles corresponding to the four elements. In my opinion, it was a decent idea that Thrice tried to do too much with and ultimately gave me little pleasure.

For me, this album is like a trip back to the band's Vheissu days: it is certainly a more toned-down, commercialized version of Thrice, but still delivers a roster of songs that keeps me interested musically and lyrically. As far as the newer (very different) catalog for Thrice goes, this is their best album to date. It seemed like they had been trying to develop a different, more mature sound but had failed to find it. I do think, however, they can finally rest easy with what they produced on Beggars.

"All the World is Mad" off of Beggars
copyright 2009 Thrice

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FAVORITE TRACK: "Doublespeak"
FOR FANS OF: Deftones, Thrice fans who were not satisfied or pleased with The Alchemy Index,

THE SKINNY: The very beginning of PFW was riddled with a few of my favorite groups which I stupidly wasted in the first month, whereat I soon realized I hadn't much else to write about. One of those early posts, Artisan, was a group responsible for some really slick folk-pop from the UK. Not having released anything in years, it was apparent they were probably on the outs. I recently tried getting in touch with a few of the individual members to see if they were still making music. One of them replied to me, to my delight, with news of an upcoming album release.

WEBSITE: http://leeschofield.co.uk/
MYSPACE: http://www.myspace.com/leeschofieldmusic

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Lee Schofield, one of Artisan's few excellent vocalists, has a solo project of his own. He's got one record out now (which includes an Artisan song performed live, which is actually very beautiful), which goes by the name From the Canopy EP. Needless to say it was nice to hear this guy's lovely tones in my headphones again, because with no exaggeration, this is some of my favorite stuff around.

The EP is four tracks long, housing three originals and an Artisan track. The songs aren't staggeringly brilliant by any means, but that's not where the draw is here. Schofield's melancholy disposition and finger-picking in front of those signature percussive trinkets are enough to keep me mesmerized from beginning to end. Do yourself a favor and check out Lee Schofield's From the Canopy EP: totally worth your time.

If you find you like it, Lee asks that you please contact him for a copy of the record, as it is not publicly available yet.

"Reasons to Leave" off of From the Canopy EP

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FAVORITE TRACK: Reasons to Leave
FOR FANS OF: Iron & Wine, Artisan