Touring Schedule Saturdays

(Group/Artist Name / date reviewed / upcoming shows & locations / website / twitter)

Hey Rosetta!
3/1/11
Vancouver, B.C. (3/5); Victoria, B.C. (3/7); Portland, Ore. (3/8); Seattle, Wash. (3/9); San Francisco, Calif. (3/11)
http://www.heyrosetta.com/
heyrosetta


The Low Anthem
2/22/11
North Adams, Mass. (3/5); Portland, Maine (3/7); New York, N.Y. (3/8); Central Falls, N.Y. (3/12); Paris, France (3/18)
http://www.lowanthem.com/site/
thelowanthem

Telekinesis
2/15/11
Detroit, Mich. (3/5); Toronto, Ont. (3/6); Montreal, Que. (3/7); Cambridge, Mass. (3/8); New York, N.Y. (3/9); Brooklyn, N.Y. (3/10); Philadelphia, Pa. (3/11)
http://www.telekinesismusic.com/
_TELEKINESIS

The Civil Wars
2/8/11
Oklahoma City, Okla (3/9); Abilene, Tex. (3/10); Dallas, Tex. (3/11-12); Denton, Tex. (3/13)
http://www.myspace.com/thecivilwars
thecivilwars

Oh No! Oh My!
1/31/11
Namur, Belgium (3/5); Ghent, Belgium (3/6); London, UK (3/7); Leeds, UK (3/8); Glasgow, UK (3/9); Galway, Ireland (3/10);
http://www.ohnoohmy.com/
ohnoohmy

Dolorean
1/25/11
San Francisco, Calif. (3/9); Santa Cruz, Calif. (3/10); Los Angeles, Calif (3/11); Santa Barbara, Calif. (3/12); San Diego, Calif. (3/13)
http://www.doloreanmusic.com/
doloreanmusic

Tennis
1/18/11
Washington, DC (3/5); Chapel Hill, N.C. (3/7); Asheville, N.C. (3/8); Nashville, Tenn. (3/10); Atlanta, Ga. (3/11)
http://www.fatpossum.com/artists/tennis

The Decemberists
1/10/11
Glasgow, UK (3/5); Birmingham, UK (3/7); Bristol, UK (3/8); Manchester, UK (3/10), Leeds, UK (3/11)
http://decemberists.com/
TheDecemberists

April Smith & the Great Picture Show
1/4/11
Brooklyn, N.Y. (3/20); New York, N.Y. (3/25); Cincinnati, Ohio (4/10); Asheville, N.C. (4/11); Charleston, S.C. (4/12)
http://www.aprilsmithmusic.com/
aprilsmithmusic

Rural Alberta Advantage
12/21/10
Cambridge, Mass. (3/9); New York, NY ( 3/10); Philadelphia, Pa. (3/11); Brooklyn, NY (3/12)
http://www.theraa.com/

Lost in the Trees
12/14/10
Denton, Tex. (3/11); Hot Springs, Ark. (3/21)
http://www.lostinthetrees.com/
littband

Johnny Poe & the Salvation Circus
12/7/10
http://www.myspace.com/johnnypoeband

Gold Motel
11/30/10
Tempe, Ariz. (3/14); St. Lois, Mo. (4/7); Hopewell, Mich. (4/29)
http://www.goldmotel.com/
gretamorgan

Alphabet Backwards
11/23/10
London, UK (4/21)
http://www.myspace.com/alphabetbackwards
alphabetbackwards

Hollerado
11/8/10
Hamilton, Ont. (3/9); Toronto, Ont. (3/10); New York, MY (3/11); Toronto, Ont. (3/12); Oshawa, Ont (3/25)
http://www.hollerado.com/
hollerado

Quiet Company
11/1/10
Houston, Tex. (3/11); Dallas, Tex. (3/12); Austin, Tex. (3/13,15,17)
http://quietcompanymusic.com/
quietcompanytx

Outbox
10/26/10
http://www.myspace.com/outbox

Steven Page
1/18/10
http://www.stevenpage.com/
stevenpage

Tired Pony
10/5/10
http://www.tiredpony.com/
TiredPony

Ben Folds
9/26/10
Vienna, Austria (3/5); Amsterdam, Holland (3/7); Cologne, Germany (3/8); Boone, N.C. (3/10); Blacksburg, Va (3/12)
http://benfolds.com/
benfolds

Wavves
9/20/10
Adelaide, Austrialia (3/6); Brisbane, Australia (3/8); Sidney, Australia (3/9), Perth, Australia (3/11); Victoria, Australia (3/12)
http://wavves.net/
wavveswavves

Weezer
9/7/10
Dallas, Tex. (4/30); Atlantic City, NJ (5/27); Knebworth Park, UK (7/9); Balado, UK (7/10)
http://weezer.com/
Weezer

Ra Ra Riot
8/31/10
Jacksonville, Fla. (3/6); Ft. Lauderdale, Fla. (3/7); Orlando, Fla. (3/8), Tampa, Fla. (3/9); New Orleans, La. (3/11)
http://www.rarariot.com/
rarariot

Sufjan Stevens
8/24/10
Bergen, Norway (4/29); Oslo, Norway (4/30); Copenhagen, Denmark (5/1); Stockholm, Sweden (5/3); Warsaw, Poland (5/5)
http://asthmatickitty.com/sufjan-stevens
sufjanstevens

Farewell Drifters
8/17/10
Philadelphia, Penn. (3/16); New York, NY (3/17); Earlville, NY (3/18); Rosendale, NY (19); Erie, Pa. (3/20)
http://thefarewelldrifters.com/
farewelldrifter

The Arcade Fire
8/3/10
Broomfield, Colo. (4/9); Orem, Utah (4/11); Phoenix, Ariz. (4/13); Las Vegas, Nev. (4/14); Indio, Calif. (4/16)
http://www.arcadefire.com/
arcadefire

Tokyo Police Club
7/26/10
Los Angeles, Calif. (3/25); Kingston, Ont. (3/30); Hamilton, Ont. (3/31); London, Ont. (4/2)
http://tokyopoliceclub.com/
tokyopoliceclub

Kathryn Calder
7/20/10
http://kathryncalder.ca/
kathryncalder

Great Big Sea
7/13/10
Kelowna, BC (3/11); Seattle, Wash. (3/12); Bend, Ore. (3/13); Petaluma, Calif. (3/15); Redding, Calif. (3/16)
http://www.greatbigsea.com/
alanthomasdoyle

Telegraph Canyon
7/6/10
Fort Worth, Tex. (3/9); Denton, Tex. (3/11); New Orleans, La. (3/12); Dallas, Tex. (3/15); Austin, Tex. (3/16)
http://www.telegraphcanyon.net/
telegraphcanyon

Stars
6/29/10
Ottawa, Ont. (5/4); Toronto, Ont. (5/5); Waterloo, Ont. (5/6); Hamilton, Ont. (5/7); London, Ont. (5/8)
http://www.youarestars.com/home/
montrealstars

Sambassadeur
6/7/10
http://www.sambassadeur.com/

Regina Spektor
6/1/10
http://www.reginaspektor.com/
respektor

The Hold Steady
5/17/10
Sydney, Australia (3/8); Brisbane, Australia (3/9); Melbourne, Australia (3/11); Merideth, Australia (3/12); Cleveland, Ohio (4/2)
http://theholdsteady.net/
theholdsteady

The New Pornographers
5/3/10
Boulder, Colo. (4/13); Albuquerque, NM (4/14); Tempe, Ariz (4/15); Indio, Calif. (4/16); Santa Cruz, Calif. (4/17)
http://www.thenewpornographers.com/
thenewpornos

The 1900s
4/26/10
http://www.myspace.com/1900s
1900s

Titus Andronicus
4/20/10
Baltimore, Md. (3/7); Washington, DC (3/8); Boston, Mass. (3/11-12); New York, N.Y. (3/15)
http://www.titusandronicus.net/

Butch Walker
3/30/10
http://butchwalker.com/
butchwalker

Valery Gore
3/9/10
http://www.valerygore.com/

fun.
3/1/10
Indio, Calif. (4/17); Pomona, Calif. (4/21); San Francisco, Calif. (4/22)
http://www.ournameisfun.com/
ournameisfun

Southeast Engine
2/23/10
Lexington, Ky. (3/23); Cincinnati, Ohio (3/24); DeKalb, Ill. (3/25); Minneapolis, Minn (3/26), Seattle, Wash. (3/29)
http://www.southeastengine.com/
southeastengine

We Were Promised Jetpacks
2/16/10
http://www.myspace.com/wewerepromisedjetpacks

The Overmountain Men
2/9/10
Dallas, NC (3/11); Charlotte, NC (3/19); Pomeroy, Ohio (5/7); Saluda, NC (6/4); Cleveland, Ohio (10/14)
http://www.overmountainmen.com/Main.html

Dear Leader
2/1/10
Allston, Mass. (3/5-6)
http://dear-leader.com/
dearleader

Jukebox Serenade
1/26/10
http://www.jukeboxserenade.com/main.html
JukeboxSerenade

Van Ghost
1/19/10
Chillicothe, Ill. (5/26-28); Geneva, Minn. (5/29)
http://vanghost.com/
iamvanghost

Gaslight Anthem
1/12/10
Melbourne, Australia (3/5); Perth, Australia (3/7); Osaka, japan (3/10); Tokyo, Japan (3/11); East Rutherford, N.J. (4/29)
http://gaslightanthem.com/
gaslight_anthem

Rural Alberta Advantage – Departing

The second post of this week is also the second time a group has been reviewed a second time. Coincidence? Entirely. (The Gaslight Anthem was the first band to receive dual reviews, here and here).

In December, you heard about the Alberta folk-rock trio, The Rural Alberta Advantage, and their debut release, Hometowns. That review promised an analysis of their March 1 follow-up, Departing, released in the U.S. on Saddle Creek Records and in the True North on Paper Bag Records. Today, that promise is fulfilled and all family business is settled. On their rookie-level effort, the three-piece stuck to a relatively simple approach, spinning earnest snapshots of of their provincial home (although these days the band operates out of Tronna). Largely driven by frontman Nils Edenloff's vinegary wail and acoustic guitar and supported by heartening vocals from multi-instrumentalist Amy Cole and solid timekeeping by drummer Paul Banwatt. That record's baker's dozen tracks point to specific Albertan markers in titles such as "The Dethbridge in Lethbridge," "Frank, AB" and their ode to the province's City of Champions, "Edmonton."

This time around, however, the outfit has evolved into a warmer and certainly more musical direction on Departing. While its predecessor only delivered scant instrumentation beyond the aformentioned structure, the 10-track album is coloured by a robust selection of piano and keyboards, chimes, and even some faint strings. The group has taken advantage of its added experience and the recording resources provided their twin backing labels to construct a fuller sound, one that begins with the opening "Two Lovers." Do not take the easy pace and relative gentility (at least for the R.A.A.) as some odious torch song. A simple glance at the lyric sheet reveals Edenloff's true intent here:

You're face, it haunts me more them most
And If I ever hold you again
I will hold you tight enough to crush your veins
And you will die and become a ghost
Haunt me till my pulse felt so slow

Returning to more familiar territory is 'The Breakup," where the end of winter is paired with the culmination of a relationship that's set among a string of Alberta references including the Asaband, Coker and Fort McMurray. And although "Under the Knife" doesn't advance the cause of unique elements much further, the following "Muscle Relaxants" is more attractive. Benefiting of a brisk backbeat and out-of-character electric guitar, its the sort of material the R.A.A. would do well to replicate in the future. In a live set, it would serve as a prelude for their former record's prime cut, "The Dethbridge in Lethbridge."

"North Star" contains perhaps the most relaxed vibe here, with Edenloff's piano functioning as a solid underpinning for the mid-tempo affair. Meanwhile, the successive trio of "Stamp," Tornado 87" and "Barnes' Yard" hark back to the debut of Hometowns, with the unsettled and rusty tone that defined their initial work. Closer to the end, "Coldest Days" is a serviceable ballad, relating the trio's most countrified sound, but the closer "Good Night" is too stark and sparse considering Edenloff's dominating whine, despite Cole's best efforts at mirroring vocals.

Come for: "Two Lovers"
Stay for: "North Star"
You'll be surprised by: "Muscle Relaxanats"

P.S. The R.A.A. will appear at the Rock & Roll Hotel in Washington, D.C. on March 13. Again, full touring details for all NMTs reviewees will appear every Saturday here as part of Touring Schedule Saturdays.

Hey Rosetta!

(As a perambulatory note, March features the release of several new records this blogger is eagerly anticipating. In recognition of this reality – as well as other artists who released albums prior to March that have yet to receive treatment – this week and next will include multiple reviews, on the customary Tuesday as well as the following Thursday to make our way through the entire compliment. At least one review will be filed by our first guest reviewer.)

Properly situating the context of a new group or artist can be a muddy affair. On some occasions, a hint of a classic influence sneaks through some lyrical similarity or the nuance of a finely-rendered arpeggio. In others, sounds emerge which nod to a more contemporary peer. And frequently, some hybrid of past and present shape the new work of a well-versed group of songwriters and performers. Such is the case with the St. John's, Newfoundland-based six-piece, Hey Rosetta! On their third full-length release, Seeds – out today on Sonic Records – some unlikely union emerges comprised of Frightened Rabbit, Paul Simon, The Arcade Fire and, ominously, the Dave Matthews Band.

The bright mandolin which welcomes the opener, "Seeds," is an expeditionary call to the road, like those so many great odes to the highway – such as The Arcade Fire's "Keep the Car Running" or "Across the Bridge" from the Great Lakes Myth Society. The opening lyrics are equally summoning, as frontman Tim Baker launches the journey as "the road bends long, like mother's arms; reaching for these four black tires..." When the full six-piece outfit launches into the number's driving chorus, the trip is fully underway. Less appealing, however, is the rhythmic breakdown following the bridge, as if it was pulled from one of Mr. Matthews' attempts to prove his group's new world music bona fides, with its yips and hollers. Fortunately, the tune returns to course not long after.

Once again, the second track emerges as the collection's most promising. "Yer Spring" eases in like a gentler Frightened Rabbit selection, with Baker approximating the cadence of his Scottish counterpart, Scott Hutchinson, but without the brogue. The track's growing intensity likewise matches the Scots' overall tone – see offering such as "Fast Blood" or "Nothing Like You" for a comparative taste – and what emerges is a well-rounded, but committed performance that demonstrates the group's versatility as the string section of Kinley Dowling (violin), and Romesh Thavanathan (cello) proves its mettle against the growing anthemetic.

The trailing "Young Glass" maintains the same voice and conviction, with a bit more early movement and Simonian lyricism. References to Central Park and ivory halls, when paired with lines like "sleepwalk through the rooms where you grew up," and "keeping out the killers and keeping out the creeps" suggest a mid-career Paul Simon narrative, perhaps blended with the trendy sound of his most devoted contemporary disciples. Again, the Dowling and Thavanathan announce their nimble presence at the number builds to its orchestrated crescendo.

And although the succeeding "Bricks" is a bit too jam-band-y – once more pointing to the DMB influence, although perhaps not intentionally – the continually-evolving "New Sum (Nous Sommes)" evokes the catalog of their fellow Canadians in The Arcade Fire, especially considering the French subtitle. While the initial muted reggae riff is a tad confusing before it morphs into a more punchy Clash-via-Talking Heads pattern, the fully-formulated rocker it becomes at its zenith is much more compelling.

After the largely unfocused "Downstairs," potential live set opener "Welcome" is, by contrast, thundering and features the only full-fledged guitar solo among the album's 11 tracks. Meanwhile, at 3:53, "Seventeen" is the collection's most pop-oriented offering while "Yer Fall," although starting slow, really rounds-out into an aggressive stomper by its closing. The closest the record comes to a ballad, "Parson Brown," reinterprets the imagery of the holiday classic involving the title character with substantially less wintry optimism.

Come for: "Yer Spring"
Stay for: "Young Glass"
You'll be surprised by: "New Sum (Nous Sommes)"

P.S. Hey Rosetta! will be appearing at DC9 in Washington, DC on March 24. See this weekend's Touring Schedule Saturdays for details on their, and other tour itineraries.

Touring Schedule (saturdays) (sundays) Mondays

As previous posts have hinted, this space will now include a weekly compilation of the current dates for previous New Music Tuesdays profilees, just as a friendly aide to our faithful readers to keep tabs on where our selected artists will be appearing soon, as well as a handy reference for previous reviews.

And even though today is Monday – and a brand new NMT review will be appearing as soon as tomorrow! – the intent here is to post this run-down every Saturday. This initial version is appearing on a Monday, basically because the initial matrix took longer to compile than anticipated, the 1st annual Mad Fox Barleywine Festival intervened and other distractions ensued. But now with the basic format established, subsequent iterations should require much less effort.

Provided below are listings of our past profilees, a link to their NMT review, their current touring schedule – which will include either all the concert dates until the next Touring Schedules Saturdays (basically, a Saturday-to-Friday run-down), or the next 5 upcoming dates, whichever is more timely – and links to their respective websites and twitter accounts. When a group or artist has appeared more than once, they'll appear at their original date.

Enjoy, and see you when the lights go down...

The Low Anthem
2/22/11
Charleston, WV (2/27); Chicago, Ill. (2/28); Toronto, Ont. (3/2); Montreal, Que. (3/3); Boston, Mass (3/4); North Adams, Mass. (3/4)
http://www.lowanthem.com/site/
thelowanthem

Telekinesis
2/15/11
Norman, Okla (2/28); Omaha, Neb. (3/1); Minneapolis, Minn (3/2); Chicago, Ill. (3/4); Detroit, Mich. (3/5)
http://www.telekinesismusic.com/
_TELEKINESIS

The Civil Wars
2/8/11
Oklahoma City, Okla (3/9); Abilene, Tex. (3/10); Dallas, Tex. (3/11-12); Denton, Tex. (3/13)
http://www.myspace.com/thecivilwars
thecivilwars

Oh No! Oh My!
1/31/11
Lund, Sweden (2/27); Stockholm, Sweeden (3/2); Oslo, Norway (3/3); Copenhagen, Denmark (3/4); Namur, Belgium (3/5)
http://www.ohnoohmy.com/
ohnoohmy

Dolorean
1/25/11
San Francisco, Calif. (3/9); Santa Cruz, Calif. (3/10); Los Angeles, Calif (3/11); Santa Barbara, Calif. (3/12); San Diego, Calif. (3/13)
http://www.doloreanmusic.com/
doloreanmusic

Tennis
1/18/11
Northampton, Mass. (2/27); Boston, Mass. (2/28); New York, NY (3/2); Brookly, NY (3/3); Philadelphia, Penn. (3/4); Washington, DC (3/5)
http://www.fatpossum.com/artists/tennis

The Decemberists
1/10/11
Dublin, Ireland (3/3); Glasgow, UK (3/5); Birmingham, UK (3/7); Bristol, UK (3/8); Manchester, UK (3/10)
http://decemberists.com/
TheDecemberists

April Smith & the Great Picture Show
1/4/11
New York, NY (3/2)
http://www.aprilsmithmusic.com/
aprilsmithmusic

Rural Alberta Advantage
12/21/10
Cambridge, Mass. (3/9); New York, NY ( 3/10); Philadelphia, Pa. (3/11); Brooklyn, NY (3/12)
http://www.theraa.com/

Lost in the Trees
12/14/10
Denton, Tex. (3/11); Hot Springs, Ark. (3/21)
http://www.lostinthetrees.com/
littband

Johnny Poe & the Salvation Circus
12/7/10
http://www.myspace.com/johnnypoeband

Gold Motel
11/30/10
San Francisco, Calif. (2/28); Anaheim, Calif. (3/2); Tempe, Ariz. (3/14); St. Lois, Mo. (4/7); Hopewell, Mich. (4/29)
http://www.goldmotel.com/
gretamorgan

Alphabet Backwards
11/23/10
London, UK (4/21)
http://www.myspace.com/alphabetbackwards
alphabetbackwards

Hollerado
11/8/10
Hamilton, Ont. (3/9); Toronto, Ont. (3/10); New York, MY (3/11); Toronto, Ont. (3/12); Oshawa, Ont (3/25)
http://www.hollerado.com/
hollerado

Quiet Company
11/1/10
Bryan, Tex. (3/4); Houston, Tex. (3/11); Dallas, Tex. (3/12); Austin, Tex. (3/13,15)
http://quietcompanymusic.com/
quietcompanytx

Outbox
10/26/10
http://www.myspace.com/outbox

Steven Page
1/18/10
Calgary, Alb. (2/28); Vancouver, BC (3/2); Portland, Ore. (3/3); Seattle, Wash. (3/4)
http://www.stevenpage.com/
stevenpage

Tired Pony
10/5/10
http://www.tiredpony.com/
TiredPony

Ben Folds
9/26/10
Hamburg, Germany (2/28); Copenhagen, Denmark (3/1); Berlin, Germany (3/3); Munich, Germany (3/4); Vienna, Austria (3/5)
http://benfolds.com/
benfolds

Wavves
9/20/10
Tokyo, Japan (3/3); Osaka, Japan (3/4); Adelaide, Austrialia (3/6); Brisbane, Australia (3/8); Sidney, Australia (3/9)
http://wavves.net/
wavveswavves

Weezer
9/7/10
Dallas, Tex. (4/30); Atlantic City, NJ (5/27); Knebworth Park, UK (7/9); Balado, UK (7/10)
http://weezer.com/
Weezer

Ra Ra Riot
8/31/10
Baltimore, Md. (3/3); Charlottesville, Va. (3/4); Jacksonville, Fla. (3/6); Ft. Lauderdale, Fla. (3/7); Orlando, Fla. (3/8)
http://www.rarariot.com/
rarariot

Sufjan Stevens
8/24/10
Bergen, Norway (4/29); Oslo, Norway (4/30); Copenhagen, Denmark (5/1); Stockholm, Sweden (5/3); Warsaw, Poland (5/5)
http://asthmatickitty.com/sufjan-stevens
sufjanstevens

Farewell Drifters
8/17/10
Philadelphia, Penn. (3/16); New York, NY (3/17); Earlville, NY (3/18); Rosendale, NY (19); Erie, Pa. (3/20)
http://thefarewelldrifters.com/
farewelldrifter

The Arcade Fire
8/3/10
Broomfield, Colo. (4/9); Orem, Utah (4/11); Phoenix, Ariz. (4/13); Las Vegas, Nev. (4/14); Indio, Calif. (4/16)
http://www.arcadefire.com/
arcadefire

Tokyo Police Club
7/26/10
Toronto, Ont. (3/1); Los Angeles, Calif. (3/25); Kingston, Ont. (3/30); Hamilton, Ont. (3/31); London, Ont. (4/2)
http://tokyopoliceclub.com/
tokyopoliceclub

Kathryn Calder
7/20/10
http://kathryncalder.ca/
kathryncalder

Great Big Sea
7/13/10
Kelowna, BC (3/11); Seattle, Wash. (3/12); Bend, Ore. (3/13); Petaluma, Calif. (3/15); Redding, Calif. (3/16)
http://www.greatbigsea.com/
alanthomasdoyle

Telegraph Canyon
7/6/10
Fort Worth, Tex. (3/9); Denton, Tex. (3/11); New Orleans, La. (3/12); Dallas, Tex. (3/15); Austin, Tex. (3/16)
http://www.telegraphcanyon.net/
telegraphcanyon

Stars
6/29/10
Ottawa, Ont. (5/4); Toronto, Ont. (5/5); Waterloo, Ont. (5/6); Hamilton, Ont. (5/7); London, Ont. (5/8)
http://www.youarestars.com/home/
montrealstars

Sambassadeur
6/7/10
http://www.sambassadeur.com/

Regina Spektor
6/1/10
http://www.reginaspektor.com/
respektor

The Hold Steady
5/17/10
Sydney, Australia (3/8); Brisbane, Australia (3/9); Melbourne, Australia (3/11); Merideth, Australia (3/12); Cleveland, Ohio (4/2)
http://theholdsteady.net/
theholdsteady

The New Pornographers
5/3/10
Boulder, Colo. (4/13); Albuquerque, NM (4/14); Tempe, Ariz (4/15); Indio, Calif. (4/16); Santa Cruz, Calif. (4/17)
http://www.thenewpornographers.com/
thenewpornos

The 1900s
4/26/10
http://www.myspace.com/1900s
1900s

Titus Andronicus
4/20/10
Chicago, Ill. (3/3); Royal Oak, Mich. (3/4); Baltimore, Md. (3/7); Washington, DC (3/8); Boston, Mass. (3/11)
http://www.titusandronicus.net/

Butch Walker
3/30/10
http://butchwalker.com/
butchwalker

Valery Gore
3/9/10
http://www.valerygore.com/

fun.
3/1/10
Indio, Calif. (4/17); Pomona, Calif. (4/21); San Francisco, Calif. (4/22)
http://www.ournameisfun.com/
ournameisfun

Southeast Engine
2/23/10
Philadelphia, Pa. (2/27); Lexington, Ky. (3/23); Cincinnati, Ohio (3/24); DeKalb, Ill. (3/25); Minneapolis, Minn (3/26)
http://www.southeastengine.com/
southeastengine

We Were Promised Jetpacks
2/16/10
http://www.myspace.com/wewerepromisedjetpacks

The Overmountain Men
2/9/10
Dallas, NC (3/11); Charlotte, NC (3/19); Pomeroy, Ohio (5/7); Saluda, NC (6/4); Cleveland, Ohio (10/14)
http://www.overmountainmen.com/Main.html

Dear Leader
2/1/10
Allston, Mass. (3/5-6)
http://dear-leader.com/
dearleader

Jukebox Serenade
1/26/10
http://www.jukeboxserenade.com/main.html
JukeboxSerenade

Van Ghost
1/19/10
Chillicothe, Ill. (5/26-28); Geneva, Minn. (5/29)
http://vanghost.com/
iamvanghost

Gaslight Anthem
1/12/10
Adelaide, Australia (3/4); Melbourne, Australia (3/5); Perth, Australia (3/7); Osaka, japan (3/10); Tokyo, Japan (3/11)
http://gaslightanthem.com/
gaslight_anthem

The Low Anthem

In his trademark "American Pie," Don McLean described Bob Dylan – the iconic jester in his long-winded narrative – as possessing a "voice that came from you and me." The same is true of his fellow folk-rock trendsetter, Neil Young. There just seems to be something inherent in folk-rock that welcomes – if not demands – a vocal pitch just slightly askew. The nasal wail of Dylan and Young – a trait likewise found in their contemporaries of today, such as The Avett Brothers, past (and future) reviewees the Rural Alberta Advantage, or today's profilees, The Low Anthem – suggests an authenticity and kinship with their audience, as if a more beautiful rendering would somehow push their work towards the brie-and-Chablis set. Whether that is or isn't the case, it's nonetheless a trend that continues with The Low Anthem and their frontman, Ben Knox Miller, on Smart Flesh – released today on Nonesuch Records (a deluxe 16-track version is also available).

The credits page of Smart Flesh reads like a recipe card. But here, instead of carrots, shallots or beef stock, the recipe calls for ingredients ranging from the clarinet and jaw harp to a tenor banjo and "croatles with sizzling coins." And instead of preparing the dish via a stovetop fry pan or pre-heated oven, the quartet substitutes a pair of recording locations for the 11-track collection in the group's native Rhode Island: the abandoned Porino’s pasta sauce factory in Central Falls or 891 N. Main St. in Providence.

For a release containing as much unique material that's presented as the record unfurls, it's interesting the first offering is a cover: George Carter's 1929 ballad, "Ghost Woman Blues." The piano-driven number is filled-out by multi-instrumentalist Jocie Adams' beautifully low-register clarinet solo, and references to hardscrabble Americana, including the "L&N" (the Louisville and Nashville to railfans) and "that lonesome graveyard." The selection makes for an fitting transition to its original follow-up, "Apothecary Love." Sounding as if it could as easily spilled from the same 1920s songbook as its predecessor, the rusty harmonica, steel guitars and single-mic group harmonies present a comfortable backdrop for Miller's folksy narrative.

And yet, the Dylan influence barges through with gusto on the gnarly "Boeing 737." Somehow the foursome makes a tune about a modern jetliner blare through like Dylan and The Band unearthing some Woody Guthrie rarity. We hear about a Gatling gun and the prophets who "entered boldly into the bar." It might be a bit jarring after the more somber introductory numbers, but its as spirited and rocking as the outfit can offer.

Following a string of relatively uneventful selections – the pretty, but restrained vocal harmonics of "Love and Altar," the cello-and-harmonica "Matter of Time" and the instrumental "Wire," featuring another lovely clarinet part from Adams – more interesting fare returns in "Burn." Although not particularly rambunctious, Miller's songwriting is solid here, describing "black angels," and "your memory now is a shadow to my shadow; I wind in time like a player piano" on top of banjo and organ filament. But more captivating is another Dylan-esque call-out on, "Hey, All You Hippies!" Although the tempo is sliced in half from "Boeing 737," the same foundation supports the number, with a four-bar blues rhythm track and grainy electric guitars rounding out the performance. To the same measure, "I'll Take Out Your Ashes" is surprising in not only its simplicity in relation to the previous track, but the tenderness by which Miller conveys his love for the departed. Featuring front-porch banjo picking paired with Paul Simon-style wordsmithing, its one of the few slow tracks on the record that comes through as distinctive.

"Golden Cattle" features some outstanding harmonizing at the outset, but the title track isn't as enjoyable. I'd recommend investigating the five deluxe tracks, however – mostly for the fairly upbeat "Vines" and the quasi-spiritual "Daniel in the Lions' Den." Both sound as if they could benefit from a full treatment in the editing and mixing process, though, as the former abruptly cuts-off at the instrumental play-out (although it's Hammond B-3 part is excellent) and the latter sounds a bit muddled, which certainly could have been cleaned-up in mixing and mastering. I'd have preferred if these cuts had made their way onto the official product, rather than a few too many somber ballads.

Come for: "Ghost Woman Blues"
Stay for: "Boeing 737"
You'll be surprised by: "I'll Take Out Your Ashes"

P.S. The Low Anthem will appear this Thursday at the 6th & I Historic Synagogue in Washington, D.C.

P.P.S. Touring Schedule Saturdays will debut this Saturday (hopefully), so stay tuned...

Telekenesis

When a band is created to largely serve as a front for the artistic vision for a single individual, the results are often mixed. While a single source of content can produce a unified product in tone and intention, the approach can also be bereft of much-needed editing or outside perspective – to sift-out the composer's thoughts into a production that others can access. Despite these inherent risks, the sophomore effort of Telekinesis – itself a recording and performance moniker for Michael Benjamin Lerner – is at the same time clear in its vision but largely unmuddled by Lerner's execution of his ideas on 12 Desperate Straight Lines, released today on Merge Records.

Taking a page of the pop-rock crunch of mainstream acts like Weezer or the Fountains of Wayne, Lerner spins out a catchy and briskly-paced collection of a dozen tracks, lightly informed by 80's-sounding synth pop and hints of blues and grunge. With a vocal cadence suggesting a blend of Southeast Engine's Adam Remnant, The Arcade Fire's Winn Butler and Wayne Coyne of The Flaming Lips, Lerner focuses on quick and enjoyable numbers – none spanning more than the 3:39 of the album's closer, the spirited blues romp, "Gotta Get It Right Now," while the mid-set "Palm of Your Hand" clocks in at just under 90 seconds. Opener "You Turn Clear in the Sun" sets the tone for the remainder of the proceedings, with flighty organs and fuzzy guitars pacing the track, which ultimately includes the same sort of telephone-ring keyboard riff as The Tragically Hip's "In View."

Like many releases reviewed here, the record's second number is its finest. "Please Ask for Help" bounds forth with classic rock-sounding drums and a sludgy bass line – the latter of which becomes a signature sound across several tracks – includes Lerner's best lyricism, such as "you wander downtown around a quarter to two" or "you gotta give me some time with these ones and twos," neatly matching the song's urgency on what amounts to the protagonist's desire to aid a friend. That nervous energy is contrasted its successor, "50 Ways," which borrows much of its structure from the heart of the Weezer catalog, and includes a respectful nod to Paul Simon's original using the same numerals. Its intro and chorus parts are classic Rivers Cuomo, with the gentler verses highlighting the loud/quiet approach so defining of 90's alternative.

Things lighten up with "Dirty Things," an easy stand-in for The English Beat, circa 1982, but stripped of much of the reggae foundation. It's simply rendered, but the style requires nothing more for listener enjoyment. The subsequent "Car Crash" features a bit more substance, but is pleasantly anchored by a less sludgy bass part and whoa-whoa gang choruses.

A number of straight-forward pop-rock gems round-out the effort. "I Got You" could easily have been tailored by Fountains of Wayne pop cuisinart Adam Schlesinger, while "Fever Chill" harks more to the Arcade Fire model of Neon Bible. At the same time, "Country Lane" serves as almost an-anti Theme-from-Cheers selection, complete with the line, "I wanna live on a country lane, some place where no one knows your name, and will forget you, too." And yet, if there's one that doesn't fit here, it's "Patterns" – far too ethereal and uncommitted to match the spirit of the rest of the record. Still, 11 out of 12 is perfectly acceptable for a one-man show.

Come for: "Please Ask for Help"
Stay for: "You Turn Clear in the Sun"
You'll be surprised by: "Dirty Thing"

P.S.: Telekinesis – Lerner is usually supported on the road by bassist Jason Narducy and guitarist Cody Votolato, while Lerner customarily mans the drum kit – will be appearing live on an extended North American tour this winter/spring, including a March 12th gig at the Red Palace on the H Street corridor in northwest Washington, D.C.

P.P.S.: You should definitely check out a great indie-rock blog called Indie Rock Kid. Why is it great? Cause this kid is 13, and is an excellent writer (for his age, and any age). I wish I would have had his writing talent and access to the internet when I was the same age. And he's also organizing a benefit show in the Bay Area tied to the It Gets Better project. So, well done.

P.P.P.S. (or is it P.P.S.S.?): I'm considering including a listing of the touring schedules of current and past NMT profilees, either at the end of each weekly post, or as a separate additional post (perhaps Touring Schedule Saturdays?), hopefully beginning next week. I'd be more than appreciative of your feedback on this.

The Civil Wars

Transpose the setting of the Academy Award-winning work of Glen Hansard and Markéta Irglová in the outstanding 2006 film, Once, and you'll arrive at the sound of the Nashville duo John Paul White and Joy Williams, who record and perform as The Civil Wars. While the former pair – who have since translated their film work into a successful recording and touring outfit, The Swell Season – positioned their material along the streets of Dublin, imagine the latter's Barton Hollow (released last Tuesday) residing in a more rural American enclave – perhaps Appomattox or Manassas, given the duo's moniker – and reflecting a touch more country and folk than The Swell Season's carefully-constructed numbers. Yet, the vocal phrasing and duo dynamics between the two groups are notably similar.

Largely comprised of harmonizing or trade-off vocals from Williams and White accompanied by White's acoustic guitar or piano parts, the dozen tracks are warm and earnest folk/country tunes. Opener "20 Years" is gentle and illustrative of forlorn love, pointing to a note under the front door, "secondhand alibis" and redemption. It leads in nicely to the collection's best product, the more jubilant "I've Got This Friend." The pair's full-throated choruses here contrast well with the more reserved tag-team verses, while White's guitar introduces some pluck to the affair.

Later on, "Poison & Wine," starts off slow, but is most indicative of Hansard and Irglová's precedent, with its tandem, soaring phrases recalling much of the anthemic appeal their predecessors were able to engender over the past half-decade. Meanwhile, "My Father's Father" is an ancient-sounding railroad folk ballad – always a favorite motif of this author – with solid railroading imagery such as "black smoke up around the bend" and "blood on the tracks" – indicating the approaching train as a vessel of remorse and regret.

Conversely, the record's title track is also its most distinctive, with a rusty-sounding rhythm and grainy electric guitars making an appearance for the first time. The blend of southern-fried soul – the stuff of "Alabama clay" and "washin' in the river" – with recurring hints of Zeppelin-style blues is well-executed by both Williams and White. Later still, "Forget Me Not" is the album's most direct country-flavored cut, with a lazy fiddle marking its direction. And while the track is predictable via some cliched stanzas, it's also quite sincere, largely making up for the lack of lyrical originality.

Come for: "I've Got This Friend"
Stay for: "Poison & Wine"
You'll be surprised by: "Barton Hollow"

P.S. The Civil Wars are performing tonight at Jammin Java in Vienna, Va.