a roundup of the most recent local releases

‘Sunlight in Architecture’
by Sunlight in Architecture

The project hatched in 2005, when singer-songwriter Garrett Soucy began filtering his minimal indie folk tunes through the practiced ear of producer Andrew Luckless. For over a decade, Soucy has served as front man for Maine-based band Tree by Leaf, and he brings a similar style to Sunlight in Architecture’s self-titled debut. Luckless, himself a singer-songwriter best known for his 1999 album, “Laundryfish,” fine-tunes the sound, and the two combine for a refreshingly original and stimulating disc.

Released earlier this year under Tree by Leaf’s host label, Long Ago Light, “Sunlight in Architecture” is an album worthy of repeated listens. Soucy’s songwriting blends equal shares of thoughtful lyrics and creative instrumentation that make each track equally delightful. No two songs sound exactly alike, and yet there is a cohesive feeling that runs through all 10 chapters of the album. Although the words are not always bright and cheery, a line from the second track, “Overstate the Obvious,” essentially sums up the overarching mood: “I’m not stoned, I swear to God, I’m just high on life,” Soucy moans in a voice vaguely reminiscent of Bright Eyes’ front man Conor Oberst.

The album is filled with shades of bluegrass, folk, emo and Americana. A highlight comes late in the disc with “Branching From the Stalk.” The bluegrassy tune jangles along with heartfelt harmony decorated by screechy noises—either human or animal—that somehow both contradict and complement the melody. Visit www.sunlightinarchitecture.com or www.myspace.com/sunlightinarchitecture.

‘Roller Derby Girls’
by Meantone

“They come at you, full speed ahead, faster than a bullet, heavier than lead,” Meantone growls in the title track of “Roller Derby Girls.” The Portland, Maine-based band’s latest album comes at you that way, too. An ode to the burly, female roller derby teams of Maine, the album consists of five simplistic heavy metal-rockabilly tunes composed of guitar, drums and fearsome vocals.

Meantone is a mysterious singer and guitarist who claims to be the bastard child of Houndog Taylor and Black Sabbath. He plays a fretless guitar and is known for appearing onstage in a creepy black gasmask. His lone band mate, Young Brett, who typically dons a trademark cowboy shirt and hat, pounds along to each dark anthem as Meantone relates tales of roller derby stars like Punchy and Roxxy. 

Alright, so the disc is a little sloppy. Singing on key is not Meantone’s specialty, and the songs sound like they were thrown together pretty hastily. And the lyrics, although somewhat amusing, aren’t particularly clever. Much like the athletes Meantone sings about, the songs on this album are cut, bruised and battered. But that may be just how Meantone likes it. At least the songs are short.

Recorded at Tunetown Studios in Wells and self-released this year, “Roller Derby Girls” is Meantone’s second album. The disc’s total running time is less than 16 minutes, ending with a solo slide guitar performance that reflects Meantone’s infatuation with the grittiest of blues. The album’s merits are few, but it’s a fun listen if you can spare the 15 minutes. Visit www.myspace.com/meantone.

‘Another Life’
by Doug Wynne

Always be wary of CDs that feature pictures of the artist on both the front and rear sleeves. The cover of Doug Wynne’s latest disc shows a close-up of the Newburyport, Mass. singer-songwriter’s face, and the back shows him sitting barefoot in front of some kind of temple or church. But all the self-attention may be fitting, considering that Wynne wrote, performed and produced all 11 songs on the album.

“I’m doing this for me / and I’m not keeping score / and maybe I can be / who I was before,” Wynne sings in the album’s second track, “Break My Cage.”

Independently released late last year, “Another Life” is a rock album rife with spiritual undercurrents. Wynne, who sings and plays guitar, bass and keyboard, writes lyrics that are rich with poetic musings. His voice is somewhat shaky but fairly versatile, and the instrumental accompaniment is well-executed throughout.

A graduate of Berklee College of Music in Boston, Wynne claims The Beatles, Pink Floyd, Sting, Peter Gabriel and Radiohead among his influences. On his Web site, he describes his style as psychedelic acoustic rock. But his music isn’t quite as progressive as that of his influences. It is, however, filled with subtle religious and spiritual references that distinguish it from standard classic rock, clearly reflecting his travel experiences in India.

Recorded, mixed and mastered at The Black Lab in Salisbury, “Another Life” features skilled performances by a number of guest instrumentalists.

Visit www.dougwynne.com or www.myspace.com/dougwynne.


‘Such Unrest’
by Gregg Porter

Gregg Porter is well known in music circles around the Seacoast for his drumming stints with The Hotel Alexis, Tigersaw, Unbunny and Milkweed. But, with the recent release of his latest project, “Final EP,” Porter steps out from behind his drum set and takes center stage. Released in limited supply by local label Broken Sparrow Records, the album showcases Porter on vocals, guitar, banjo, piano and bass drum.

Porter’s participation in other area bands earned him an all-star cast on his solo debut, including Jason Anderson, Nat Baldwin, Jarid Del Deo, Nate Groth, Juliet Nelson, Djim Reynolds, Brian Michael Roff and Marika Shimkus. Although Porter wrote all six songs on the album, much credit goes to the guest instrumentalists for keeping this disc interesting.

On the album’s second track, Porter begins by singing the type of morose lyrics that characterize the entire disc. “Well the way you’re always grinning, it’s enough to drive a man to drink,” he begins in his distinctive country voice. About 90 seconds into the song, a collection of instruments gently sail into the mix, like tall ships approaching a port.

Soothing as the instruments are, Porter’s songs are about as slow and glum as you can imagine, and he never really breaks from a pattern of slowcore gloom. The album comes in at just under 20 minutes, which may be a good thing, as anything longer might sink listeners into a lasting depression. But, in small doses, the album’s melodic quality and instrumental majesty make it soft and soothing to the ear.