Scroll down for reviews of the latest from Splitsville, Edward Rogers and The Honeydogs

Easterly
Easterly

(Not Lame Recordings)

Release Date: December 8, 2003

www.notlame.com

Noah Hall's songs are tinged with quiet melancholy, reflecting on love and broken relationships and even a broader general malaise with a wisdom borne of experience. His soft vocal delivery and classical pop music canvas invite comparisons to that of singer/songwriter Joe Pernice (The Pernice Brothers), aptly. Hall is the talented creative wunderkind behind Easterly, whose eponymous debut contains ten impressive tracks of soothing, guitar-layered contemplative smart rock.

When Noah expanded his solo act to include a band that could translate his songs, he needed a name. "Noah Hall & Oats" was rejected, wisely, avoiding possible lawsuits. In the end, it was a suggestion by fellow musician and friend Angie Heaton that stuck. She liked the way meteorologists described weather patterns, particularly directional names. Being from the West (Salem, Oregon) the group decision was to go with "Easterly."

The band is comprised of Hall (vocals, guitar, keyboard), Andy Douthit (guitar), Kerry Kincanon (bass), Dan Miles (drums, guitar) and Paul Brady (piano, keyboards). Flynn Nisbet is credited with providing energy, art and ambiance and guitarist Larry Adams has since joined the group (but isn't featured on the CD).

The real treat here is the music. In no way does this betray itself as a debut - these guys sound like time-tested veterans. The music comes across as knowingly familiar right from the first note -- the beleaguered stances of the narrative ring true.

The CD opens with "A Lover Is Fine," a softly endearing melody that espouses a twist from the usual needs: "No one can say how long it will last / You'd think that someday we might learn from the past / Only one thing is for certain / It will happen again / And a lover is fine when you can't find a friend."

The harmonies draw you into the bouncy upbeat blues-rocker "Blister." This song serves as lyrical invitation for the hope of sin, as the singer declares he'd be "proud to fall" should the call come.

Truly awful relationships and their inexplicable appeal is the topic matter of "Wicked Conversation." Hall manages to convey both sides of this ghastly equation in lyrics that speak directly: "Obsessive and repulsive / uneven eyes and damaged hair / What a fucking perfect pair / Who said life's not fair? / Not me, couldn't be / I love your faults and frailty."

"Getting Back Together" is an upbeat tune for the angry, disappointed and downtrodden in love. Bitter compromise is the order of the day here, a man resolved to give up on love and getting back together with "the girl that I was married to before." It's not exactly bliss he's heading toward, but "there's something to be said for being comfortable enough."

Rejection leads to anger and frustration and a desire for vengeance. That's the familiar terrain of the ballad "One Of These Days." Hall again shows his gift for capturing the feelings directly: "One of these days I want to break a heart / And I hope it's you."

Once upon a time, Noah Hall attended Yale Divinity, where he considered becoming an Episcopal man of the cloth. His experiences there -- his battles with epistemology -- still surface in many of these lyrics. In "The River," a pretty melody couches a call for baptismal soul-saving for his sins, but in the end there's no satisfaction: "I still don't know for sure if all this loss was worth the lesson / How come I still don't feel pure?"

The song that best portrays his battle with religion and how it didn't provide inner fulfillment is the album's centerpiece "Happiness." While sounding somewhat upbeat (nice guitar-driven melody and harmonies), the lyrics reveal a rather bleak epiphany: "Contentment can't fill me / Desire won't thrill me / His spirit isn't stilling me / And happiness is killing me."

"Only So Much" is another slower song, a sweet exploration of the limits of forgiveness, understanding and second chances. Hall's vocal work is moody and evocative here, gripping you with its emotional truth.

"If You Knew" is a short, melodic wake-up call, providing more advice than sympathy.

"Blame Cupid," the closer, sounds like it could be an Aimee Mann song, embittered and harsh in summarizing what's gone on: "You can blame it on the bad choices / or the voices you hear / You're not crazy, you're stupid / So blame Cupid for one fucked-up year."

Easterly is an auspicious beginning for Noah Hall and his cohorts. Hall manages to counter his sometimes sullen and oft bitter lyrical forays with lush, strikingly beautiful melodies and vocals. There's intelligence behind the songwriting, and a soft emotional honesty that draws you in and keeps you there, track to track. These aren't just fictions - you believe he's fought the battles - and the pretty arrangements and production find the right balance to present these songs in sensitive, endearing ways.

Fans of The Pernice Brothers will find a kindred spirit here, but if you like the idea of contrasting soothing music with harsher lyrics, then Easterly's for you. The quality will have you questioning the fact that it's a debut, but ultimately will leave you begging to hear more soon. As the Easterly front approaches, the forecast is very good.

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Splitsville
Incorporated

(Houston Party Records)

Release Date: December 12, 2003

www.houstonpartyrecords.com

It's a matter of quality - with their fifth release Incorporated, Splitsville has never been in a better space. Confident, assured and able to transcend a variety of musical styles, these are guys who know their stuff and deliver it with a level of studio expertise that approaches fine art. What's more is that they manage to retain the atmosphere of fun that has always been their trademark.

This ten-track gem of an album grows on you, releasing its diverse surprises and subtle hooks over the course of repeated listens. At first listen, you might think it's decent. By the tenth listen, you'll know it's superb.

That is the musical magic perpetrated by veteran power pop rockers Splitsville (formed out of the ashes of The Greenberry Woods) in this, their latest and arguably greatest yet.

The band has become a solid quartet with the addition of talented guitarist/vocalist Tony Waddy. He joins the seasoned lineup of the twin brothers Huseman (Matt on guitar and lead vocals primarily, Brandt on drums, percussion and vocals) and Paul Krysiak (bass, keyboards and vocals), and the results are mighty fine.

Working again with producer Dave Nachodsky, Splitsville assemble a set that covers a fairly good expanse of musical styles (but perhaps not quite so wide a realm as the selections found on 1998's Repeater) in a clean, controlled way. There is nothing casual or happenstance about this music - it's all well thought out and expertly executed, from the nuances and leads to the clever lyrics.

The opening track "White Dwarf" moves between soft and hard, going from gently strummed opening guitar and bass to the heavy driving chords that back most of this spare lyrical contemplation of our cosmic inadequacy in communicating our ideas, dreams and spiritual aspects. There's a wonderful Tony Waddy guitar lead in mid-song that grows before the singer's eventual concession to keep his feet "on solid ground."

The infectious "Brink" finds Splitsville back in familiar territory - rocking and having fun whilst exploring the relationship between bands, their fans, and musical choices. Brandt and Paul show why their rhythm section is second to none, as Splitsville come out against the fakery of other bands, and for music that rocks and doesn't suck. My favorite parts here are those that add subtle fun: a harmonic nod to Van Halen's "Dance The Night Away" and the slight delay before the word "delay."

"Heart Attack" is a strange hybrid that works well. Blend the funk of Hendrix with imagery that recalls John Cougar Mellencamp's heartland characters, then mix it up with strong beats and delayed line repeats and you'll get an approximation of the strange energy that fuels this eclectic yet irrepressible song. Once the song catches you, you'll be amazed at how many elements work effectively as clever hooks.

"Headache" is about as catchy as any Fountains of Wayne song, yet manages to take on the world's worries and concerns, a ruined day hiding from the bad news outside and stuck in a distant relationship and more - well, it's more than enough to give anyone a headache (and also gives a tip o' the hat to John Lennon's "nothing's gonna change my world"). I also bet you'll find yourself humming the backup "I know" vocals inadvertently.

"The Next One" is a power ballad partly about a desire to escape the nightmare of life's addictions (drugs, alcohol) and the false hope that someone else will turn one's ship around: "I'd do anything to get you out of here / stained in chemicals / soaked in mother's tears / faceless criminals are puncturing your skin / life is pouring out / but love is rushing in."

Perhaps the prettiest track here is the Beatle-esque "Sasha," in which a friend offers consolation and advice to one who runs away from the people who love her: "No one's perfect / don't you know that this is part of the design / close your eyes and try to remember that everything will be alright." Matt Huseman dishes up emotive vocals to pop perfection, and a home tape recording "demo" serves as poignant coda.

There's not a weak track among the ten. Everybody's favorite state is the target of "California," portrayed here as the last mindless stop, a host of natural disasters waiting to happen (fires in the San Fernando Valley, tremors in San Francisco, etc.) - "Now you're over, done, you're undermined / last cigarette on the firing line / you're into the blue / you're out of mind / now we have California." Check out the fine harmonies (Splitsville always makes it sound easy), the great leads and the excellent middle bridge. This is power pop at its rocking best.

As these guys mature, there's a greater complexity in much of the songwriting and arrangements. That's evident here even on a somewhat somber adult ballad. "The Mentalist" features a narrator dissatisfied with life, used and not trusting, uncomfortable in his own skin and wanting a second chance on life ("blissfully ignorant and easily satisfied"), who comes to the ultimate realization that "it's hard to be the strong one."

Those aching for the post-punk fun of those early Splitsville releases will find comfort in "Trouble." It's the tale of the opinionated and wrong-headed Cathy (who espouses nothing but trouble). Here again the fine skills of the rhythm section are in evidence, from Paul Krysiak's limber and smooth bass lines (and lead), to Brandt Huseman's drumming.

The CD closes with a quiet relationship song that manages to transcend the usual. "I Wish I Never Met You" deals with the situation of the friend who wishes he was more than that, and does so admirably well. Here are some of the wonderful lyrics: "You never show me the poetry you keep under your bed / the sentimental stories and bitter words you wish you might have said / that crawl up through the top sheet and penetrate my sweet dreams 'til I'm the one that can't sleep."

As a full-fledged quartet who tour regularly, Splitsville is a tight band that isn't afraid to flaunt their musical skills to great advantage. That they manage to do so with such a level of consistently fine songcraft is the real wonder. Then again, perhaps the biggest mysteries are why they're not better known, their music not wildly popular.

This superb album is extremely well put-together. Incorporated is the product of a mature confidence that's been earned over the years. It not only is a fine addition to Splitsville's past canon, it raises the musical bar even higher and ultimately leaves you wanting more.

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Honeydogs
10,000 Years

(United Musicans)

Release Date: March 9, 2004

www.unitedmusicians.com

"And lo, unto you a new savior is concocted."

Forget all you know about The Honeydogs. Forget that they're popular in their hometown Minneapolis, or the fact that they're critics' darlings, or even that they were dropped unceremoniously from their label following a merger (2000's Here's Luck had been recorded years before it came to market on the tiny Palm Records division of Ryko). There is nothing that came before to prepare you for the tour-de-force that is 10,000 Years. I'm not kidding - this is a quantum leap ahead and, dare I say it, an "important" album.

In the world of rock, it's a rare CD that marries intelligence, melody and vision together in one most ambitious effort, but this is that and then some. In a recent Entertainment Weekly, Aimee Mann listed it as one of the twelve CDs you absolutely must own. I was skeptical - thinking perhaps she merely was touting it as a smart businesswoman (it's being distributed on her and husband Michael Penn's United Musicians label). But I stand corrected - for sheer quality alone, it belongs on such a list.

It's a futuristic rock opera that trades on harrowing visions not so terribly removed from today's headlines or those of the Second World War. And that's what makes it so very powerful - that bleak future is now.

Adam Levy, the creative force behind the project, has a keen understanding of the kind of horrors out there. See, he's more than a rocker. His "other" day job is that of social worker, working for a nonprofit service dealing with inner city kids (the Alvin Carter mural from the building where he works graces the CD's cover art). He's also a family man and father of three. In 1999, he set out trying to write songs based on his work experiences.

You also should know that Adam was a cultural anthropology major at the University of Minnesota, and that he's been studying the Holocaust singe age 12. Two Holocaust-themed books - "Hitler's Willing Executioners" and the fiction "Last of the Just" - were particularly influential, as these were read by Levy just before he began writing these songs.

From his work experiences and his readings grew the concept that eventually became the futuristic tale of 10,000 Years. Strangely enough, changes wrought in the world since then make the arrival of this nightmare vision in 2004 ever more poignant. September 11th hadn't occurred yet (though the band started recording these songs just a few weeks following that).

Coming up with a succinct synopsis of the plot line of 10,000 Yearsis almost impossible (I'm not sure I could do it). Levy puts it this way:

"Test-tube kid is born. He's stolen by a woman clairvoyant who understands his life has some kind of martyred purpose. She raises him under horrible circumstances, and the kid is influenced by all the bad stuff around him. He becomes a small-time criminal, is sent to jail, has no remorse or sense of history. But then he has a near-death experience, and then a conversion experience. He realizes he has to connect himself to a higher purpose.

At the time he's having these experiences, the world is undergoing an apocalyptic war led by this Brother 33 character, who is sticking his fingers into ethnic conflicts around the world. So Vadikyn (the test-tube guy) goes off to war, becomes a war hero, and then his genetic background is revealed to him. He realizes he is made of some sort of engineered perfection, and if he donates his body to science, the world will basically be perfect."

Even Levy admits that it's easier to play the album for people than to explain it. The themes here are stark and often desolate: genocide, crime, the blood lust of war and the various forms evil takes in this modern world. Yet understanding the story is not essential. Even without the narrative and concept, the songs are beautiful and can stand proudly on their own (certainly not always the case with other so-called "rock opera" concept albums).

Producer John Fields (who also performed on keyboards and did programming here) lent out his studio to the Honeydogs as a labor of love. "It's one of the best albums I've ever worked on," he said.

The idea was to give each song its own unique sound, and that's part of the achievement. There's a fairly wide array of sounds and styles here, from 1960s-ish Beatle-esque pop to jazz influences to music that finds reference in other eras entirely.

The Honeydogs are Adam Levy (vocals, guitars, keyboards), Jeff Victor (pianos, keyboards), Noah Levy (drums, percussion), Brian Halverson (electric and acoustic guitars) and Trent Norton (bass). Joining them are plenty of notable others, including Michael Penn, Andy Sturmer (Jellyfish) and Phil Solem (The Rembrandts).

"Dead Stars" opens the CD, a piano-driven song that seems almost Harry Nilsson influenced, musically. It's chock full of lyrical story information, yet only goes a few minutes.

"Test Tube Kid" sets up a musical theme that returns later in the album, one that recalls the later-era Beatles. This is a song of alienation - of feeling oddly out of place and asking for help: "We work twice as hard to get half as much. / Eternally in debt / Anyplace but here, anytime but now, anything but this / Any ideas?"

A sure-fire favorite is the infectious funk of "Poor Little Sugar." Musically, it hearkens back to Traffic circa *The Low Spark of High-Heeled Boys* or Steely Dan, while Jeff Victor tinkles the ivories with his best Ramsey Lewis' "in-crowd" rifts. Here, Levy takes stories from his juvenile offenders and turns them into sweet art - this is an apology to the innocent youth exposed to far too much: "Poor little sugar you've seen too much / you've seen too much too young / poor little sugar, sorry that we gave you this world / poor little sugar - you've got to make the best of what you've got."

So many of these songs are wonderful even taken out of context. The bluesy soul of "Panhandler's Serenade" is the story of the street operator and his simple life, feeling unstoppable and good, tambourine in his pocket, selling bags, yet losing friends in the process ("another friend with a toe tag").

"The Rake's Progress" is another incredible song, both musically and lyrically. Exposed to violence and crime, our hero has changed from a dear sweet boy into something quite different (because "you can't punk me for too long"). This tight little rock number features some exquisite electric harpsichord work from Peter J. Sands.

A soft and touching ballad, "Damascus Way" builds slowly, the confessions of a Bad Samaritan getting pleasure doing wrong: "You never lose the stains circling the darin / Turn back pages torn and fade away / Nothing more. / My green turns to brown in my salad days / Yearning is worse than drowning." The opening guitar and the closing piano are particularly beautiful.

Adam Levy brings out the sitar to achieve the Middle Eastern flavors of the short "Hygiene," a damning and frightening list of reasons people go to war.

The title track is another intelligent rock song. As the evil Brother 33 begins to take down the world, there's a popular rush for people to join up in a war against him: "They're melting their toys down for the war effort / All the kids are standing in line to enlist / Can we please say goodnight to the last 10,000 years? / Can you hear the cold blowing down hell's door? / Can we please say goodnight to the last 10,000 years? / Please wake me up when it's over."

A piano-driven spare ballad exposing the true horrors of war, "Ms. Anne Thrope" is a letter home you won't soon forget: "The wounded bleed / the dying moan / we find it hard to believe in anything / 3 weeks in the trench / freezing / bodies everywhere."

The song that speaks directly to the atrocities of the Holocaust is "Were The Heavens Standing Blindly?" Of course, Levy creates an upbeat tune (with banjo and plenty of keyboards) that could be from an earlier era to accompany this questioning of heartless human behavior: "How could a conscience so deny it? / Was it a pillow or a cage? / And were the heavens standing blindly or were they watching filled with rage? / The arc is long but our memories short / Judgment day seems so far away."

The electric harpsichord returns to helm the start of "Last War Lullaby." This long song (over eight minutes) relates the war's progress and is almost several mini-songs gathered into one. There are various musical segue ways and shifts (including a return to earlier musical themes), and lyrics that are clever and alarming with interesting war references (e.g., WWII's Killroy has become Killjoy).

It's a disturbing picture: "The road to Kara Kum was clogged with ragged children / Their parents gone, the troops had killed them / Vacant stares, hollowed cheeks, swollen bellies / The black angel bread lines and land mines to guide them / Holy refuge violated / There's a blood lust never sated / Who'd think that letting them play in the field would leave them with wooden legs?"

"Before The Fall" is a simple tune examining the empty promises and missed opportunities of what was once and what again might be. It's the sad meaningless of it all that comes across here: "A month in the life of no one in particular / A scratch on the earth before we disappear / Opportunity knocked but you weren't listening / Knowledge still corrupts."

A Latin flair graces the guitar strains of the upbeat closer "23rd Chromosome." This is a happy ending complete with movie rights sold to charity. Science advances with new solutions and plot points are tied up: "They found evil's home - the 23rd chromosome / Murder, famine, love and hate - the side effects of fate." Andra Suchy provides some lovely backing vocals.

While the story might be confusing to some, if you don't understand it here, there will be a movie version too (being put together by Adam Levy and producer Rick Fuller).

This originally was going to be released as a solo project from Adam Levy. However, when Norah Jones collaborator Adam Levy released an album of rootsy guitar pop, Adam decided to eliminate the confusion and make it a band effort.

Either way, it's quite a stellar accomplishment - certainly the highlight of his career to date. By filtering his work experiences and knowledge into this important and impressive music, Adam Levy has done himself proud. He's created something compelling that strives to be more than a mere collection of catchy tunes.

10,000 Years is connected to a world that's often bleak and unforgiving, an intelligent and thought-provoking saga that is laden with quality music and meaning and purpose. The strength of the music makes all that meaning go down easily - a wondrous and passionate achievement and one that should reverberate for years to come.

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Edward Rogers
Sunday Fables

(Not Lame Records)

Release Date: January 27, 2004

www.notlame.com

Edward Rogers is known to most on the New York scene as the producer of "The Beat Goes On" series at the legendary Bottom Line, or as a featured performer and musical advisor at many of the popular "Losers' Lounge" tribute shows. Those with longer memories might recall him as a founding member of Primrose Hill or the pop combo Green Rooftops.

What most people don't recall is the horrible accident he had over fifteen years ago. That October morning he was headed to work on the subway, but not feeling well. He got up to open the door that separates the train cars, trying to get some air. That's all he remembers. Four days later, he woke up at Bellevue hospital to learn he had lost his right arm and leg.

Most people might let such an accident decimate them. Not Edward Rogers. In testament to the strength of his spirit, he was able to walk and was back at work within six months. His rationale: life is too good not to go on.

Thank goodness he persevered. Because the determined Edward Rogers has taken his talents and, along with the help of veteran singer/songwriter George Usher, created a solid debut album that's chock full of light and warmth and classical pop/rock traditions.

Sunday Fables reflects Rogers' British roots and then some. Raised on the great pop music of the '60s and '70s, Rogers and Usher collaborate to give you songs that reflect diverse musical tastes in variants of the jangle pop idiom.

The talented band is comprised of Rogers and Usher, joined by Guy Finley, Doug Larcey, Claudia Chopek and Mark Sidgwick. On most tracks, Rogers' vocals are backed by Usher's harmonies and the play between the two voices is quite good. Also making guest appearances are Jane Scarpantoni (cello) and fellow Losers'Lounge compatriot Joe McGinty (piano).

The CD gets off to a pleasant start with the mid-tempo "Who Knew The World Would End?" examining the unique situation of a world that ends before a relationship, and features The Church's Marty Willson-Piper on lead guitar.

"It Was Love (So It Couldn't Last)" is yet another catchy song, with easy harmonies and some impressive bass lines as well as the hook of the music echoing verse phrases. Like many of the songs here, this one's a reflection back on a past relationship - one that had it all but didn't last.

The prettiest song here is the elegant "Germantown," again translating simple reflections on times and places of long ago into memorable music (sounds like it could easily fit into the exquisite George Usher Group release from 2000 Days of Plenty). While the name of the town itself isn't a particularly graceful one, the kind memories that surround it here (as well as the piano and strings) couldn't be sweeter or more poignant: "Some are born to live their lives forever running 'round / Others find a way to make it home / We believed in everything we had in Germantown / Everybody needs an answer."

A close second on the "sweetness" meter is the gentle ballad closer "Rain Becomes Her."

Again, soft guitars and lovely string arrangements combine with Rogers' pleasing vocals to convey the haunting wistful poetic lyrics: "Where's my rainbow, where did love go / She walks between the raindrops and hasn't time for tears / She looks back once to see my face before she disappears / We will never be together / but will she ever know / rain becomes her so."

"Crushed By The Inside" sounds to me like a distant musical cousin of Martin Newell's "Before The Hurricane" (not a bad thing at all). Rogers' plaintive vocal prowess is on display as he sings of falling apart, a life of fear and emptiness: "I'm crushed on the inside / Exposed on the outside / lost forever, begging please / I'm down on my knees." There's a bravado to the drums and the arrangement that propels the song forward and gives it true presence.

Jangle fans will go gaga over the Rickenbacker-laden "In The Garden of Who You Were." Here Rogers taps George Usher at his classical Byrds-like best. This upbeat ditty is couched in layers of guitars, while Rogers sings all about wasted time spent pondering "what-could-have-beens," rather than living in the world. This is perfect jangle pop, clocking in at under three minutes, full of light and infectious good cheer.

Edward Rogers was responsible for the triumphant return to New York of The Zombies' lead singer Colin Blunstone, producing a series of sold-out shows. Here, Colin returns the favor, as he and fellow Zombie Rod Argent contribute guest vocals on the wonderfully moody ballad "Make It Go Away," an emotional entreaty to be "the one" -- friend, trusted confidante and healer.

One my favorites here is "Innocent Times" - a fond backwards glance at more innocent times and first love. It features a great rhythm-driven arrangement of what is one very catchy tune with a winning chorus. Joshua Tyler has done a fine job of keeping the production warm and instantly accessible.

The string interlude that is the title track "Sunday Fables" is short, sweet and memorable.

Somewhere between Santa Claus and God, the "Laughing Ghost" is a presence that sees all and knows all - including secrets and other indiscretions. In this enjoyable song we find out more: "The laughing ghost sees a lover's hands all over you and understands / the missing ring and why it's gone / where it is and what went wrong / When words became an empty toast / no one knows except the laughing ghost."

The harder-edged "Mercury Wheel" manages effectively to blend spoken verses along with those sung to achieve a sort of rocking toughness (check out the fine percussion accents). This is an attitude song, about going along in life not fretting much about eventual consequences: "I'm not gonna worry when the story ends / And the hanging judge cries 'Guilty!'/ along with twelve of my best friends / I'm not mad, but maybe I will be / Well, if it's gotta be that way / I'll roll on a mercury wheel / wherever it takes me, whatever they say."

"Building Winter" lets guitarist Doug Larcey loose a bit, and is another pleasant mid-tempo pop/rocker that could hide comfortably on a George Usher Group release. "All Your Kingdom" is another guitar-driven song, this one with more of a psychedelic flair to it (thanks in part to Marty Willson-Piper's contributed lead and some great vocal harmonies at song's end). This upbeat song of defiance is all about the control behind the games of love.

The variety of songs and the musical execution here are impressive. Rogers has a voice that sounds at ease fronting the various moods of the songs presented. *Sunday Fables* is an ambitious and impressive debut from a talented man whose strong spirit is to be admired. The pairing of George Usher and Edward Rogers makes for a sublime collection of pleasant, well-constructed tunes that reflect the pair's combined rock knowledge, from jangle pop to baroque string ballads. While some collaborations work better than others, this one works exquisitely well. The ultimate proof is in the music - give Sunday Fables a listen and hear for yourself.

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