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Monday, 30 January 2006 16:00

This month's selection of great new albums and EPs.

Erin Bode | Over and Over (Maxjazz)
Erin Bode has a soft, silky, lyrical voice. There is an unpretentious sense of innocence that comes though her words and the melodies that carry them. Her sound is open and honest and she has a very human feel. The writing is simple, the orchestrations beautiful. It would be a misnomer to pigeonhole her second release, Over and Over, as a jazz CD. It is really more folk and pop influenced, especially with the presence of the acoustic guitar; there is beautiful use of the saxophone and cello alongside the piano and Fender Rhodes, with the warm pulse of the upright bass underneath. More than just a beautiful girl with a beautiful voice, the lyrics and tone of the songs embody the spirit of the American Midwest. | Derek Lauer

Crisis | Holocaust Hymns (APOP)
Columbia, Mo.’s independent record store/label Apop Records has scored a coup in obtaining the remastered discography of politicized British punk band Crisis, perhaps best known for spawning dark neo-folk acts Death in June and Sol Invictus. Crisis formed in 1978, and in their three-year existence earned comparisons to both the Clash and Crass with songs like “Holocaust” and “White Youth” bemoaning the state of religious and racial relations in the United Kingdom. Musically, though, they had more in common with the tight, spastic post-punk of early Joy Division or Gang of Four. Moving chronologically, Holocaust Hymns tracks the band’s progression from the relatively straightforward angry rants of the early singles to the moodier, more adventurous songs of their final mini-LP. All in all, a solid, if not groundbreaking, addition to the ever-growing post-punk canon, and highly recommended for fans of the above-mentioned bands. | Adam Roberts

Luke Doucet | Broken (And Other Rogue States) (Six Shooter)
I don’t know who Emily is, but she’s done a number on the ailing heart of poor Luke Doucet, who lies fully clothed in a bathtub on this album’s cover. Doucet, who got his start playing guitar for Sarah McLachlan, creates songs that should be depressing. He takes themes such as substance abuse and desolation, and makes them seem not so bad with his interesting, mellow, and often upbeat sound. Doucet’s style ranges from finger-picking, singer-songwriter to Cake-like, mariachi-influenced rock. His voice, packed with emotion, expresses sentiments such as, “You have to have a heart to have a broken one,” and, “It takes a uniquely fucked up man to break his own heart.” If you’re into quality, mellow rock that’s a little edgy and atypical, Broken is a good bet. | Michelle Blumsack

Ester Drang | Rocinate (Jade Tree)
Tulsa trio Ester Drang take their orchestral daydreaming sounds further than ever before on their newly released third album Rocinate, but even the literary allusion to Don Quixote’s ragged stead can’t overcome the musical indifference that has been laid down on these tracks. Each song has its moment, but nothing sustains, like on the promising closer “Proustian Moments,” which kicks off with euphoric intensity, but soon settles back into the rote echoes of foggy space rock. It’s all by the textbook on Rocinate, and without standout numbers, the entire project wallows in an outgoing tide of filler, never connecting to any points back on shore. There’s plenty of atmosphere and texture, but in the end, the serene blandness of the music leaves one looking for other surroundings. | Shandy Casteel

Film School | S/T (Beggars Banquet)
Maybe you’ve seen this flick before, but the self-titled debut from San Francisco’s Film School unfurls with sweeping, wavering guitar chords and muted cinematic lyrics, textures so familiar you’re bound to let your guard down, and that’s when the band is truly able to resonate. Led by founder Krayg Burton (vocals/guitar), Film School flickers with a penchant for the recognizable layering and atmospheres of enigmatic early-’80s blankness. Tracks like “On & On” and “11:11” set up a swarming unease which lingers under the notes, each guitar ringing alive with cutting brevity. The band’s formula is well equated, and when influences like the Cure or Radiohead begin to creep in, the brooding disharmony securely plants Film School as a band arriving with all the potential of a blockbuster. | Shandy Casteel

Darryl Hall & John Oates | Rock ‘N Soul Pt. 1 (RCA/Legacy)
Releasing a retrospective of a group’s work can go one of two ways: The band can either put out a collection of their personal favorite songs (boring), or they could compile a collection of their chart-topping hits. Thankfully, Hall & Oates kept the fans in mind as they put together a “greatest hits” collection called Rock ‘N Soul Pt. 1.

Aptly titled, the disc showcases what Hall & Oates did best—they wooed the ladies with their R&B edge and kept the men appeased by kicking out the rock jams. The incredible thing about this collection is how fresh the songs still sound. While “Rich Girl” and “Maneater” transport me back to the days of tight-rolled, acid-washed jeans and day-glo, oversized sweatshirts, other hits like “I Can’t Go for That (No Can Do)” and “One on One” are just as good as any Adult Contemporary fodder put out today.

A couple bonus tracks, “Family Man” and a—believe it or not—non-cheesy rendition of “You’ve Lost That Lovin’ Feeling,” cement the fact that this greatest-hits collection is a must-have for any fan of this duo’s baby-making music. | Jim Campbell

Falling Martins | The Newest Ghost Town (self-released)
Together since 2001, St. Louis band Falling Martins has released its second LP, The Newest Ghost Town. Compared to their self-titled debut, Ghost Town reflects a stronger sophomore effort, as well as a variation in sound. Beginning with familiar slow and subtle folk/rock similar to Wilco, there is a shift in the tone of the music. Suddenly, the Falling Martins delve into more traditional rock with “Time Was.”

“Loser’s Game” stands out with a great rhythm and slide guitar effort. Pierce Crask hits the lyrical nail on the head with references to the twinkling casinos that surround our little city and the hard knocks they provide. The Newest Ghost Town continues to build on this harder rock sound with “Saturn’s Tree.” Paul Tervydis’ piano is impressive and blends well with the electric guitars. “Feel Free (To Go Away)” is another tune that jumps out at the listener, with honest lyrics about realizing when the person you are with is not “the one.” Falling Martins have accomplished a lot on Ghost Town, broadening their sound and creating some heartfelt original music. | Mary Beth Hascall

Hayseed Dixie: A Hot Piece of Grass (Cooking Vinyl)
If you’ve ever been in a band that tried to play some Sabbath, Zeppelin, or Van Halen, you will love this disc. You’ll get a similar kick if you’re a fan of bluegrass players like Tony Rice or Sam Bush. On A Hot Piece of Grass, Hayseed Dixie faithfully reproduce classic metal tunes as a bluegrass quartet. They take legendary songs like “Whole Lotta Love,” “War Pigs,” and even Motorhead’s “Ace of Spades” and turn them into numbers your great grandparents may have squaredanced to. All of the parts are accurately replicated with Hayseed’s acoustic lineup of fiddle, mandolin, banjo, guitar, and upright bass. The recordings of the instruments are really clean; the band displays some serious chops on the original “Blind Beggar Breakdown.” | Derek Lauer

Leanne Kingwell: New Tattoo (Krill Records)
Upon first listening to Australian native Leanne Kingwell’s New Tattoo, it’s not difficult to hear a distinct flicker of what a Macy Gray and Sheryl Crow secret love child might sound like (aesthetically, you don’t go there). Throughout the 12 tracks of New Tattoo, Kingwell flails for her supper in flashes of nasal-filled screams, only to later coo her words, hoping perhaps we’ll get the point. So, which voice is hers—nasal whine Gray scream, or sweet-and-sour Crow drawl? The opening track, “Look at My Life,” starts the inner conflict nicely: “Broke, bent, tired, totaled and wired,” she bellows, amid heavy power chords and garage-like acoustics, and tales of sex, drugs, rock ’n’ roll, and rehab. Kingwell inhabits her rage, only to later satiate it with ballad of self-discovery, as heard on the mid-album track “Blind.” Miss Gray has left the building; Crow is caught trying to salvage the pieces. Pop culture comparisons aside, New Tattoo is really about an artist finding herself, her voice, and, ultimately, her distinction. And while these grapes have a lot to crush, break, and distill, Kingwell’s whine is indeed bitter, but may just need another season to develop. | Laura Ann Checkett

Let Go: Let Go (The Militia Group)
There must be some kind of power-pop ambrosia in the water systems of suburban Phoenix. How else could one explain the musical similarities between Tempe’s Let Go and their neighbors in Jimmy Eat World? Both bands specialize in impeccably arranged emo-tinged punk-pop, but this new trio (featuring two former members of the Stereo) seems to have traded Jimmy’s emotionally charged lyrics for hooks, hooks, and more hooks. “Spotlights” and “Paper-Cuts” hit the same peaks Brand New so easily reaches, and “No Drugs, No Alcohol” frolics like early Phantom Planet, but it’s on pop metal like “Bombs Away,” “120 B.P.M.,” and “Somewhere” that the soaring melodies reach such epic heights you’d swear you’re listening to Journey—and believe it or not, I mean that in a good way. The sound is fuller than one would ever expect for a power trio—hence the band’s fourth touring member, their iPod—and not a single weak track to be found. A thrilling debut. | Jason Green

Lúnasa | Sé (Compass)
Curse Lúnasa’s timing! Sé, the Irish band’s sixth CD, will “street” much nearer Valentine’s Day than St. Patrick’s—so scratch that hook. Still, this disc warrants not just attention but hearty applause. The deft musicianship on these 11 instrumentals (including such splendidly titled tracks as “The Cullybacky Hop” and “The Dingle Berries”) makes Sé a surprisingly invigorating listen. To the Stratocaster-besotted tendencies of contemporary American pop music, in fact, Lúnasa’s masterful use of wind instruments in particular provides a tonic counterbalance, especially on standouts “Absent Friends,” “Midnight in Aviles,” and the bravura closer, “Boy in the Boat”—no blarney. | Bryan A. Hollerbach

Man Man: Six Demon Bag (Ace Fu)
Listening to Man Man, you may think he and Devotchka were separated at birth. While Devotchka buried themselves in special nuances of musical mellow drama, Man Man loaded up with records by Squirrel Nut Zippers and Naked City, along with every project Mike Patton has ever been involved in. Six Demon Bag is 40-minute waking dream; a wonderfully tripped-out blend of styles executed with a devilish grin. Six Demon Bag inspires images of guys in kilts drinking beer from giant ceramic mugs while the old beer hall is ablaze with revelers dancing like fools as Man Man stirs the drink.

Rack up “Engwish Bwudd,” “Banana Ghost,” “Black Mission Goggles,” “Hot Bat,” and the minute long screaming clang of “Young Einstein on the Beach” as evidence of SDB’s power to induce clogging. Suffice to say, Man Man are thoroughly enjoyable and one hell of a good time, and Six Demon Bag is a magnificent record. | David Lichius

Walter Mann: Mann’s Free Radicals (Mann Made Music)
Irony and humor are the keynotes of Mann’s Free Radicals. The album begins with “Basic Cable Blues” and it takes a slightly bluesy and folk approach to the images and sounds making American’s heads busy with nonsense. Walter Mann doesn’t take himself too seriously, but he takes his ideas seriously, which comes out in his mellow message. With songs like “Wrong Again” and “Small Chance,” it’s hard to see through his smudgy view of life. He continually struggles for “a positive outlook,” but sometimes it’s a little much to swallow with all 11 tracks. | Janelle Greenwood

Gil Mantera’s Party Dream: Bloodsongs (Fat Possum)
Gil Mantera’s Party Dream is indisputably a “you gotta see ’em live” kind of band. An exhibitionist duo consisting of vintage-keyboardist/sequencer Gil Mantera and singer/unitard-lover Ultimate Donny, the Party Dream live smacks of a new wave Har Mar Superstar: all crazy outfits, absurd banter, and inevitable drunken nakedness. While their previous live album, Once Triangular, was a ragged, semi-successful attempt at capturing the lightning of their live show in a bottle, it’s their new studio effort, Bloodsongs, that truly showcases the band’s quirky personality—ten songs overflowing with analog synth hooks, hilariously dry non sequiturs, and remixed ’80s dance flava. From opener “Buffalo Tears”’ jittery space-pop melodies and earnest refrain of “I only want justice/I only want equality/Can you dig that?” to “Bunz Therapy”’s vocoded verse “I’m having fun on a water slide” (my personal fave 2006 hook thus far), this is the music you should be dancing to, if only you knew how. | Brian McClelland

Measles Mumps Rubella: Fantastic Success (Doubling Cube)
Measles Mumps Rubella lays a ponderous path of ambient dance-rock, exploring the depths of interplanetary profundity. The first and fourth tracks graze a calmer-than–David Byrne jaunt, with heavy panting and a squeeze of the proverbial medicine cabinet concoction. The title track mellows out this vibe even more, with a softer and more linear, but somewhat banal approach. “Libra Science” and “Nice Hollow Bodies” respectively point to the excavation of corral by heavy machinery and to the outer rings of Saturn. With a huge arsenal of sounds, this group certainly stretches the forces of nature; however, without a strong spine of groove or structure, this album doesn’t quite overcome gravity. | Nate Dewart

Mellowdrone | Box (3 Records/Red Ink)
Mellowdrone crafts some high art on its debut album, with an absolutely massive soundscape honoring Phil Spector’s “wall of sound.” While the songs are huge and otherwordly in their vibe with synths and electronic beats, they also keep a sense of intimacy, as Jonathan Bates’ rich and relaxed, Beck-esque voice conveys simple yet clever images. On the party-thumping “Oh My,” he channels, “Tie up your legs for the second-foot race/monsters next door and the lack of space.” The melodies are additionally engaging, guiding us through a tasty and memorable path in ”Four Leaf Clover” and “Fuck It Man,” and laying a groove of chanting doubled with piano, before soaring upward in “Fashionably Uninvited.” While a direct point to Brit-pop is appropriate, Bates & Co. have developed a flavor of their own with a refreshing, solar system–sized dose of the surreal. | Nate Dewart

Various Artists: Memphis Family Album (Memphis Industries)
Filled with delightful retro, yet sweet, modern flavors, Memphis Industries has crafted the most fluid and enjoyable compilation to date; the blokes at Championship Vinyl would be pulling their tongues off the floor. Behind the Go! Team’s lead, other gems light up the room with luscious sounds and playful grooves, such as the Squire of Somerton’s “The Band.” Field Music’s “Alternating Current” and Fort Lauderdale’s “The Chilling Place” both satisfy a craving that I forget I had—one for the ’60s musicality, inverted. On “Something to Bang,” Absentee is in full Plymouth Barracuda–garage stride, while Blue States’ “Cherio Manili” goes all instrumental, radiating promise and sentimentality with a church-bell finish. Needless to say, brothers Matt and Ollie of Memphis Industries are a musical divining-rod stock; invest now. | Nate Dewart

North To Emerson | Anywhere But Here (S/R)
This is pop punk that could kick any frat boy’s ass. North to Emerson focuses heavily on how to get the girl, deal with a broken heart, and try to score with her all on the same album. A foursome from St. Cloud, it’s great that Minnesota has something going for it other than the excitement of its 10,000-plus lakes. A little less whiny than Good Charlotte and definitely grittier than New Found Glory, North to Emerson would fit easily onto the American Pie soundtrack. | Janelle Greenwood

Oli Rockberger: Hush Now (EP) (self-released)
Combine jazzy piano comping with a smooth, John Mayer–like voice and the result is a musician who is capable of creating jealous boyfriends everywhere. With his boyish good looks and expressive piano touch, Oli Rockberger is instantly appealing. He exhibits a perfect combination of control and expression with his soothing and understated voice. Rockberger’s songs are about love and longing for love. “Guide Me Home” is especially heartwarming and sweet, as he plays a subdued Fender-Rhodes accompaniment and sings, “I’ve got a feeling that you’ve moved with me/Through the deserts and across the seas/You’re in my blood/You’re in my bones/Keep the flame burning to guide me home.” This guy is welcome to sing me to sleep any night. | Michelle Blumsack

Rye Coalition: Chariots of Fire EP (Gern Blandsten)
It has been a long and winding road for New Jersey’s Rye Coalition since their last release, 2003’s Jersey Girls. In June of ’03, the “Hard Luck Five” signed to Dreamworks and recorded the material slated to be their major-label debut. Then Dreamworks was bought by Universal, where their album sat gathering dust. Universal shifted them to its subsidiary Interscope; the record collected more dust. Eventually, Rye Coalition was allowed to jump ship to Gern Blandsten—home of their first two records—with full ownership of their unreleased album.

On the Dave Grohl–produced Chariots of Fire, the world gets a quick, four-song dose of what the Coalition have been fighting to release for almost three years…and it’s absolutely awful. Vocalist Ralph Cuseglio has forgone his raspy and manic delivery in favor of a clean, polished, vanilla style that’s friendly on the ears. Also gone is the nasty, AC/DC-like quality that permeated their last LP, On Top. Chariots of Fire might as well be a parody of their previous records.

April 11 will see the release of Rye Coalition’s new LP Curses, also produced by Grohl; with any luck, its arrival will cause the memory of this debacle to fade. One can only hope that, in a couple of years, the “Hard Luck Five” will return to a respected engineer and crank out a record worthy of their reputation. | David Lichius

Sabrosa Purr: Music From The Violet Room (Dangerbird)
Available only from iTunes and the band’s Web site, Sabrosa Purr’s debut EP Music From the Violet Room is a hard record to peg. Smashing Pumpkins? Sigur Rós? Nirvana? Who can say? It is, though, a fairly impressive debut from the L.A. three-piece. The tone is laid bare on the very first track. A young woman breathily purrs out a poem in French with seamlessly transitions into “Sabrosa Purr, Pt. 1,” a slinky, dreamy number. In “The Lovely People,” “Goddamn You,” and “Liars, Petty Thieves and Pets,” the Smashing Pumpkins’ comparison is most evident, punctuated by guitarist Will Love’s vocals. However, the stamp of Violet Room mainly lies in a room thick with cigarette smoke and people drearily dressed in black. Music From the Violet Room is a work that contains a lot of promise and potential and is well worth checking out. | David Lichius

Silversun Pickups: Pickul (Dangerbird)
Remember the Anniversary? Remember their arty way of creating songs more as compositions that three-minute bursts of guitar and vocals? Silversun Pickups’ debut EP, Pickul, recalls the art of the rock ’n’ roll sonata. From the get-go, Brian Aubert’s voice is haunting and unique, its nasal quality like a cross between Sunny Day’s Jeremy Enigk and Placebo’s Brian Molko. “Everything is connected and beautiful/and now I know just where I stand,” he claims on intro track “Kissing Families.” Bassist/singer Nikki Monninger adds just the right background (and occasional lead vocals); the addition of cello further deepens the song. Whereas angular guitars and crunchy bass highlight the dark-tinged “Comeback Kid,” “Booksmart Devil” is driven by Christopher Guanlao’s steady, funereal beat. “The Fuzz,” a dreamy, noise-filled affair, is more of a showcase for Joe Lester’s keyboards; Aubert provides quiet, repetitive vocals, keeping the focus on the music. Aubert passes the reigns to Monninger for the gentle “Creation Lake”; her voice is both fragile and beautiful. Closing out the EP (officially; there is a hidden track) is “…All the Go Inbetweens,” a lengthy number which extends the disc’s cool-down period. Pickul is an impressive, uncategorizable debut offering well worth exploring; you’ll take away something new with each listen. | Laura Hamlett

Slim Chance & The Convicts | The Dark Side Of The Moonpie (Jailbait)
By day, under his real name, Slim Chance is a mental health professional. But as the sun goes down, his alter ego, a long-time denizen of Atlanta’s “Redneck Underground,” hits the bars singing these classic country originals largely inhabited by characters that have the stereotypical classic country problems with alcohol and relationships. With lines like “whiskey works, but it’s just temporary” and “her nightlife’s got me falling to pieces” a visit the next morning between Dr. Chance and the inhabitants of his songs seems appropriate. |Al Kunz

Some By Sea: On Fire! (igloo) (SideCho)
If Bright Eyes singer-songwriter Conor Oberst can be incessantly hailed as the next Bob Dylan, it seems only fair that in the Bizarro World where that is actually true, Chris Du Bray would be the Bizarro Robert Smith. On their awkwardly titled second album On Fire! (igloo), Du Bray’s band Some by Sea craft beautifully expansive music with wide open arrangements and heart-on-sleeve lyrics that play like Death Cab for Cutie’s Ben Gibbard guesting on a post-2000 Cure album. Du Bray’s mid-range tenor is much more everyman than either Smith or Gibbard’s acquired-taste vocals, however, and cellist Rachel Bowman’s well-placed strings give his tales of heartbreak a classical air. The only thing this album is lacking, unfortunately, is hooks. While songs like the devastating “This Song Is Not About You, so Don’t Ask” have undeniably gorgeous melodies, Du Bray’s free verse lyrics rarely repeat, and thus rarely sink in on first listen. Some by Sea makes music that is gorgeous, but, sadly, not as inviting as it easily could be. | Jason Green

Sworn Enemy: The Beginning of the End (Abacus)
The lead singer of this ambitious foursome must have gargled an entire bottle of Drano before taking to the mic, but at least his lyrics are semi-intelligible. A talented crew of veteran headbangers hailing from Queens, Sworn Enemy will be opening for Anthrax this year—and deservedly so. With their unique blend of head-on, no-frills death metal, Sworn Enemy has a shot at hitting the mainstream. Not the most original music ever written (so far), but certainly some of the catchiest. For hardcore fans only. | Brian Jarvis

They Shoot Horses Don’t They?: Boo Hoo Hoo Boo (Kill Rock Stars)
Rattling around with a swarming embrace of frenzied paranoia, Boo Hoo Hoo Boo, the first full-length from Vancouver oddball rockers They Shoot Horses Don’t They?, marks yet another minor north-of-the-border spectacle—all the requisite bells and whistles in tow. With an arresting confluence of disquieting gang vocals, cadenced structures, and flailing harmonies, the sound harbors a fetishistic circus soundtrack vibe, where the eerie musical clowning pulses with horns and keyboards galore. The off-kilter opener “Emptyhead” is a jittery collection of distorted bass notes, jug band percussion, and shouts—a perfect introduction to the noise-fueled racket of the seven-person lineup, while songs like “Sunlight” and “Three” light a carousing blast of brass punctuating the obsessive lyrics. It’s a peculiar debut, filled with captivating bizarreness and jovial anxiety. | Shandy Casteel

Various Artists: To: Elliott From: Portland (Expunged)
Tribute albums—or cover songs, for that matter—are tricky. By definition, they’re album/set-fillers: forgettable, lazy, or just a way to showcase the band’s hipster tastes. Ick. Ideally, the performer needs to find a balance between showcasing his own musical style while keeping the spirit of the original song intact. Although it’s probably the ultimate hata’ move to discourage Elliott Smith fans from picking up a charity album of Smith covers, only ten-freaking-percent of To: Elliott From: Portland’s proceeds will be donated to the Elliott Smith Foundation’s charity, Free Arts for Abused Children—so here goes:

Good intentions aside, few artists emerge from this collection with a notable or interesting interpretation. Eric Matthews layers a dozen horns onto “Needle in the Hay”—as is his usual schtick—and it does nothing but distract. The Thermals’ karaoke take on “Ballad of Big Nothing” (no kidding, the guitars and drums are nearly identical to the original, save for the constant, jarring cymbals) actually killed the interest I had in listening to their other work. With its heavy bass, dreamy synthesizers, and drama queen vocals, Crosstide’s version of the formerly slight and charming “Angeles” could easily be crossfaded into a dance mix at the local Manhole (right after that spastic remix of “Beautiful”). And cheers to Lifasavas for attempting something almost unexpected with a hip-hop version of “Happiness”; jeers for making me laugh out loud. The few contributions worthy of returning to include the Decemberists’ leisurely take on “Clementine,” Dolorean’s soft country “The Biggest Lie,” and We Are Telephone’s “Division Day,” a perfect choice for the synthy power-poppers, and even punchier than the original. That more than half of 15 contributors shamelessly appropriate Smith’s whispery vocals is embarrassing; ultimately, I shelved the album and happily revisited the originals. And, well, maybe that’s a tribute in itself. | Kimberly Faulhaber

Viarosa | Where The Killers Run (Pronoia)
Viarosa captures a profound sense of melancholy with its debut album. I hear an even darker, mellower Arcade Fire, not only with their instrumentation and lyrical intrigue, but also with Richard Nuerburg’s rich, heavy yet buoyant tone and the female harmony gently resting above. This selfless band of musicians offers untold histories of sailors and the impoverished, drenching these forgotten souls in layers of wailing strings: acoustic guitar, banjo, mandolin and violins/violas. The title of the album and cover art (faded black and white photos) hint of such somber reverie, but it’s the songs inside—or, rather, eulogies—which cut so deep, you can almost feel yourself bleeding. | Nate Dewart

Jon Yeager: Truth & Volume (Polyrhythmic)
Jon Yeager’s five-song solo debut EP Truth & Volume showcases an assuredly talented singer-songwriter with a pop aficionado’s taste for simply felt words and slightly off-center, low-key melodies that sound classic and wholly original at the same time—a skill likely honed during his seven years with Kansas City’s best kept secret, the fabulously underappreciated pop wunderkinds the Daybirds. Sounding like nothing released by his former band, opening track “Summer Under a Strange Sky” outs Yeager as a noir-ish Pete Yorn, building tension with the distorted spoken refrain “You got it, you got it” before settling into a soothing croon of “Oooh/You’ll never ever feel so blue” over acoustic-based, egg-shaker-infused rock grooves. While “Black Boy” is rooted in the same ’50s pop ballads that the Beatles’ “This Boy” covered over 40 years ago, Yeager adds his own killer twist: a wicked ’70s AOR falsetto chorus that makes the song entirely his own. And when the full band finally kicks into gear during the second half of the sparse, delicate heartbreaker “Without You,” the effect is an emotional knockout and, hopefully, a tantalizing glimpse of things to come. | Brian McClelland