Scroll down for capsule reviews of The Marlboro Chorus, Rich Serafin, Statuesque, Prizeapart, The O.A.O.T.'s, Men In Fur, Humbert, Boyracer, Your Team Ring and The Dutch Elms

The Marlboro Chorus -- Youth Medium (Future Appletree): This talented band plays skewed indie pop in a manner that shows they understand The Kinks as well as Pavement. No matter how murky or quirky they get, almost every track on this record has a substantial hook, whether it's a killer chorus, or a haunting guitar coda, such as the one on the waltz-tempoed "The Black Iron Prisoner". The band has a whimsical, tossed off side which is effective on "Don't Sweat the Fallout", the light acoustic samba (well, it's vaguely samba-like) that features acidic lyrics on wrongful war (what war are they thinking of?). "Those Shoes" is a silly rustic stomp while "You'll Be a Maze" is a frantic acoustic shudder, and both are odd and fun. The best songs mix the band's typical sardonic lyrics with contrasting music. On "Dark America", the bounce of the rhythm of the acoustic guitars supports wisps of melody in the chorus, as the song builds a memorable tension. "The Incredible Journey (Revealed)" is the best track, which also centers on an insistent rhythm, played in a relaxed manner. The song has a foreboding mood, yet a relatively gleeful chorus. An air of mystery pervades. At one level, the Chorus is just writing catchy songs, but there is something deeper here, which is often elusive. It's done well enough that this is insinuating, not off-putting. futureappletree.com

Rich Serafin -- Naked Monsters (Serafinsongs): This is the solo debut from the frontman for the now defunct Minneapolis band The Morning Stars. Sadly, I have never heard any Morning Stars music. I say sadly, because this seven song slab of guitar rock shows that Serafin is a disciple of artists like Television and Velvet Underground, making songs that have tough precise lead guitar work, heaps of atmosphere and just enough melody to make everything tuneful and memorable. The sound here is spacious -- "Old Worm" is a good example of the expansiveness of Serafin's sound. The rhythm is a mere pulse, but augmented by keyboards, it gives Serafin a platform for an urgent vocal (which, on this track, sounds a wee bit like Roger Waters -- heck, there's a wee bit of Pink Floyd on some of the tracks here) and a majestic lead guitar line that runs through the entire track. On "Time Takes Time", Serafin conjures up a woozy blues song with hints of a Southwestern desert rock feel. He double tracks his vocals on a song that is simultaneously mellow and intense. There is nothing mellow about the disc closing "Good For Nothing" which is simply a fuzztoned rock jam (i.e., rocking, not pointlessly jamming). Again, Serafin shows how one simple guitar figure can drive a whole song. Particularly when the song rumbles and moves with such controlled fury. Apparently, Serafin played everything on this record, and he does an impressive job. I hope he can get a band together, because this stuff would sound great live. rserafin@mn.rr.com

Statuesque -- Choir Above Fire Below (125): Stephen Manning really does something impressive. His working class observations and stories, spoke-sung in a thick British accent that brings to mind Steve Drewett of Newtown Neurotics and Billy Bragg, are made for typical singer-songwriter guitar tunes. And you can hear that in his songs. Yet these songs are steeped in pop melodies, and drum loops and white funk guitar beds. While none of these approaches are necessarily incongruent, to hear them all blended at once, and sound so good, is pretty darned amazing. Manning really rides the groove as many of the songs go five minutes and beyond. On a track-by-track basis, this is no problem, as there are some stellar songs here. However, the album would play better if it were a few tracks shorter. Still, when an artist has a lot to say, both with some brilliant lyrics and inspired music, who am I to say hold back a bit? Manning has an innate ability to find a memorable melody or guitar part, and weaves the memorable bit throughout the song, so even if it's not a verse-chorus-verse pop song, you always have the recurring hook to keep you going. This comes through loud and clear on "Present Historic", which has a devastating guitar riff that crops up from time to time. On "Touche", Manning stretches out the melody in the verse and then compacts it on the rousing chorus: "I'm a god/a god who believes in you." While most of the disc is driving, there are some nice softer moments, like the title cut and "Winter Was My Teacher", the latter which has an otherworldly acoustic guitar sound reminiscent of Duncan Browne. The top track is "The Audition", which could be the first entry in a folk-funk genre, with Manning's chicken scratch guitar licks. The song is littered with cool observations like "the great British novel/is sitting in a desk drawer" and "I look like George Harrison/blown in the gale with/the coconut haircut/on Beatles For Sale". There are plenty more good lines where those came from. Really, anyone who can title a song "Rock and Therefore Roll" and pull it off with prickly panache is worth checking out. 125records.com

Prizeapart -- Up + Away (Prize): Sublime acoustic pop songs that conjure up warm feelings evoked by like minded artists past and present such as The Beautiful South, Chris von Sneidern and Denzil. The band splits the songwriting and vocalizing between Karim Fanous and Pete Duddles, and they have quite the partnership -- these are two guys coming from the same place, both attuned to one hell of a muse. Duddles has a bit of a soulful thing going on. His tune "Hold My Head Up High" is a pretty and inspiring love song that should appeal to fans of the ballad side of The Housemartins and Astrid. Duddles sells the song with his wonderful tenor voice – he had to have written this song for a special someone, and that special someone better damn well have melted in his arms. Duddles then finds a song that fell between the cracks, floating in the ether and missing the antennae of both Paul McCartney and The Las, as "Sunny Song" is about as happy as a song is legally allowed to be, a pure acoustic pleasure. Some light psychedelic guitars introduce "Lily of the Valley", but the song is otherwise another sunny acoustic driven charmer. Fanous may be an even better songwriter and is almost as good a singer. "Ship Is Sinking" sounds like Paul Carrack singing a top George Harrison composition. Fanous tears into the song, his vocal almost overpowering the simple accompaniment. "Drama Queen" is a departure, as it is a cutting little number, with Fanous sneering lines like "She's obsessed with Bridget Jones/and devoid of dulcet tones." The song percolates in the verses, and, in comparison to the sweet songs throughout, it's fairly lacerating. However, both "Ship" and "Queen", while quite good, would benefit if the backing was a bit less polite. Fanous seems to channel his inner Kinks with "Lonely Days", which is a peppy variation on Village Green pastoral pop. If Prizeapart could spend some time on stage and develop a full band sound, it would allow them to go even more places with their music. Duddles and Fanous have the tunes and the voices to make some really lasting pop. prizeapart.com

The O.A.O.T.'s -- Typical (Sounds Like Vinyl): The duo of Matt Garappolo and Eddie Garcia Garza (joined by drummer Dave Palermo) have concocted a fizzy and bright collection of mod-inflected power pop tunes that is reminiscent of bands like The Fletcher Pratt, Dirty Looks and The Interpreters. Garappolo gets a marvelous ringing sound out of guitar on song after song, while Garza's bass playing is a mix of bouncing rhythm and melodic manuvering. The songs here are very basic, in the best sense of the word. The duo has a knack for heading right into the hook and then adding a memorable middle eight or lead guitar figure to seal the deal. And sometimes they just rock out -- for example, the song "Games" just explodes, and I wish they had bashed around a bit longer at the end. Garza and Garappolo sometimes soar with sharp harmonies -- so "Nothing to Me" hits the chorus sounding like Bram Tchiakovsky taking over a Jam song. "Janelle", the album opener, is a summation of everything wonderful about this band, as it is insistent and catchy, with inspired and clever lyrics. The song is an ode to a stripper, from a guy who wants her to fall in love with him: "I'm more than a customer, I tell Janelle/won't you meet me after work/I promise I'm not like those other jerks." This song has a strong melody, uses dynamics well and provides hooks with both the melody and the rhythm (and props to Palermo's great drumming). A couple of other songs evoke early Joe Jackson. There is a bit of sameyness that crops up near the end, which is easier to take since the 13 tracks are over in under 32 minutes. A winning effort. theoaots.com

Men In Fur -- Men In Fur (Happy Happy Birthday to Me): This Pennsylvania band obviously takes it cues from Belle & Sebastian and like minded acts. The bulk of this CD is comprised of folkie pop songs that, at times, are pretty damned twee. While this may be derivative, it is done with enough ability and aching sincerity to work most of the time. Songs like "Elisa", "The Sheperd Song" and "Sister Moon" are fine examples of this foundation style. The latter is one of the best numbers, with a more intense approach, fueled by a sharp lead guitar line. The band also incorporates some keyboards and electronic sounds. While the basic approach is not changed, the differing textures are a bonus. They give a perky bounce to "The Tiger Song" -- it's garage twee! On "The Monkey Song", the band takes on a more droning tone that is icy and a nice contrast to most of the other songs on the disc. Most of the keyboard/electronic inflected stuff is on the latter half of the disc, and these explorations still seem to have untapped potential. I hope Men In Fur (a co-ed quartet, by the way) continue to explore this side, as it is where they really create an identity as a band. hhbtm.com

Humbert -- Plant The Trees Closer Together (Sportatorium): This is a splendid collection of songs touching on psychedelia, power pop, Weezer-ish emo and a few other styles. To the band's credit, they make this eclecticism work, which is really another way of saying they excel at all of the things they try. There are college radio playlists that aren't as well rounded as this album, with the pure ‘60s psych of "Hugo (The Elephant)" and the quiet more modern psych of "Sir Winston" (more in line with Sparklehorse) bookending songs that go into things like: 1) what if The Shins had a heavier sound? ("Stolen Car"); 2) Klezmer ("Vuscalli (The Porcupine)"); 3) drone rock ("Get Well Card"); 4) oddball ‘60s pop a la Lilys ("You're The One"); and, 5) even a bit of Beach Boys inspiration ("Lyn"). The only weak point is that the vocals aren't as strong as either the songwriting or the playing, but they sing adequately. When this band wants to rock it rocks. But it's just as convincing with some strings or ethereal keyboards. This is an extremely accomplished record and one which I wish I had put on sooner. Excellent stuff. humbert.net

Boyracer -- Happenstance (Happy Happy Birthday to Me): This scrappy British indie pop band is back after a long absence. Leader Stewart Anderson now lives in -- get this -- Flagstaff, Arizona, but living in the desert near the Grand Canyon has not affected his musical vision one bit. He loves pithy songs, with mid-fi production, buzzing guitars and a mix of Buzzcocks drive and twee melodies. A couple comparisons that are semi-decent would include the early Soup Dragons and The Like Young. Hmm...maybe even Toothpaste 2000. Boyracer doesn't quite sound like any of them, but there is a common aesthetic amongst them. One other thing -- with all this time off, Anderson has stored up some fine songs. I haven't heard every Boyracer album, but I can safely say this may be their best. Some are bursts of guitar noise and melody, like the breathless "Careless and Caught Out" (with the added touch of some garage rock keyboards), others are simply naive bouncy pop, such as "The Moment". While these songs whiz by like milemarkers on an interstate highway, Anderson sometimes hits on a riff or hook that just kills. He finds one of those on "Flinch At the Light", which has a guitar part in the bridge that is ringing and dripping with melancholy. It gets me every time. The song "I Was the Drummer in Altered Images" presses the same buttons -- it is sweet and swoony, with it's mix of jangle cuddliness and a bit of guitar buzz, as Anderson muses about a dream in which he was the drummer for...well, the title explains that. Very affecting. hhbtm.com

Your Team Ring -- In Service of the Villain (Perhaps Transparent): The duo of Gabriel Walsh and Richy Midnight make disturbing and mysterious pop music. The music has psychedelic overtones, without sounding like an homage to the ‘60s. To some degree, there's some kinship with the Elephant 6 collective, and, for that matter, Animal Collective. Another possible comparison would be Tall Dwarfs. Or even Tyrannosaurus Rex on fey acoustic numbers like "Smiles Wide". Midnight plays an array of keyboards and adds tape effects, while Walsh plays everything but the kitchen sink. While the songs start from basic structures, the duo spends a lot of time sculpting the sound, finding a way to blend many different sounds. So, on the aforementioned "Smiles Wide", the acoustic guitars, mandolin and light percussion are joined by other instruments, ending with a surprising burst of electric guitar, with tape effects and glockenspiel underneath. This attention to detail can reap considerable rewards. On "The Final Broadcast", the band weaves in various percussion instruments with a plucked acoustic guitar, while overlaying various wind instruments, while Walsh sings the hypnotic melody. Everything interlocks to make the tune an enveloping experience. The most accessible song is "Heaven is Bending", which has a pulsing rhythm and two hooks - one a circling guitar part, the other in the strong chorus. The only drawback to such a dense approach to making albums is that at times this is insular, and to an extent, the album loses its hold near the end. More upbeat songs like "Failure of Design" would help. Overall, a good record that promises a lot more in future. yourteamring.com

The Dutch Elms -- Music For Happiness (Jigsaw): This mid-fi indie pop record shows what four people who obviously have good taste in music can do when they filter their inspirations through their personalities. This disc reveals a band that likes a lot of ‘60s pop and rock and has an affinity for ‘80s jangle rock, and all of that and more ends up in their music. While I can't say that anyone in this band is a great singer or instrumentalist, they get the job done on track after track. Like on "Yesterday's Coffee", which falls somewhere on the spectrum between The Kinks and The Turtles, the playing is low key, but in the mid-section of the tune, there are some nice harmony vocals and a pithy lead guitar part. A few songs here could qualify as garage rock lite, as they use classic blues rock structures. Instead of powering the riffs though, they strum away. In the absence of raw rock power, the songs are bouncy and catchy. The closest the band comes to rocking out is on "Dinner Train", a pleasant Dylanish country rock number, which is played with a nice focus and intensity. But this band does not have to rely on power. When you can pen pure pop numbers like "Letters From" and "Limp Around The Park" (which is a bit Beatle-y), the melodies and hooks are more than enough. There is a certain innocence to the whole affair, as this sounds like some talented grad students who decided to play some amusing ditties, which shines through on "Knickers in a Twist", with its oddball lyrics ("it is a proto-Animal Farm/without the politics/and half the charm"), relentless keyboard/guitar rhythm, and a weird spoken word bit by Anna Lange. It makes me want to play my Young Nashvillians and Eggplant records. indiepages.com/jigsaw

________________________________________________________________

To reach any other page contained in this month's update on Fufkin.com, read the home page for the appropriate link and click on it. You can also search the site from any page using the search box located at the top of each page. Merely type in the word, phrase, name of the band, recording, name of the Fufkin writer that you are looking for or Whatever in the search box, and then click on "Search". If you would like to e-mail us, go to the About Us page for a list of e-mail addresses.

Go back to the home page by clicking here

________________________________________________________________