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Written by Tim Deal
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Wednesday, 01 February 2006 |
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Bands like The Bleedin’ Bleedins will spell the death knell for the
bloated emo/screamo scene. With their debut CD, “Life Without
Computers,” The Bleedin’ Bleedins demonstrate that fast-paced alt-pop
needn’t rely on wailing adolescent vocals nor hackneyed overdriven
chord progressions in order to set pulses racing.Instead, the
Boston-based trio call upon the ghosts of indie rock past to construct
an array of textural and dynamic compositions that demonstrate an
understated confidence and maturity. This does not mean, however, that
“Life Without Computers” is your dad’s adult contemporary fare. It
means that The Bleedin’ Bleedins deliver rock songs purposefully,
directly and with authority.
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Written by Cliff Murphy
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Wednesday, 18 January 2006 |
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In mid-coast Maine, there is an intertwining of beauty and melancholy
strong enough to stun any who travel through its tiny towns in the dead
of winter. In places like Belfast, emptied of the summertime traveling
public, there is a feeling of being pushed by the forest up against the
enormity of the Atlantic Ocean. It is this emotional landscape that
emerges from the words and music of Belfast, Maine’s native sons, Tree
By Leaf.
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Written by Alan Chase
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Wednesday, 11 January 2006 |
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Bob Halperin knows the blues. A remarkably fluent guitarist and singer,
Halperin is a disciple of the pure blues tradition. And as the title of
this superb CD suggests, Halperin enjoys exploring the varied styles
within this rich tradition.
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Written by Chris Greiner
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Wednesday, 14 September 2005 |
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After an enviable thirteen years of music making, there’s no denying
that local roots-rock quintet Pondering Judd is well into the band
equivalent of middle age. Yet their recently released fifth album bears
no indication that the group is suffering from the stereotypical
mid-life crisis. To the contrary, “Lonesome Heart Strangers” is by and
large a mature, reserved effort, reflecting a band that is
wholeheartedly embracing this phase of life.
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Written by Matt Kanner
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Wednesday, 07 September 2005 |
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It begins with a stalking, bow-driven bass line. Twenty seconds later, a haunting vocal jumps into its midst. The voice, somewhere between Roy Orbison and Thom Yorke, sets the mood that will prevail throughout the remainder of the CD. The listener is cast into a somewhat dark, extraordinarily tense, acutely dramatic fray of introspection. At this point, it’s best to turn out the lights.
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