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CD Reviews

Human x: Wilted
Rock Solid Music Group, 2003

I’ll be the first to admit that a lot of this metal stuff is way over not only my head but every other gland I own. But there’s something loud ‘n’ crunchy on this granite-hewn debut disc that I like. Recorded at Millbrook Studios, these crafty metallurgists—T.C. on lead vocals/rhythm guitar, Brenner on bass/vocals, Dee on lead guitar/vocals, and skin-basher Jiyo—texture their balls-out drive on these 11 kiln-hot originals with eye-for-an-eye melodies, cognizant lyrics, and a challenging emotional bent.

Now I don’t know if Human X—the Hudson Valley’s loudest metal sons—are teaching an old dog new tricks, but it sure sounds convincing. Three defiant, white-knuckled anthems—the single “One Last Breath,” “Human,” and “Don’t Hate Me”—crank the ante for other bands to follow. Guitars slash, rhythms crash, and growls surge. “I am who I am / Please don’t hate me now!” T.C. howls without apology or remorse. When he has a bad day, as he does on the Johnny Rotten-narrated Metallica-meets-Alice In Chains death match “Circles,” T.C. wants the whole freakin’ universe to know about it, and his fellow punky pugilists make sure each decibel gets into them alien bones.

—Mike Jurkovic

Francesca Tansksley: Journey
Dream Caller Productions, 2002

Taking center stage for the first time on Journey, Francesca Tanksley shows herself worthy of the spotlight, both as a composer and a pianist. Performing for over 15 years with the Billy Harper Quintet gave her the tools and perhaps the confidence to make this leap. It also provided her with some fabulous band-mates in bassist Clarence Seay and drummer Newman Taylor Baker.

Tanksley’s Journey starts with a couple of kicking tunes in “Into the Light” and “Dance in the Question,” both of which showcase the trio’s collective chops and the fact that they are way locked in, giving each other room to breathe and support to shine. The titles really speak volumes about the pieces themselves, as “In Grace” and “Simple Heart” take things down a few notches, allowing the trio’s tender side to come out in all its marvelously understated glory. As with most great love songs, it’s hard to tell whether the heartstrings being plucked are of a romantic or spiritual nature. Jump to the other little ditties such as “Trickster” and “Journey Without Distance,” and you can likely guess what you’re in for. On “Trickster,” for instance, Tanksley once again sets her solo artist ego aside and lets her players step out one at a time with a mischievous, playful bounce.

—Kelly McCartney

Mollyllama: Albatross2
Blissink Records, 2002

Albatross2, MollyLlama's first ep-length cd, is moody, energetic, and raw at times. These songs evoke film noir, alienated youth clinking glasses in a dark lounge, or vampires following you down a silver-lit alley. MollyLlama tells the story of the smoky memories of my own late-night clubbing during the 1980s. The band has both inherited the teachings of Killing Joke, Joy Division, Bauhaus, and Gang of Four, and joined bands like Sigur Ros, Radiohead, and Mogwai in receiving these teachings while successfully merging their own richly textured sounds and post-punk sensibilities.

This duet of Kingston high-school buddies spans hundreds of miles and 20 years. (Mark Naghsh is based in New York City and Dana Fasano in Florida.) MollyLlama works together by sending songs through the mail and the Internet; a sort of tele-collaborating, if you will.

Albatross2 weaves driving rock songs with echoing vocals and instrumental interludes using the occasional sample. The opening tune, the brief (seven seconds) “Ah,” is ethereal, but “I Own You” is tough, grinding rock. “B-Movie” wafts nearly (but not quite) techno with self-analytical lyrics. “Windows” had me dancing all week. Moody, energetic, and raw at times, MollyLlama are keepers of the faith without resorting to imitation. To purchase, visit www.cdbaby.com.

—Dina Pearlman