a roundup of local releases 

‘Abandoned Christmas Trees’
by Guy Capecelatro III

Guy Capecelatro III is as much a storyteller and poet as he is a singer-songwriter. From the opening narrative of “Abandoned Christmas Trees,” in which he describes a girl named Christina knitting a scarf while riding on a train, the album stews with nostalgia, longing and poetic contemplation. Capecelatro cast his net across the Seacoast to pull in a huge range of singers and instrumentalists, each of whom becomes another character in the album’s set of musical short stories.

Many of the songs are endowed with the type of sulking melancholy that characterizes much of the Seacoast’s modern folk scene. But Capecelatro inserts enough musical variety to keep the disc thoroughly engaging throughout all 16 of its tracks, balancing slower tunes with upbeat numbers and indie rock sounds.
The lyrical content also varies widely, with peaceful sentiments counterbalanced by morose and sometimes violent imagery. “You didn’t seem to bother / when I hit your father / I think you’d have to admit / that he deserved it,” Capecelatro sings in “So Fine.”

Contributing to the album’s strength is its instrumental diversity. Each song features a different lineup, with Capecelatro serving as the only constant. The full cast of musicians is too lengthy to list, but a few notable contributions come from Mara Flynn on vocals, Nate Groth on vibes, Juliet Nelson on cello, Nat Baldwin on bass and Gregg Porter on drums. Capecelatro’s former Unbunny band mate Jarid del Deo makes a guest appearance on guitar, and there’s even some eerie saw playing by Shon Mahoney on the closing track, “Say Goodnight.”

“Abandoned Christmas Trees” was recorded at Imaginary Cat by Marc McElroy, who also plays several instruments on the disc. Capecelatro will play an official CD release show at The Red Door in Portsmouth on Monday, Sept. 29. Visit www.myspace.com/twotonsanta.

‘Don’t Think Too Much’
by Lonesome State

Zach Tremblay was only 19 when his band’s debut disc emerged this summer, but several veterans of the Seacoast music scene helped him put the album together. “Don’t Think Too Much” was recorded, mixed, engineered and co-produced by singer-songwriter Jon Nolan for his label, Milltown Records. Nolan also plays bass, pedal steel and electric guitar on the disc, while local folk legend Dan Blakeslee contributes drums, guitar, accordion and backup vocals. Seth Gooby, who comprises half of Breakfast Song, adds ukulele and more backing vocals.

Despite the all-star entourage, Tremblay is unquestionably the heart and core of this album. His anguished, quavering vocals set a somber but tranquil mood that prevails throughout the disc’s 38 minutes. Tremblay wrote all 10 original songs and plays guitar, bass and tremolo, while Isis Alis adds keys and backup vocals.
Now composed of Tremblay, drummer Alex Decato and guitarist/keyboardist Blake Seale, Lonesome State represents a new generation of Seacoast indie folk musicians that simultaneously honors past traditions and glares into the future. Influences like Elliott Smith, Bright Eyes and Daniel Johnston are easily audible in the style, yet the band maintains a firm level of freshness and individuality.

Most of the songs are slow and rich with emotion, although a couple of tracks, most notably “Ruby,” accelerate the pace a bit. Tremblay’s lyrics are sad and wistful, threaded with themes of broken love and lonesome travels that reflect his precocious despondence.  

“Well darlin’ I’m tired of living this way / Spent my money on liquor just as cheap as my days / And when I grow old and my mind starts to fade what will I have?” Tremblay sings in “Trip on the Road.”

Lonesome State has an upcoming gig at Flatbread Company in Portsmouth on Monday, Sept. 15 at 8 p.m. Visit www.myspace.com/lonesomestate.

‘Novakium’
by Mike Novak

“Novakium” is guitarist and singer Mike Novak’s second full-length studio release, following 2005’s “Novakaine.” The self-indulgently titled disc is filled with 53 minutes of acoustic folk-rock that seems appropriate for beachside campfires on summer evenings. Novak’s 11 original songs are stripped down mainly to acoustic guitar, bass and hand drums, infused with bits of blues and reggae that echo influences like Blind Melon and Ben Harper. 

The CD opens with a compelling guitar riff and bongo beat on “Light,” which introduces the basic style that prevails throughout the album. “Get out of my way, get out of my light,” Novak repeats in the chorus. His vocal inflections sound a little forced, and it takes a while for his quirky voice to grow on you (if it grows on you at all), occasionally reaching a Billy Corgan-esque pitch. 

Each song is rooted around Novak’s guitar progressions, which are mainly simple and lighthearted. It comes as a surprise when electric guitar enters the mix on “The End,” adding some welcome sonic variation. The mood takes a turn on “Last Train,” which stands as the album’s most stirring track. “Shyah” features backup howling from the dog after which it was named, much like Pink Floyd’s “Seamus.”

Novak came to the Seacoast to study oceanography at the University of New Hampshire and has since played at numerous local venues. He has also hosted a radio show on WUNH, as well as an open mike at Murphy’s Tin Palace in Durham.

Novak’s casual style may translate better to intimate live performances than studio recordings. But the new CD makes for a relaxing late-summer listen. The disc was recorded in Portsmouth and mastered by guitarist Bob Beal. Novak played a CD release show late last month at The Press Room in Portsmouth. Visit www.stargeza.com.

‘Relentless’
by Skee

Skee is Aaron Ward, a Seacoast resident trying to expand the local hip-hop scene currently headlined by The Press Project. And he’s got a shot. “Relentless” is Skee’s second full-lengh album, following 2005’s “Fine Line.” Passionate from start to finish, the disc shows considerable promise.

Rather than employing a full instrumental band like The Press, Skee relies on beats deftly manufactured by producer Scott Maclin, a.k.a. Maclinear. The resulting sound harkens back to the early days of hip-hop while maintaining a fresh edge. The album begins with Skee describing his intense approach to music.

“You gotta attack it until you feel you’re getting close to accomplishing what you set out to do,” he says. “I mean, you gotta be flat out relentless.”

The spoken delivery of these opening words seems a little contrived, almost like a parody of an aspiring rapper. But the 14 songs that follow legitimize Skee’s efforts. The beats, often employing piano melodies, are inventive and ambient, and Skee’s lyrics are thoughtful and well-delivered.

Skee explains his purpose for writing rhymes in “Certain Sound.” In addition to relieving stress and thrilling listeners, Skee says he raps to take his mind off the world’s endless troubles, from the war in Iraq to animal abuse and homeless children.

“It’s all about how we use it, that’s what makes music / That’s what we’re here to provide, get used to it,” he raps.

Skee’s influences consist of an array of big names in modern hip-hop, including everyone from Jay-Z, Nas and early Snoop Dogg to The Roots, Jurassic 5 and Talib Kweli. “Relentless’ includes guest appearances from several other up-and-coming MCs, including N.O.P., B.L.O. and D’cyple. Lauren Whitehouse also contributes vocals on “All I Can Be.”

Produced and mixed by Maclinear, “Relentless” is available at Bull Moose Music. Visit www.myspace.com/skeebone.