CATCH THE WORMTOWN WAVE: PHIL REVIEWS THE LATEST CDS BY MEDINA SOD, NUCLEUS, PROGMATIC AND SHADOWS FALL

The wave is coming all right. It’s a multicolored multifaceted, multicolored wave of bands from all genera’s, outlooks, and locations that understand one truism. Whether they’re offbeat art pop rockers from Boston, up an coming lyrical hip hoppers or modern rockers from the middle of nowhere in Connecticut, or western Mass. heavy metal titans putting out their first record on Led Zeppelin’s old record label they all understand that playing a live show here in the almighty Worm is … no worse than playing a show in any other mid-sized city in New England. In fact sometimes it’s even better and a lot more fun. It’s like music fans here in the Worm actually care about the music as they do about drinking beer (and believe you me, they sure do care about drinkin’ that beer, especially in the middle of June). Bands from everywhere else seem to appreciate the Worm more than we natives do most of the time. I’m not making this up. Just ask one of them sometime. – Phil McNamara

MEDINA SOD – “TRACE BACK THE LINES” (Self Released; Produced by Medina Sod; Engineered by Medina Sod at New Hampster Studios in New Hampshire and by Mike Caglianone at 7A West Studios, Mass.; Mastered by Jeff Lipton and Jessica Thompson at Peerless Mastering Cambridge, MA)

Have I ever mentioned that aside from having written almost 200 CD reviews, I’ve also promoted about 200 rock shows, featuring around 400 different bands? Well if I haven’t, I’m telling you know. You might understand if I have trouble remembering a band, especially if it’s one that hasn’t given me a CD since, say the summer of 2004. I mean that was three years ago and I’ve literally written 80 CD reviews since then. I remember Medina Sod all right. They were quirky but catchy. For all of their Beatlesque qualities they reminded me of a poppier version of Phish, not because they jam (which they do some), but because they write songs that are as quirky. They’re less Dave Matthews more They Might Be Giants. They kick of Trace… with Queen like grandiosity on “The Devil.” Actually it’s more like Queen if one of the They Might Be Giants guys sang for them.

On “Calvary” Medina Sod heads in an alt-country direction with Phish like vocals and guitar work. It’s got a big dramatic chorus that wouldn’t be out of place in a Phish song either. “Tecumseh starts with a cool bass solo and little guitar bursts and becomes a quirky Phish like sing along. The opening riff in “Wrecking Ball” bears some weird resemblance to a Counting Crows tune. Though the vocals could be compared to Phish, Jerry Garcia’s phlanged out vocals from the early 70s Grateful Dead come to mind. It’s got the most rockin’ groove on the record and is easily the radio hit. They’re singing about astronomy, physics, mechanics, and mathematics on “Galileo.” Nerd alert … nerds. Does the fact that I want to sing along make me a nerd too? “Being a Dog” might just be my favorite cut off the disc. In a whimsical countrified style Medina Sod sing, “Being a dog, standing on four legs, wagging your tail, lickin’ your paws.
Being a dog, standing on four legs, chasing your tail, licking your balls.”

It’s cute, catchy, and anthemic enough to make we want to hold up my lighter and sway along. “Make Me Fine” starts out with a countrified guitar part, while those Phish like harmonies emerge once again. “Sven” doubles as the title cut. In this short song the singer sings about going back to the house where they grew up. By the end he wants to burn the house down, which is why I don’t recommend going home again. “Waste of Time” starts with a dramatic Yes like psychedelic jam. There are four different vocalists in the band and each is pretty distinctive. On this song the vocals are nothing like any of the rest of the disc.

Medina Sod finishes up the disc with the closest thing to a Wilco tune, “The Highlight.” They even name check the band as they start the song off singing:

“I saw Jeff Tweedy walking down the sidewalk last Saturday.
I was on my way to a fast food frenzy to feed my famished body
It was the highlight of another dull, gray, soggy, wet, lame Saturday”

It’s odd for a band to make their last song the most lyrical one, but it also seems like the best song to end the album with. I’d recommend this disc with the caveat that it’s not for everyone. Even Phishheads might find some of this too weird. There’s no song that’s a slam dunk for a hit song or radio tune, nothing on the disc that makes you say, “That’s the song that’s going to make them famous,” but that doesn’t stop me from liking it.

For more information on Medina Sod, visit http://www.medinasod.com

NUCLEUS – “NUCLEUS” (Rhyme Skeme Productions; Produced, Engineered, Mixed, and Mastered by Ollie Twist at Twistblade Studios (I’m guessing) somewhere in Connecticut)

Sometimes bands hand me or mail me their new CD and say, “Hey Phil, here’s our new CD, check it out” … and sometimes I’m working at my full time job setting up carnival and inflatable rides (check out http://www.brucesmick.com if you want to know what that’s all about) and someone says, “Hey, you look like you appreciate good music.” Now how would they know that? That’s how I got this one. Some guy hands it to me and I say, “Is he local?” He says, “He’s from Vernon.” Vernon, Connecticut...I would have no idea that the town even existed if it weren’t for a Department of Transportation weigh station on Route 84 where I get pulled over and harassed while I’m driving my cube truck a couple of times a year. I don’t hold it against Vernon. I’m sure it’s a nice town, but I’m sure Nucleus would be psyched to play NYC, Boston, or even here in the welcoming Worm because … well I’m pretty sure there’s not any clubs to play in Vernon, even if you’re in a rock band.

As the simple but funky keyboard lines open up “Intro” Nucleus mastermind Ollie Twist let’s us know that “this music is real, not recorded in some million dollar studio.” It doesn’t matter where they made it; it sounds fresh and stands up when you crank it up loud. “Standby” kicks out a head noddin’ old school keyboard / drum groove and orchestration that reminds me of Coolio, which is something I don’t hear a lot of. It’s definitely unique, though overly long by a half-minute or so. The production and rhymes on Secret Art” makes it pretty memorable, though it too suffers from repetition and over lengthiness.

The disc finds its groove by “New Exclusive,” a duet with label mate Castro that starts off with a mellow ‘70s disco feel. Twist and Kastro rap skillfully and seamlessly around each other. “Make It Right” is a beer drinking heavy boasting rap with a whirling guitar lead and shuffling beat in the background that’s pretty catchy. Twist isn’t threatening to make it right with a gun or his fist, just his lyrics, which almost sounds naïve, but refreshing anyway. “War” is a standout for its eerie low tone keyboards that backs Twist’s rap about battling average rappers and haters. On “Not a Test” Twist name checks Wu Tang Clan in a tune with production that’s close to their sound. His flow on this song is unbeatable; he definitely brings his A game, along with shout outs to marijuana. As it turns, it sounds much better after you’ve smoked some. “You’ll See Me” mellows the pace a little, but keeps the clever and catchy rhymes flowing. The combination of his rapping and singing brings a more intelligent Fifty Cent to mind.

The middle of the disc drags a little with “The Massive Climb,” but brings my attention back with “See Me Die.” It kicks off with a unique low tones keyboard jam before Twist shifts into a super fast rap. Nucleus keeps the music unique and the rapping fast on “Born.” “Your Highness” is a neat mix of flamenco guitar and Twist’s breathless sounding rap that sounds so strained, that you’d think that he must be really high. That’s probably the case. That would be a full album right there, but there’s still another five songs on this. On “Central Nervous” Twist turns tough guy, challenging every rapper out there.

The disc heads into the home stretch with “The Nucleus,” where he samples movie soundtrack horns and adds a speedy rap and rockin’ beat to make it the most rock and roll sounding thing on the disc. “One Way Road” pulls out a loopy 70s funk riff while Nucleus keeps it flowing with his raps and the melody of the jam. I like “Upcoming” and “Reclaim,” but 17 songs is a few too many. With a little self-editing Nucleus could really come up with something that’ll hold hip hoppers attention. He’s definitely got potential, but like many hip-hop debuts, he just doesn’t know what to leave in and what to leave out.

(For more information on Nucleus, visit http://www.rhymeskeme.com)

PROGMATIC – “3 SONG DEMO” (Self Released; Recording Info. Unavailable)

What can I tell you about Progmatic? Um, they’re from Connecticut, they have a three song demo CD, and a MySpace page. I decided to find out more on their MySpace page and noticed that, they do play quite a few gigs and they have a bunch of MySpace friends, among them Shinedown, Daughtry, Three Days Grace, and that triumvirate of mediocrity Staind, Nickleback, and Scott Stapp from Creed. Damn, now I wish I hadn’t looked.

I’ll do my best to write and impartial review because you can’t judge a band by their friends, especially MySpace friends. As it turns out the preceding information is not coincidental. They are trying to sound like these bands and nail that sound to a tee. From the opener “Made You Cry” the lead singer has a modern rock soul singer croon. It’s not a stretch to say that he could pull off Brian Ferry’s vocals in Roxy Music songs. It only sounds like Brian Ferry to me because I’m old. I’m old enough that it also sounds like this guy from my preteen years by the name of Barry Manilow. For a modern day reference, their friend Daughtry, though I’m not sure which one of these guys would write, “I made you cry, well this is true love baby”

It’s not like I’m tracking these songs with a stop watch, but I’d like this one better if it were a three minute song instead of the four and change that it runs. “Will She Fly” has a pretty pumped up opening. I can’t help but think of “Eye of the Tiger” from Survivor when I hear it, but that’s because I’m old. I wish it sounded more like that Survivor tune, because the lyrics on this one make Survivor seem pretty damn profound.

I at least have to concede that the band rights some catchy hooks to open every tune, like the rockin’ distorted guitar opening that kicks off “Why I’m Dringing.” It’s too bad it’s not an instrumental, because it’s a pretty serious song about the angers and insecurities that lead to alcoholism. Man, what a wasted title. To name a song that and not make it comical is just wrong. Give that title to Salacious Crumb damnit. They’ll give you a hell of a song. This song is funny, but I’m pretty sure they didn’t intend it to be. Only in Connecticut, actually that’s not true. I’m sure there are a bunch of crappy bands like this in Mass., but some how I manage to avoid them…so far.

(For more information on Progmatic, visit http://www.myspace.com/Progmatic

SHADOWS FALL – THREADS OF LIFE (Atlantic Records; Produced by Nick Rasculinecz; Engineered by Paul Fig at Studio 606 Northridge, California
Mixed by Zeuss at Planet Z Hadley, MA; Mastered by Ted Jensen at Sterling Sound Chelsea, NY)

Though Shadows Fall come from a fast and furious metal scene, they’ve always had a big sound suitable for a big theater or outdoor show, this time around, their sound is gigantic. With the jump to a major label Shadows Fall has managed to make big changes without veering too far form their familiar sound. For starters, the credits on their old CDs used to read Produced, Engineered, Mixed, and Master by Zeuss at Planet Z. This time around they’re getting some big name help in a bigger studio. The opener “Redemption” shows The Shads in top form, with twin blazing guitar solos over machine gun drumming. You hear enough Shadows Fall albums and you start to notice similarities. The opening of “Redemption” roars with fury, but reminds me a bit of “In Effigy” off their last disc. The sung parts remind me a little of “What Drives the Weak” off “The War Within.” Despite the familiarity it’s a good pick to be their radio hit and judging from WAAF and East Coast heavy metal radio it already is.

“Burning the Lives” brings the intensity even further kicking off with a heavy full on frontal guitar assault, breaking down into crushingly heavy riffing mixed with Iron Maiden like soloing. “Storm Winds” keep that intensity going with a hard chugging opening riff. Brian Fair’s trademark howl is still one of the best in the biz, but with each album what really improves is his singing voice. “Storm Winds” is one of his best vocal performances; the right mix of growl and melodicism, similar to, dare I say, Metallica.

Writers have been calling Shadows Fall the new Metallica for half dozen years and now it sounds like that prophecy is starting to come true. I’d kind of prefer it if they were the old Metallica. The Shads slow down to a jazzy tempo to kick off “Failure of the Devout” before a crash of drums and whirling guitars kick the song open, with Fair spitting out lyrics hardcore style. “Venemous” keeps things rolling with a Helmet like mix of hardness, speed, and melody. They break from that style with a chorus of vocals not heard from The Shads before.

By mid-album the band has slowed down to ballad speed for “Another Hero Lost.” Yes, it is a power ballad, but thankfully not derivative of any other act. A few times I ask myself “Is that really Brian Fair singing?” Apparently so. They launch back into hyper drive with the finger picking fury of “Final Call.” “Final Call” has a catchy shout along part where Fair and the gang sing:

“Are we fearful of how dark it’s grown.
The emptiness surrounds.
Will not believe, refuse to think I’m on my own. Who will be cast out, trust in the lies that held you bound?”

If radio programmers can work their way further down this CD this could be another big hit for them. “Dead Uprising” keeps the mood heavy with a furious fist-pumping anthem. Drummer Jason Bitner hammers on his set on this one. As the album start to wind up the band breaks for the acoustic instrumental “The Great Collapse.” “Just Another Nightmare” brings on a Slayer like fury and sounds like it could be an anti-war song, or maybe not as Fair keeps his lyrics cryptic enough so that you don’t know.

They save the fastest and most furious tune “Forevermore” for the end. John Donais and Matt Bachand’s guitars whip out dueling, chugging and soaring speed metal riffs, while Paul Romanko’s fleet finger keep up on bass. Drummer Jason Bitner seals the deal rotating between stop/start and machine gun drumming. It’ll make you start a one-man mosh pit at home, unless you’re listening to it with friends. With this disc Shadows Fall have managed to have it both ways. It’s catchy an accessible enough to help them conquer the country and the world, yet thrashes hard and heavy in a way that lets you know that they haven’t lost a step and won’t be compromising anything anytime soon.

By the way, check out the CD’s artwork from Easthampton’s hardest drinking artist / rockabilly madman Angry Johnny. It’s definitely unique.

(For more information on Shadows Fall and this CD, visit http://www.shadowsfall.com or http://www.atlanticrecords.com)

Coming Next Month - New CDs from Borderland, Carry the Zero, Clear the Way, Gay for Johnny Depp, and Scuba

Hey local bands and frequent visitors. Your buddy Phil is going to have a new address, new phone, and new email address (how much you wanna bet that it’s going to be spaceguy3@ Comcast, verizon, or something like that?), but the MySpace page http://www.myspace.com/philmcnamara is still going to be a place that you can reach your buddy Phil and ask him, “Why do you have to refer to yourself in the third person? That’s vain, or gay, or retarded … or all three.