Thursday, February 28, 2008

Rock, pop and blues: New CDs to peruse

Audibles with Dan Coleman, The Scene | audibles@heraldt.com

Editor’s note: This is our monthly roundup of new CDs by local artists. If you’ve got an album in the works, let us know by e-mailing Dan at audibles@heraldt.com or dropping off a copy at our office.

Aviary Ghost, ‘Memory Is A Hallway’

Aviary Ghost is a band that seemed to pop out of nowhere fully formed. With little fanfare, it has managed to get a spot of Live From Bloomington, get its CD in hands of local label types and a develop live performance that is surprisingly tight for a band so new to the scene. Its debut release, “Memory Is A Hallway,” is a throwback to the plaintive pop of XTC and The Smiths. The songs are lush and complex, using a perfect harmony of keys, acoustics, and the occasional electric outburst to make songs that are sublimely endearing.

“Numbers Aren’t Right” beautifully drifts along before erupting into a glorious coda of guitarmonies and time signature jumps. It is a recurring motif throughout to let the songs devolve into moments of welcome experimental oddity, with clock chimes and vocal loops just some of the wondrous deviations the band takes from its pop foundations. “Nature Sounds” breaks in the end for a maudlin bit of Broadway-style piano crying.

Tying it all together is Charlie Crimando’s faux British vocals, which float nicely over each song. While generally adopted accents are cause for derision, the aplomb with which he pulls it off is admirable. At times a little too Morrissey for my tastes, Crimando’s shift from lovelorn balladeer to joyful indie-pop boaster is masterly.

A nice first step for a band out of the blue.

Patented “The Source” biting scale: 5 mics

Carlyn Lindsey & Snake Doctor, ‘Live at the Players’ Pub’

Carlyn Lindsey & Snake Doctor have been gigging around Bloomington and its blues-loving neighbors for five years this March, and “Live at the Player’s Pub” is a testament to the band’s appeal. The band comprises jazz performers turned blues enthusiasts, which gives the band a sound that is somewhere between a speakeasy and a dive bar blues jam.

Lindsey has a voice that is broad and boisterous and best served when she is cutting loose on room-rockers like “Something’s Got A Hold On Me” and “Doin It To Myself.” Here, she belts out with a whiskey-fueled fire that is far too subdued in the bands quieter moments. On slower ballads like “One Year Ago” Lindsey’s voice flirts with restraint to the detriment of the songs. She is a vocal juggernaut, and ballads don’t suit her as much as whipping the crowd into a frenzy with bluesy stomps.

As a band, Snake Doctor is sharp, buoying Lindsey with a steady rhythm and working their backsides off on the bridges and breaks. What is most intriguing about Snake Doctor is the random jazz inflections that show up throughout. Instances such as the stride piano riff in “Dizzy for You” or the use of the clarinet as an occasional accent throughout their set creates a sound that is uniquely Snake Doctor.

Patented “The Source” biting scale: 3.5 mics

Alexander the Great, ‘Circumnavigation’ CD/EP

Alexander the Great, ‘Circumnavigation’ CD/EP

Alexander the Great has been swimming through Bloomington’s rock waters for some time, graduating from house shows and high school haunts to clubs, bar-going fans and the indie-label attention that comes with. Budding Bloomington label Crossroads of America Records has re-released Alexander the Great’s debut with new artwork and four bonus live and acoustic tracks.

Alexander the Great has always been a band that straddled the fence between emo and indie-rock. When in the former, the songs can be weighed down by too much meandering and impassioned vocalizing. When entrenched in the latter, however, the band shows a knack for writing expansive, guitar-driven rock full of the complexity and changes that send Built To Spill and Pavement fans into a tizzy.

Stripped down, the songs take on a certain warmth they were lacking before. Without the space to add guitar flourishes or take musical tangents, the songs are forced to stand on their own merit — and stand they do. “Confidence,” already the standout track of the album plugged in, is infinitely sweeter and more heartfelt reduced to its acoustic bones. Bryant Fox has a voice that is at once pained and joyous and carries the emotion of each song brilliantly, with the acoustic version of “Give Thanks” giving him his due spotlight.

The acoustic additions are a welcome addition to what was an excellent, if uneven, debut.

Patented “The Source” biting scale: 3.5 mics

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