Indiana album reviews

The Rev. Peyton's Big Damn Band, "Peyton on Patton"

Dave Lindquist — Mon, 18 Jul 2011 15:53:45 GMT

In a nutshell: The Rev. Josh Peyton — a well-traveled practitioner of modern rural blues — turns back the clock to perform the songs of Mississippi music pioneer Charley Patton. The Big Damn Band will play a free show to celebrate the release of “Peyton on Patton” at 6 p.m. Tuesday, July 19, at Indy CD & Vinyl, 806 Broad Ripple Ave.

Fan finder: Peyton’s interpretations should be pure bliss for anyone who’s attempted to listen to Patton’s recordings from the 1920s and ’30s and found the gruff, scratchy source material to be a tough row to hoe. Fans of authenticity should note that co-producer Paul Mahern used a single microphone to capture Peyton’s voice and guitar in Bloomington. The format echoes Patton’s earliest recordings in another Indiana town: Richmond, site of a Gennett studio session in 1929.

That’s a keeper: Patton’s vivid storytelling shines on “Elder Greene Blues,” which swivels from the recruitment of souls to the destruction of sobriety. “I like to fuss and fight,” Peyton barks, and the line is repeated in the honeyed singing voice of wife and band mate Breezy Peyton.

Didn’t see it coming: Despite the stripped-down, mono context of “Peyton on Patton,” the Rev’s resonator guitar work tops everything found on four previous albums and an EP. His ability to simultaneously finger-pick melodies and thumb bass lines (as Patton did) is mesmerizing.

Selling points: Peyton branches out to play banjo on one of the album’s three versions of “Some of These Days I’ll Be Gone.” And fans seeking a party amid this history lesson aren’t neglected when “Shake It and Break It” boogies mightily as the album’s 13th track.

Visit the Big Damn Band's website.

Irene & Reed, "Closer to Home"

Dave Lindquist — Wed, 15 Jun 2011 18:50:19 GMT

In a nutshell: Vocalist Leslie Benson and keyboard player Jason Milner create a sonic playhouse for strong-willed love songs and dreams of better days.

Fan finder: The ethereal and theatrical sounds of Sarah McLachlan are echoed here, with lounge-friendly passages allowing Irene & Reed a connection to the real world.

That's a keeper: An engaging flurry of seasoned philosophy launches "All Your Tomorrows," the album's opening track: "Home to me is not where I am, but where I've been. It's where I come from. How I've loved, and how I've left. Words I've said, and tears I've wept. Ones I've learned from." Intensifying the emotional wallop is the song's room-to-breathe spacing of piano, bass and drums.

Didn't see it coming: It's a rare treat to hear a music journalist take a commanding voice into the spotlight. (Benson helmed NUVO Newsweekly's music coverage in 2006 and 2007.)

The verdict: Milner has mastered a distinctive Irene & Reed sound, but his arrangements stagnate slightly during "Closer to Home's" second half. He's gifted enough to be inventive and embrace the moxie heard on "Small Miracles": "You can't stop me, I'm unstoppable. I put my faith in small miracles."

Visit the duo's website.

Rusty Redenbacher & Mr. Kinetik, "The Professor and the Hustler"

Dave Lindquist — Wed, 01 Jun 2011 20:34:41 GMT

In a nutshell: It’s a dual-MC wonderland when long-running standout Rusty Redenbacher joins forces with relative newcomer Mr. Kinetik.

Fan finder: Redenbacher portrays the hustler here, noting that, “Players can’t feed their family on props and respect.” Kinetik is the professor: “More words than Webster’s, I paid attention in school. Now I teach class, can’t raise no fools.”

That’s a keeper: Kinetik more than holds his own when trading verses with Redenbacher, highlighted by a manifesto within “Think Before You Speak.” At the end of a detailed 40-second rant, Kinetik offers, “Use your mind. Educate yourself before you enter the zone. Otherwise, you are simply a drone.”

Didn’t see it coming: Redenbacher — issuing his second consecutive non-Mudkids project — revisits a seriousness heard on his “Lazarus” solo album. The song “Baby,” built on samples of the Animals’ “Don’t Let Me Be Misunderstood,” details a pregnancy scare: “Look at my pockets, see why I’m stressing. Trying to roll nickels while I count these blessings.”

Selling points: Eleven different producers sound remarkably streamlined on “The Professor and the Hustler.” E Dot Spencer shoots for a summer hit on “Already,” a track defined by swirling orchestral strings and boom-bap rhythm. Feeray recalls 1970s funk on “Over,” while Kinetik multi-tasks when folding Slim Thug’s gangster-themed “Like a Boss” into “Boss Playa.”

Download this album for free at Redenbacher's Tumblr profile.

Memory Map, "Holiday Band"

Dave Lindquist — Mon, 16 May 2011 19:57:28 GMT

In a nutshell: Bloomington-based indie rock super group -- fluent in tricky guitar patterns and buoyant jams -- leaps directly to the top of the heap of Hoosier bands.

Fan finder: The helium-tinged traits of Mike Dixon's voice are reminiscent of Modest Mouse's Isaak Brock and Built to Spill's Doug Martsch. Before Memory Map's formation in 2010, Dixon played guitar in Rapider Than Horsepower and Prayer Breakfast. Guitarist Matt Tobey has toured and recorded with Kimya Dawson, and guitarist Mike Bridavsky owns Russian Recording studio in Bloomington.

Connecting threads: As an album title, "Holiday Band" hints at pleasant weather and leisure activities. Memory Map has crafted a fine soundtrack for summer, but listen closely for an undercurrent of bummer. "Summer stuck its fingers in my nose," Dixon sings on "Prophet's Mouth." The songs "Sunburnt and Blown" and "House Sitting" express regret at missing good times as they supposedly happen all around.

That's a keeper: "Hibernation," which sketches a plan for cold and lonely months, represents a pop explosion from the guitars of Dixon, Tobey and Bridavsky and drummer Josh Morrow. Amid "Hibernation's" buzzy melody, an exit chorus of "I like that, I like that, I like that," says what you'll be thinking.

Selling points: Although just two of 11 tracks on "Holiday Band" reach the 3-minute mark, arrangements are dense enough to leave listeners fulfilled. "Park Bench" may be the best parlor trick of the bunch, piling rapid-fire vocals in a context of New Wave colliding with ska.

Visit the band's website.

The Gates of Slumber, "The Wretch"

Dave Lindquist — Tue, 10 May 2011 12:40:09 GMT

In a nutshell: Set to arrive in stores on May 10, "The Wretch" is a sludgy, menacing onslaught of traditional heavy metal.

Fan finder: The Gates of Slumber, who will tour coast to coast with U.K.-based doom metal act Orange Goblin in June, count Black Sabbath and Cream as influences.

That's a keeper: "The Wretch" delivers consistent grooves across its eight songs, with "The Scourge of Drunkenness" perhaps being the most accessible. Galloping riffs provide "Scourge's" framework, punctuated by two rounds of liquid-toned guitar solos from Karl Simon.

Didn't see it coming: Simon -- a triple threat of vocalist, lyricist and guitarist -- has shelved swords-and-sorcery tales that defined recent albums "Conqueror" and "Hymns of Blood and Thunder." "Bastards Born," the opening track of "The Wretch," tackles a real-world struggle: "Everything becomes quite clear," he sings. "There can be no hiding, from the monster in your mirror."

The verdict: This Indianapolis-based trio lives up to its international stature on the underground scene. Simon, bass player Jason McCash and drummer J. Clyde Paradis imply they're ready to pack it in on "Day of Farewell," but their commitment to metal is unyielding.

Visit the band's Myspace profile.

Yank Rachell, "Blues Mandolin Man"

Dave Lindquist — Tue, 03 May 2011 20:14:32 GMT

In a nutshell: James “Yank” Rachell, a storied bluesman who lived in Indianapolis from 1956 until his death in 1997, leads an informal recording session at bygone TRC Studios. First released in 1986, “Blues Mandolin Man” was reissued by San Francisco-based Blind Pig Records in March.

Fan finder: In addition to being a pioneer of rural blues (dating to a 1929 recording of “Diving Duck Blues” with Sleepy John Estes), Rachell essentially cornered the market on mandolin-based blues. Fans of the Rev. Peyton’s Big Damn Band may want to check out Rachell as an original practitioner of down-home sounds.

That’s a keeper: “She Changed the Lock” showcases the mandolin as a rival to idol-making electric guitars. In Rachell’s hands, the mandolin was a masculine transmitter of piercing tones and speedy riffs. Lyrically, “Lock” finds a jilted Rachell on the outside looking in.

Didn’t see it coming: Electric bass guitar frequently sounds jarring and obtrusive on “Blues Mandolin Man.” The instrument’s player — Sheena Rachell, Yank’s granddaughter — does find a complementary groove on “Black Snake” and an instrumental titled “Bugle Call.”

Selling points: Rachell, in his mid-70s when this album was made, is a spirited and good-natured conductor of “Bugle Call,” which rotates solos among mandolin, guitar, drums and bass. On “Make My Love Come Down,” he flexes Don Juan charm: “I want to be your good man, baby, once I’m in your lonesome town.”

Visit Blind Pig Records' website.

Matt Boyer, "Toronto"

Dave Lindquist — Tue, 26 Apr 2011 20:52:01 GMT

In a nutshell: Singer-songwriter relates bittersweet tales in a muted sonic atmosphere. Zionsville native Boyer, presently a resident of Baltimore who recorded this album in Toronto, will play a free in-store show at 4 p.m. May 14 at Luna Music, 5202 N. College Ave.

Fan finder: Boyer follows a path of restraint staked out (wearily) by the late Elliot Smith and the still-active Mark Kozelek. (In 2004, Boyer toured as a member of Kozelek’s Sun Kil Moon band).

That’s a keeper: Unvarnished introspection is showcased on “The Deer Hunter,” a song that examines a relationship in the context of watching Michael Cimino’s 1978 Vietnam film on late-night TV. Because it’s one of the all-time emotionally draining films, there’s a hint of gallows humor when Boyer sings, “It never hurts to watch it again.”

Didn’t see it coming: Boyer recasts his “Salvation Army” — once a rip-roaring alt-country number for bygone Indianapolis-based outfit Citizens Band — as a slow-motion dream. Here, it’s less funny when he sings, “Please assemble search parties to track down the man I was.”

Selling points: “Toronto” keeps its commitment to quiet passage, as drums are heard on just three of the album’s nine tracks. The song “This Night” offers wordplay both intriguing and incongruous, almost as if Boyer used cut-up technique while writing: “Take my picture; it will come out all wrong. Take my sister; she’s better than us all.”

Visit Boyer's website.

Red Light Driver, "Celeste Celeste" EP

Dave Lindquist — Tue, 19 Apr 2011 18:43:30 GMT

In a nutshell: Stylish quartet releases four songs plus two brief sonic sketches, guided by the ever-shimmering guitar of Jonathan Harmon.

Fan finder: Despite the girl’s name in this EP’s title, the foremost Anglophiles of the Indianapolis rock scene are focused here on rock ’n’ roll and soccer. Bass player-vocalist Mike Contreras sorts out the fabled allure of corner kicks, all-day chants on hard-fought goals on “The Away Anthem.”

That’s a keeper: Vocalist-guitarist Derek Osgood speaks up for rock on “Diamond Rough,” a euphoric love letter to unpolished ear candy.

Didn’t see it coming: Set-closing “Canterbury Tea” is a goth-themed cautionary tale that doubles as a spoof of witch house, an over-the-top synthpop genre. “I’ve been drugged by the witch of this house,” Osgood laments.

The verdict: “Celeste Celeste” — a breezy 20-minute listen — represents a satisfying sliver of Red Light Driver’s talents. It cultivates anticipation for the next full-length project, and, for the uninitiated, should spark interest in the band’s past work.

Visit the band's website.

The Heavy Company, "The Heavy (Please Tune In ...)"

Dave Lindquist — Tue, 12 Apr 2011 05:49:51 GMT

In a nutshell: This six-song debut EP rolls out psychedelic riffs at a glacial pace. The modern classification for the Heavy Company’s approach is “stoner rock,” and the Lafayette-based trio doesn’t shy away from that hazy label. The band’s name, for instance, is abbreviated as THC.

Fan finder: Queens of the Stone Age and Monster Magnet delivered slow guitar jams to the masses. Closer to home, the Heavy Company’s kindred souls are Indianapolis-based Devil to Pay and Ohio-based Lo-Pan.

That’s a keeper: Guitarist Ian Gerber and bass player Ryan Strawsma flex an array of tones and textures on “Wormweed,” a six-minute instrumental track that percolates nicely.

Didn’t see it coming: “Black Tuesday” — a misguided stab at Southern rock — blurs the line that separates “minor-key experiment” from “painful listening experience.”

The verdict: The Heavy Company proves it can conquer Southern rock on the EP’s final track, “Caged Bird.” Gerber’s ragged vocals, however, never emerge as a strength. Fortunately, most of “The Heavy” traffics in woozy, mind-bending grooves.

Visit the band's website.

Mojo Gumbo, "Under the Influence"

Dave Lindquist — Mon, 21 Mar 2011 15:33:45 GMT

In a nutshell: Hoosier quartet pays tribute to the music of Louisiana and New Orleans. Some results are transcendent, others run-of-the-mill. Mojo Gumbo will celebrate the release of "Under the Influence" on April 9 at Locals Only, 2449 E. 56th St.

Fan finder: Good-time Crescent City parameters are set by the first two tracks: "Hey Pocky Way," first recorded by the Meters in 1974, and "Hello Josephine," a 1960 hit for Fats Domino.

That's a keeper: Mojo Gumbo vocalist-guitarist Steve "Scrapper" Brown extracts withering blues from "Oh Katrina," a post-hurricane lament originally recorded by Sweden-to-New Orleans singer-songwriter Anders Osborne. The song depicts the natural disaster as a femme fatale. "Talk about wrecking a perfectly happy home," Brown sings. "You have some kind of nerve, girl, to come on so strong."

Didn't see it coming: Drummer Mark Clark propels the rousing first half of "Under the Influence," proof that a talented percussionist can make or break an album.

The verdict: Brown isn't the only singer in Mojo Gumbo, as Matt Knott handles some tunes with high-pitch clarity and Mike Brown brings gruff zydeco accents to the rest. Even with this variety, "Under the Influence" sags during a food-and-beverage trilogy of "Louisiana Cookin'," "Drinkin' Wine Spo Dee O Dee" and "Barbeque." Trim one of these cliched salutes, and a strong project becomes stronger.

Visit the band's website.

Mike Milligan and Steam Shovel, "Lucky Man"

Dave Lindquist — Sun, 13 Mar 2011 14:55:04 GMT

In a nutshell: This impressive blues-rock recording conveys gratitude that the album's title implies. Singer-guitarist Mike Milligan, bass player Shaun Milligan and drummer Robert Cook will perform songs from "Lucky Man" Friday at Daddy Jack's, 9419 N. Meridian St.

Fan finder: Ray Charles and Stevie Ray Vaughan are guideposts for Kokomo native Milligan. "Lucky Man" includes a cover of "Busted," popularized by Charles in 1963, while original tune "Sunshine Today" is a soul-stirring piano ballad. Milligan channels Vaughan's guitar prowess on "I'm Not Lost" and "Meat & Three."

That's a keeper: The trio delivers a confident, comfortable rendition of "Will It Go Round in Circles," with harmonica (played by guest Stevie Berek) and Milligan's guitar subbing for organ heard on Billy Preston's 1972 hit.

Didn't see it coming: A warts-and-all, one-take stab at Stevie Wonder's "A Place in the Sun" has its charms, but the song is misplaced at the album's beginning. Any of nine other tracks would make a better first impression.

Selling points: Milligan's original compositions and covers fold together nicely. He resurrects 1960s cheater's anthem "The Dark End of the Street," yet he invests complementary emotion when praising his wife on the title track.

Visit the band's website.

The Philosophy, "Return of the Bambulas"

Dave Lindquist — Sun, 06 Mar 2011 14:23:26 GMT

In a nutshell: Rappers T.J. "Toe Jam" Reynolds, Ike "Bambu" Boyd and Adam "Spread" Eaglesfield dabble in playful boasts, youthful nostalgia and a peek at their sinister subconscious.

Fan finder: The Philosophy trio places a premium on wordplay, most notably on the track "M.C." -- which invents dozens of phrases based on hip-hop's hallowed letters. As Reynolds rhymes, "Missile commander, always maintaining cool, I'll toss a Molotov cocktail at your whole monkey crew."

That's a keeper: "Doin' It" is a textbook "we rule, you drool" exercise. Eaglesfield adopts an English accent and begins the tale with a visit to someone else's show: "My ears was achin', they were faking the funk. Playing it loud, but not making it bump."

Didn't see it coming: Synth samples and electronic percussion defined "In the Trenches," the Philosophy's debut album from 2006. The production on "Return of the Bambulas" is more organic, spotlighting horns and drum breaks transported from 1970s funk.

The verdict: The members of the Philosophy produce their own beats, which overshadow rhymes across the album's 10 tracks. "Return's" lyrics are breezy and fun, but the music will motivate repeated listens.

Hear this album here.

Beta Male, "Beta Male"

Dave Lindquist — Thu, 24 Feb 2011 16:24:47 GMT

In a nutshell: Alternately seductive, salacious and spooky, the debut album from two-guy, two-girl band Beta Male is out for thrills. “You can get your kicks,” David Hazel sings. “And cross everyone off your list. There’s always somebody left to kiss.”

Fan finder: The sexual politics may rope in fans of Fleetwood Mac, but the sound is rock-meets-synthpop in the tradition of Garbage – the 1990s brainchild of Butch Vig and Shirley Manson. In Beta Male, former Extra Blue Kind leader Hazel channels the deep laments of Joy Division’s Ian Curtis.

That’s a keeper: The song “Where Were You?” delivers the album’s memorable opening lines: “The party’s over. You look like roadkill.” From there, Hazel picks at the carcass of expectations crashed and burned.

Didn’t see it coming: Wedged amid songs that live in the fast lane, “Mother’s World” brims with empathy. The tribute to matriarchs highlights thankless tasks and selfless devotion.

Selling points: Allison Hazel, David’s wife, sings “Are You Holden?” – a wry examination of hipster culture. References to J.D. Salinger, Brooklyn’s Williamsburg neighborhood and flannel shirts are made, culminating in the question, “Is this how a skinny boy becomes a big man?”

Visit the band's MySpace profile.

Hotfox, "You, Me, and the Monster"

Dave Lindquist — Sun, 20 Feb 2011 22:15:23 GMT

In a nutshell: Known until recently as high-school rock band Sanuk, Hotfox graduates to an accomplished sound that's persuasive whether it's loud or quiet, agitated or calm.

Fan finder: A few bands in the 1990s grunge family tree have left a mark on Hotfox, but Luna -- the half-childlike, half-jaded invention of Dean Wareham -- may be the most direct antecedent.

That's a keeper: Built on a rallying cry of, "We are not machines," the song "Mountain Tiger" showcases both sides of Hotfox. It begins as a folksy shuffle, and then expands to arena-rock fury.

Didn't see it coming: Clues about colors emerge throughout "You, Me, and the Monster." Vocalist-guitarist-songwriter Oliver Hopkins makes more than one reference to red devils turning blue. Elsewhere, green leaves burn red and bread turns green with mold.

Selling points: This band has range. Unplugged track "The Dollar Theatre" offers escapism on a small scale, as Hopkins sings, "Cheap laughs, quarter tank of gas, we'll resume our lives in an hour-and-a-half." "Fight Night," meanwhile, rides the fierce guitar work of Duncan Kissinger to life-or-death heights.

Listen to the album here.

Rocketbot, "You're Okay"

Dave Lindquist — Sat, 05 Feb 2011 02:42:45 GMT

In a nutshell: Rocketbot’s debut album — recorded on the campus of Ball State University with the assistance of telecommunications students — delivers sonic bliss, thanks to layers of instruments and vocal harmonies.

Fan finder: The far-out euphoria of Spiritualized’s 1997 masterpiece, “Ladies and Gentlemen We Are Floating in Space,” is recalled during the opening minutes of “You’re Okay.” The album’s overall texture, however, has more in common with the film “Where the Wild Things Are.” Director Spike Jonze crafted an earthy adaptation of Maurice Sendak’s book, viewed by some as dismal and tired and by others as vivid and true.

That’s a keeper: “Tanks” is a rousing call to action — maybe misguided, as Brian Scott sings, “Everyone you hate is doing great across the lake.” Momentum builds in steps, with handclaps, vibraphone, synthesizer and live-wire guitar arriving one by one.

Didn’t see it coming: The Strokes are surprisingly cribbed on “Nine Years.” Scott does a fine Julian Casablancas impression above the song’s kinetic, New Wave sheen.

The verdict: Rocketbot accomplishes plenty, but is slow out of the gate. Twelve minutes of meandering and repetitive sketches unfold before a legitimate song — “I Speak for the Trees” — brings “You’re Okay” into focus. One of the early tracks, “No Maps,” is too literal in its mantra, “The waiting goes on and on.”

Visit the band's MySpace.com profile.

M-Eighty, "Taking Back What's Mine"

Dave Lindquist — Mon, 31 Jan 2011 23:22:28 GMT

In a nutshell: This 26-track compilation is presented in mixtape format, hosted by hip-hop blogger DJ Vlad and made up of songs released by Matthew "M-Eighty" Markoff between 2003 and 2010.

Fan finder: Indianapolis-based rapper M-Eighty has cultivated impressive industry connections, and "Taking Back What's Mine" features cameo appearances by several members of the Wu-Tang Clan plus Canibus and Redman.

That's a keeper: Built on a snippet of the Beach Boys' "Good Vibrations," M-Eighty solo tune "Bless Ya Life" (from 2007's "Hymns, Psalms & Street Songs" album) seeks more than materialism: "Stack chips, push whips and rock fashion, but tell me, at the end of the day, where is the passion?"

Didn't see it coming: Collaborations range from the ridiculous to the sublime. Dim-witted party starter Gucci Mane fits in the former category, while beat-boxing vocal group Naturally 7 lands in the latter.

The verdict: If the rap game is won by who you know, M-Eighty is a legitimate contender. If it's won by how you flow, he's sidelined by run-of-the-mill boasts ("Trust") and bitter post-breakup blues ("Cleats on the Mantle").

Visit M-Eighty's website.

The Snakehandlers Blues Band, "Rock Plus Roll"

Dave Lindquist — Tue, 25 Jan 2011 21:19:20 GMT

In a nutshell: The soundtrack for a roadhouse fantasy, where bad girls are stationed at every table and motorcycles are lined up outside.

Fan finder: Songwriter Frank Dean assembled the Snakehandlers for people who appreciate muscular blues and also want to dance. If Howlin’ Wolf, the Allman Brothers Band and Fabulous Thunderbirds reside in your record collection, make room for “Rock Plus Roll.”

That’s a keeper: Scott Parkhurst provides larger-than-life vocals and harmonica riffs on “Ain’t Stayin’ the Night.” Fed up with a lover’s disloyalty, the narrator doesn’t buy her pledge to repent: “You got your hand on the Bible, swear you’ve seen the light. I don’t know where you’re going, but you sure ain’t stayin’ the night.”

Didn’t see it coming: Dominatrix-themed tunes rarely arrive at my desk, but “Slip Into the Leather” is just such a song. Keyboard player Bob Schneider, guitarist Clint Crabb and harmonica ace Parkhurst deliver cruel-to-be-kind solos.

Selling points: The gruff-voiced tandem of Schneider and Parkhurst has what it takes to sing about cars, women and motorcycles that serve as metaphors for women. Schneider embraces the misery of a ballad titled “Face Down and Fallin’,” while Dean takes a welcome vocal turn on anti-corruption tale “90 Miles an Hour.”

Visit the band's website.

Indiana album review: Slothpop, "Slothpop"

Dave Lindquist — Wed, 19 Jan 2011 00:36:57 GMT

In a nutshell: Despite any slacker implication in this band's name, Slothpop's music is meticulously made and hypnotic in effect.

Fan finder: Vocalist Kristin Newborn lived in Japan and Germany after graduating from North Central High School in 2005, but echoes of U.K. acts from the '80s and '90s dominate Slothpop's self-titled debut. Newborn's singing soothes in the style of Beth Orton or spikes in the tradition of Sinead O'Connor. Arrangements are both earthy and sophisticated, reminiscent of Aztec Camera and XTC.

That's a keeper: Any tune in this 10-song collection has enough charm to become a favorite. The one with the most universal appeal may be "Leaping Over Books," a fleeting episode of chamber pop built upon fear: "Humming songs without words so you can't see what I'm feeling."

Didn’t see it coming: Newborn’s vocals are complemented by a monster rhythm section of drummer Bryan Unruh and bass player Andrew Malott. Whenever a song requires elevation, the duo smartly accelerates, swings or attacks.

The verdict: As an ambitious soundscape rounded out by violin player Lauren Eison and guitarist Dan Zender, "Slothpop" is a glowing success. While Newborn's lyrics aren't as accessible, they're artfully packaged for discovery across repeated listens.

Visit the band's website.

Duke Tumatoe, "I Just Want to Be Rich"

Dave Lindquist — Tue, 11 Jan 2011 22:22:41 GMT

In a nutshell: Good-time blues musician Duke Tumatoe delivers more than laughs on this album devoted to women, food and living strong after 60. Tumatoe will play a record-release show Saturday at the Rathskeller, while "I Just Want to Be Rich" is scheduled to arrive in stores Jan. 18.

Fan finder: Tumatoe provides helpful context by listing his favorite guitarists -- Albert Collins, Johnny Copeland and Buddy Guy, to name three -- on the song "Long Legged Women and Blues Guitar." And "Bob & Tom Show" listeners can catch up on Tumatoe's insights that aren't related to football.

That's a keeper: On this 10-song collection, the stinging "You Never Really Know a Woman" offers contrast to nine tunes that celebrate the bright side of life. Tumatoe's gritty and robust picking complements a lost-love truism once scrawled on the back of a pickup truck: "You never really know a woman until you meet her in court."

Didn't see it coming: The influence of Indianapolis jazz icon Wes Montgomery is heard on album-closing instrumental "The Traveler." Tumatoe plays coupled octave notes in the tradition of Montgomery, and pianist Dan Holmes, bass player Bill Ritter and drummer Joe Maddox shine during solo turns.

Selling points: Tumatoe sings about his favorite things: Unplugged treat "Barbeque" idolizes chicken and ribs, while "Fire & Ice" honors a significant other ("I work at night, she works in the day. In the morning we find time to play").

Visit Tumatoe's website.

Mother Grove, "Water of Life"

Dave Lindquist — Sun, 02 Jan 2011 12:13:38 GMT

In a nutshell: This band's fifth studio album continues an exploration of Celtic-rock sounds that began with 2001 release "Listen to Your Mother."

Fan finder: It would be high praise to rank Mother Grove among Celtic heavyweights Flogging Molly and the Dropkick Murphys ("Water of Life" opening track "The Musical Priest" does seem to be a rewrite of "I'm Shipping Up to Boston," Dropkick's popular contribution to "The Departed" soundtrack), but the Noblesville-based quintet falls short in the categories of musical heft and lyrical insight.

That's a keeper: "Acid Trad" -- a reel-and-jig medley of "Gallagher's Frolics," "The Star of Munster" and "Toss the Feathers" -- showcases the instrumental skills of pennywhistle player John Holland, bass player Jim Farley and fiddle player Laura Adams.

Didn't see it coming: It's rare to hear The Lord's Prayer parodied in a boozing anthem ("Forgive us our spillage as we forgive those who spill against us," is heard within "Drunk at MacCool's"). Mother Grove makes spiritual amends with "Amazing Grace," a soaring rendition lifted by Adams' singing and Holland's bagpipes.

Second guessing: Songwriter-vocalist Brad Sprauer might help Mother Grove's cause if more spotlight were yielded to Adams. Sprauer's pitch-challenged singing and angst-ridden cliches ("The odds are stacked against me and my back is to the wall") put a damper on this world party.

Visit the band's website.

Hinx Jones, "The Eleven Piece"

Dave Lindquist — Sun, 26 Dec 2010 22:48:01 GMT

In a nutshell: "The Eleven Piece" is an uplifting collection of progressive rhymes cradled in retro R&B beats.

Fan finder: Hinx Jones MCs Lonegevity and Gritts are a two-man daisy-age revival, focused on positive imagery and female-friendly rhymes in the tradition of De La Soul and A Tribe Called Quest.

That's a keeper: Against a buttery groove on upright bass, "Lala" delivers a hit single's persistent hook. As devised by Hinx Jones, la la is a coping mechanism when confronted by nonsense: "Your man is calling, like, 'Where is you at?' But you've had a long day, so you just sit back. You're like, 'La la la la.' "

Didn't see it coming: The album includes two valuable notes of authenticity for an emerging hip-hop act. The first is a 30-second excerpt of an out-of-town performance, and the second is more than a minute of Gritts as he deals informal freestyle rhymes.

Selling points: Hinx Jones has a heart for hooking up, as heard on "Hey" and an excerpt from the film "(500) Days of Summer," but also empathy for the common man. Consider a loner depicted in "Align the Stars": "Back-table lurkin', quiet and introverted, lookin' for a purpose, runnin' in place and afraid of the serpents." Elsewhere, wordplay is its own reward, as when Lonegevity folds musical names Radiohead, Outkast, Mos Def, Weezer, Method Man and Common into a blazing verse on the album's hidden closing track.

Visit the duo's blog here.

Rusty Redenbacher, "Lazarus"

Dave Lindquist — Sun, 19 Dec 2010 12:36:46 GMT

In a nutshell: On his first solo album, Mudkids MC Rusty Redenbacher reaffirms his standing as a quick-witted craftsman.

Fan finder: When the member of an active group steps out of that context, it's best to have something to say. Redenbacher states volumes on "Lazarus": He flaunts the flip side to his customarily sunny persona ("Double Negative, Part I"); he reflects on more than 20 years of rhymes ("Older"); and he pays tribute to his late father ("Daddy").

That's a keeper: This project's twin peaks of artistry arrive with "Bleeding" and "Lover, Come to Bed." Depictions of pain rain down within "Bleeding's" what-doesn't-kill-me-makes-me-stronger message. "I lick my wounds to give me iron plus adrenaline rushes," Redenbacher claims. On "Lover," one half of the song represents the perspective of a painter ("the blues, the hues, the cubes, the nudes"), and one half the perspective of a rapper. Either way, a workaholic keeps his partner at bay.

Didn't see it coming: Redenbacher's pop-culture punch lines always surprise, with "Lazarus" serving up comedian Bill Hicks, "Back to the Future's" Doc Brown, "F Troop's" Larry Storch and "Psycho's" Janet Leigh as references.

Selling points: The purposeful journey of "Lazarus" marches across 16 tracks. Redenbacher hints at a personal nemesis throughout, and self-doubt is one demon that looms large. Credit producer Jamison "SP Star" Woodley for using samples to stitch moods ranging from placid to sinister.

Visit Redenbacher's YouTube profile.

Indiana Album Review: "A Very Standard Christmas Volume 3"

Dave Lindquist — Wed, 15 Dec 2010 19:08:16 GMT

In a nutshell: A 15-act holiday compilation that benefits the FACE Spay/Neuter Clinic of Indianapolis.

Fan finder: Following "A Very Standard Christmas" releases in 2007 and 2009, Standard Recording Company showcases its stable of organic hipsters (Amo Joy, Jascha) and inventive rockers (Dead Beats, Thunderhawk) -- plus emerging folk singers (Davy Long, Steve Smith) who haven't issued albums on the label.

That's a keeper: While good vibes and jingling bells abound on this project, Richmond-based Gray Home Music cleverly depicts cabin fever and boredom. "Pizza from the freezer is all you have to eat. It's covered with vegetables and four kinds of meat," Graham Wood sings before a happy ending brings cheer to "The Loneliest Christmas House."

Didn't see it coming: Traditional favorites "Have Yourself a Merry Little Christmas" and "Sleigh Ride" are handled with care by Caleb McCoach and Eat Your Heart Out, Birdbrain.

Selling points: "Volume 3" begins on a high note with Marla Hansen's "Tall Trees." Hansen plays viola in My Brightest Diamond, and her flawless vocal phrasing is similar to MBD's Shara Worden. Jethro Easyfields buoys the album's second half with the charmingly nostalgic "Candy Canes."

Visit the compilation's website.

WT Feaster, "Wish You Well"

Dave Lindquist — Wed, 08 Dec 2010 18:01:49 GMT

In a nutshell: Vocalist-guitarist WT Feaster wields a muscular sound on this textbook collection of electric blues.

Fan finder: As Feaster unspools hard-luck tales of lost love, the shadows of key influences are difficult to miss. Stevie Ray Vaughan's fluid playing, Eric Clapton's pop-friendly songwriting and Gregg Allman's rough-hewn voice provide the template for "Wish You Well." Some risk-taking or 21st-century updating would be welcome, and Feaster hints at the latter with the song "Cruise" -- which resembles a Zac Brown Band outtake.

That's a keeper: Camby resident Feaster sounds like his own man within the relaxed grooves of "Mr. Maybe." As a love-the-one-you're-with anthem, the song makes a persuasive case: "I may not be the right guy, but you better find out for yourself."

Didn't see it coming: Keyboard player Reese Wynans, a member of Vaughan's Double Trouble band during the last half of the 1980s, adds impressive piano and organ accents throughout the album.

Selling points: If Feaster lacks fresh ideas, he manages to sell his genre's usual suspects with confidence. Guitar and voice are complementary weapons for the 32-year-old, who maximizes each element on the rambunctious "Goin' Out That Way." And fans of Indiana soul singer Tad Robinson should note his guest appearance on "Break for You."

Visit Feaster's website.

Crescent Ulmer, "Fool the Eye"

Dave Lindquist — Sun, 21 Nov 2010 23:01:06 GMT

In a nutshell: A six-song EP of unvarnished storytelling: Perceptive lyrics sung by one voice, accompanied by a single acoustic guitar.

Fan finder: Crescent Ulmer could be viewed as a serious-minded younger sister of Moldy Peaches vocalist Kimya Dawson (known for her solo work on the “Juno” soundtrack). Dawson accents her folk tunes with childlike wonder, while Ulmer brings grown-up significance to the teenage condition.

That’s a keeper: Two songs with seemingly geographic titles — “US-36” and “Rushville” — anchor the collection. A 2010 graduate of Avon High School, Ulmer depicts a strain of suburban blues within parallel verses of “US-36”: “The drinks at this party promise a hook-up or two. And that silly girl, she’ll spill her secrets all over her shoes,” opens the tale. “The drinks at this party promise a break-up or two. And that boy on the wall has something to prove,” arrives later. Sugary riffs and propulsive pace reveal “Rushville” to be a state of mind. “Tonight I’ve fallen in love,” Ulmer sings.

Selling points: Track down a CD version of “Fool the Eye” and you may end up with a major talent’s ground-floor souvenir. The cover art is hand-drawn and song titles are penciled on a sheet of paper folded around the disc. Was Ulmer aware of Bruce Springsteen’s “Blinded by the Light” couplet “And now young Scott with a slingshot finally found a tender spot” when she crafted “Someone set up the slingshot, we’ll hit the moon right in its sweet spot” for the song “Lunar Eyes”? It’s unclear, but her lines are arguably better.

Visit Ulmer's MySpace profile.