Culture Queer

· Culture Queer -- Super-Size It Under Pontius Pilate

While on the surface Culture Queer might resemble some sort of art project gone wonderfully wrong, Pontius Pilate, released on local Tokyo Rose Records, shows the ensemble to be a slanted, blissfully dynamic Indie Pop band. The songs on Pilate are a Technicolor exultation of radiant Pop melodies with a sly, sarcastic bent and a musical audacity and adventurousness that most in the genre steer clear of. An amazing accomplishment and an amazing album. (Mike Breen)

· Baoku Moses -- Okodoro Oro

The excellent debut CD from Nigerian-born Cincinnati transplant Baoku Moses was inspired by African music icon Fela Kuti and other AfroBeat artists. Fans of Kuti will be magnetically drawn to Moses' similar vibe, as he effortlessly blends traditional African sounds with Western Jazz and Pop influences. The disc is stunningly accomplished, showing Moses to be a master of his craft despite only first journeying into the world of AfroBeat about seven years ago. Okodoro Oro is a truly remarkable achievement that could and should push Baoku Moses to the upper echelon of his field. (MB)

· The Wolverton Brothers -- A Better Place

The Wols are one of Cincinnati's most enduring groups -- about two decades and still going strong -- and they're certainly one of the more unique and innovative bands ever to call the Queen City home. The group's latest release, A Better Place (only their fourth long-player), is the most experimental and eccentric yet (which is saying a lot), as the group employs a wider variety of tools, getting into warped samples and other electronics. But the band's trademark art-damaged Post Punk is still in play throughout the majority of Place. There's no "blueprint" for the Wols' music -- structures blissfully defy expectation, and sonically the band knows few boundaries. The Wolverton Brothers are the kind of band that should make you proud to be from Cincinnati. (MB)

· Swarthy -- Oh, Yeah

Singer/songwriter Swarthy is fluent in the language of classic Pop music. He virtually speaks in melody and makes the art of creating memorable songs seem effortless. Ensuring the best delivery of his songs, Swarthy's band is remarkably proficient and versatile, providing the perfect backdrop and some amazing harmonies. The first three tracks alone have more searing hooks than many bands find in a lifetime. Swarthy is one of the best songwriters in Cincinnati; with his remarkable band behind him and Oh, Yeah under his belt, he's now bulletproof. (MB)

· Thee Shams -- Please Yourself

Swaggering, swampy Blues rewired with a trippy, basement Rock & Roll aesthetic, Thee Shams' debut for groovy Blues/Rock label Fat Possum Records (home to old-timers like R.L. Burnside and new sensations like The Black Keys) raised the band's national profile tenfold in 2004. Scruffy but impressively proficient, Please Yourself is vintage but vital, bursting with a retro-authenticity but mainly a revelation for its timeless songwriting. (MB)

· Moth -- Drop Deaf

You know my favorite music-industry story these days? They're the ones that feature a great band working their asses off, getting a major label deal, releasing a brilliant big-time debut, getting lost in the shuffle, losing the deal and then coming back to make a stunningly good album on their own. Moth did just that with the teeth-bearing, punkish-Pop explosion, Drop Deaf, an album that -- given their old label's full promotional attention -- would probably go gold. With this effort, Moth is reborn. Frighteningly good Power Pop with attitude and fire to spare. (MB)

Wolverton Brothers

· Ruby Vileos -- This Is the Day

One of Cincinnati's best delivers the goods again on their second release. The opening track, "Squeak," features a soaring Bill Alletzhauser riff and Ali Edward's ever-visceral vocals. Elsewhere, the gorgeous, twangy lilt of "Suite 2402" shows off her ample ability to convey emotion through words, conjuring a deeply personal yet ambiguous tale (all the better to inject yourself into the proceedings) of a mysterious room and its inhabitants. When the narrator tells us she is "step by step, tiptoeing out of the room," we feel as though we're there, tiptoeing right along with her. (Jason Gargano)

· Tristen Shields -- Migrations

This Acoustic/ Electronica artist and poet released his debut disc in '04, a subdued, largely ethereal collection of acoustic songs with a fragile, delicate core and dreamy imagery. While he takes his initial cues from iconic Folk singers like Nick Drake, Bob Dylan and Johnny Cash, Shields' sound is also rooted in British Electronica. On Migrations, he uses technology to his advantage, forging a union between his pastoral poetry and modern break-beat rhythmic approach. (Sean Rhiney)

· Cari Clara -- Miniature American Model Society

Singer/songwriter Eric Diedrichs assembled this album (his second as Cari Clara) in his home studio, which is fitting because it's the distinct loneliness of Society that's so magnetic. There's a palpable, pronounced melancholy to the album's songs, and that's not only a result of the despondent lyrical content. Diedrichs' ability to soundtrack Society's bleak mood with perfectly matched accompaniment is remarkable. Society is not so much "dark" as it is shadowy -- the music, lyrics and melodies play tricks with the light throughout the album. Miniature American Model Society is not merely a collection of songs but a dazzling, cohesive work of art, best taken as a whole. (MB)

· Messerly and Ewing -- Darkness Drops Again

In 2004, Roots duo Messerly and Ewing released Darkness Drops Again, a rollicking, reflective disc that's more Rock-guitar-based than previous efforts (a Who's Who of local lead guitarists guest). Don't worry about cries of "Judas" from the tradition-based Americana community. M&E remain equally true to their own homespun, heartland take on Roots music's earnest themes and colorful storytelling, but they aren't afraid to mix in a dash of Rock excess -- e.g., a big juicy chorus or mini-moog riff -- to make things sonically interesting. (SR)

· Big Joe Duskin -- Big Joe Duskin Jumps Again

Cincinnati Blues legend Big Joe Duskin's new album, released on Memphis label Yellow Dog Records, shows him in great form. Jumps Again, produced by former Cincinnati Enquirer music critic and respected musician in his own right, Larry Nager, teams Duskin with former King Records session players Phillip Paul (drums) and Ed Conley (bass). The disc also features guitar work from Rock legend Peter Frampton and former Cincinnatian/now Memphis-based musician William Lee Ellis, as well as a cameo from amazing local vocalist Shawna Snyder. (MB)

· Jake Speed & the Freddies -- Huzzah!,

There's something instantly grabbing about Jake Speed's clever spin on "old timey" Folk music, which touches on Bluegrass, Ragtime and Blues. By spinning that sound with youthful exuberance and contemporary local landmarks and reference points, Speed's songs seethe intimacy and vitality. Speed and his band are traditionalists, but they have fun within the boundaries they've set for themselves. Huzzah! revisits the vintage melodies and structures that have prevailed on previous albums. But besides the warm, accomplished performances, Speed's thoughtful, charming and often humorous lyrics are plenty enough to keep fans coming back. On Huzzah!, he crafts some of his finest yet. (MB)

· Le TechnoPuss13s -- Ride the Goodtime-A-Tron

The Spectacular Fantastic

Local Electronic duo Le TechnoPuss13s' Goodtime-A-Tron is a colorful, imaginative Neo-Electro tour-de-force, featuring perverted electronics, primitive dance beats and a warped but jubilant sense of humor, which reveals itself not only in the lyrics, but also in the roller-coaster song arrangements. Guitarist/programmer Jamie Thorman creates a fittingly eccentric gush of sound and noise, sounding at times like interplanetary carnival music, with singer Vinnie Williams acting as the wild-eyed barker. Her cocksure speak/sing vocal presence is akin to performance art, resembling Lydia Lunch bum-rushing NYC's Danceteria in the early '80s. (MB)

· Caterpillar Tracks -- Caterpillar Tracks

Collectively, the members of rousing Post Punk quartet Caterpillar Tracks boast an impressive pedigree ranging from Punk Rock to Art Rock. In less than a year, they put together a live set that rivals the intensity of any of their former bands. The band combines razor riffs and transcendent chops with compelling songcraft and an open-ended sense of arrangement. But the character and detail contained on their self-titled debut is so impressive that the progeny is set to outshine the parents. (Ezra Waller)

· Marc Fields -- Salutaris Plates

Jazz trombonist Marc Fields, an adjunct professor at UC's College-Conservatory of Music who has played with greats like Ray Charles and Kenny Garrett, isn't hung up on (Jazz) performance anxiety or trombone history. Neither is he having an instrument identity crisis on Salutaris Plates, his first solo CD as a leader. The album is jammed with jams, hard swinging with exquisite arrangements, heartfelt originals and three well-chosen covers, including Ornette Coleman's sprightly "The Blessing" and Billy Strayhorn's "Lotus Blossom," which Fields elegantly tethers to his "Love Song for Patricia." (Kathy Y. Wilson)

· Heevahava -- all ferhoodled

This trio (since relocated to Virginia) traveled to Chicago to record all ferhoodled with legendary studio engineer Steve Albini. Heevahava's slanted sound is a unique mixture of Country and Folk, dosed with a wild-eyed Post Punk flavor that adds power and punch to their dark, quirky concoction. Delivered in a howling, menacing twang, singer/guitarist Mark Perry's visceral, raw lyrics ramble like a street-corner prophet, without the distraction of total incoherency. If Andy Kaufman, Hank Williams, Salvador Dali, Pere Ubu and Howard Finster were in a bloody, Appalachian bar brawl, this is what their jail house jam session might sound like. (MB)

· Humans Bow Down -- A Mirror

Radiohead's career-spanning range is the easy touchstone for HBD's engaging sound. On A Mirror, the band glides through broad, mysterious dreamscapes that gush from the stream-of-conscious. Dynamics are the crucial element, as the band moves from spacey lushness to full-blown explosiveness, often within the span of a song. Challenging without being impenetrable, there's a strong sense of drama in the band's artistic compositions, but also a refreshing lack of melodrama, which is something many bands treading these waters fail to balance. Humans Bow Down crafted one of the best local discs of the year by creating a Rock & Roll art piece to get lost in, full of emotional crevices and side-swiping melodies that creep up on you like a cold shiver. (MB)

· view-finder -- view-finder

Fronted by singer/guitarist/electronicist Sammy McKee (also known for his work as fotos and with former local label, The Unlike), view-finder's debut disc is an impressive display of vintage Indie Rock, with hints of legends like Built to Spill, Brainiac and Dirty-era Sonic Youth. Built on an auspicious dual guitar swirl, the songs on view-finder are loaded with dynamics that go beyond the usual loud-soft tricks, swelling into that proverbial "Wall of Sound" and twisting with engagingly quirky rhythmic shifts, but also showcasing their ability to capably slip into a more reserved mode when the song calls for it. The songs are memorable, showing McKee's knack for melody amid the music's sometimes frazzled idiosyncrasies. (MB)

· 6 Sigma -- Résumé

Northern Kentucky's 6 Sigma's debut album, Résumé, is thick, brawny and undeniably powerful, burning with an adept aggressiveness, delivered with intent and passion. The robust sound of the album is impressive and, while occasionally overly dramatic, 6 Sigma sells it like they mean it. There aren't a lot of area bands that you instantly think deserve to get serious major label attention, but 6 Sigma's proficient Hard Rock makes them real contenders. 6 Sigma could be coming to a radio near you real soon. (MB)

The High Water Trio

· DW Project -- So Many Dreams (So Little Time)

So Many Dreams is the DW Project's third release and also the latest from leader Dan Walzer's own Essence of Now label. Walzer -- playing percussion, vibes and keyboards on the disc -- once again proves himself an able bandleader, gathering solid musicians from the area, including pianist Erwin Stuckey, bassists Kerry Jordan, Matt Parmenter and Steve Whipple and guitarist Ric Hordinski. The music on Dreams is best called Jazz, but Walzer approaches music with a more fusionary eye, drawing from whatever diverse elements necessary to best serve his instrumental soundscapes. So Many Dreams is like a cool, dynamic mix tape that serves well as background music but, once you pay attention a little closer, reveals itself to be much more. (MB)

· The High Water Trio -- Acoustic Instrumentals

The debut from Cincinnati's The High Water Trio is, indeed, loaded with acoustic instrumentals, but that generic descriptor/album title doesn't hint at the globetrotting adventures this threesome of first-class musicians (who met at UC's College-Conservatory of Music) navigates. With two acoustic guitars and a violin, the trio concocts a full-bodied sound full of mystery and elegance, incorporating elements of Latin, Jazz, Classical, Celtic and other music into their organically textural, meticulously arranged compositions. Boldly effervescent and evocative, the musicians of the HWT say more without words than whole choirs, conjuring mini-sound movies with each cut. (MB)

· Lucky -- Lucky

Lucky Spaulding's Lucky marks the singer/multi-instrumentalist's third independent release since 2000. Lucky feels the closest to his true soul, pimping a slick, liquid brand of R&B and Neo Soul. When the material clicks, Spaulding as Soul stirrer is highly effective, particularly within the layers of spine-tickling background vocals and the minimalist but tastefully assembled musical base provided by the fantastic production (98 Degrees vocalist Justin Jeffre co-produced and also has a role in Spaulding's career management these days). Spaulding comes off like a natural, born-to-be performer and musician and Lucky shows him at the top of his game. (MB)

· Ray's Music Exchange -- Blue in the Face

A constantly evolving cast of musicians has made the shape of Ray's Music Exchange change on a regular basis. It's also given them an expansive breadth of sound and style, brilliantly exhibited on this long-awaited studio release. Is it Jazz? Funk? Fusion? Rock & Roll? To answer succinctly: Yes. (See full review in Spill It, page 29) (MB)

· Cameron Martin Cochran -- Diary, A Days

One of the most talked about new singer/songwriters on the local scene, Cameron Martin Cochran's Diary, A Days is a majestic and soulful album that brims with creative production, rich songwriting and uniquely sparse orchestration. The album uses Cochran's full-bodied acoustic guitar and fragile but intense vocals as the jumping off point, but those skeletons are tastefully augmented with ethereal textures. There's a spaciousness to the recording, but also a real intimacy -- when Cochran or one of the guest musicians plays a note, you feel it resonate. If Michael Hedges, Nick Drake, Peter Gabriel and Dave Matthews were locked into a room for a month, they might come up with something like Diary, A Days. But, as singular as Cochran's version is, it's doubtful it would be half as good. (MB)

· The Spectacular Fantastic -- Vortex Of Vacancy

The sophomore outing from Mike Detmer and Co. is a candy-coated adrenaline rush, complete with jangly rockers and simple, rootsy progressions. Previous output has inked Detmer comparisons with the ragged glory of Neil Young and the '60s BritPop movement, but take a slice of The Raspberries' or Big Star's sweet Power Pop and add a primordial mix of Pavement and Guided By Voices and you're getting warmer. Bright Pop songs and fragmented experimentalism make Vortex a deceptively sweet song cycle of sorts that progressively tackles love supreme, love unrequited and love's labor lost. What could get mundane doesn't because Detmer has the craft and the chops to make it all work. (SR)