Greensky Bluegrass, the bluegrass-hybrid quintet from Kalamazoo, will be performing both this Friday and Saturday at the Majestic Theater. Their New Year’s celebration/ album release party will be in support of their newest release, Handguns.

A pre-release EP of Handguns, including five of the album’s upcoming songs, was made available online in October. The finished album has nine additional tracks, and has more fun than the EP leads to believe.

In addition to performing at large-scale music festivals such as Bonnaroo, Bumbershoot, Hardly Strictly Bluegrass and Electric Forest – Greensky has played 160 shows every year, for the past six years.

This group has transcended boundaries set by listeners, artists and genres by experimenting with traditional means to create contemporary sounds. Handguns was recorded in between Greensky’s winter tours using straight-to-tape recording consoles, vintage microphones and a wide variety of unique instruments – including a dobro, horns and an upright bass.

Anders Beck (dobro), Michael Arlen Bont (banjo), Dave Bruzza (guitar), Mike Devol (upright bass) and Paul Hoffman (mandolin) make up an act with a mature sense of instrumentation and modern know-how, and the group’s collective vocals are smoothly harmonized over what sounds like the finger picking Olympics. Handguns is the culmination of timeless themes and the true spirit of the Great Lakes.

Paul Hoffman, Greensky’s vocal master, wrote 10 out of the 14 tracks. He gathers truth from his own personal struggles, and weaves a lyrical story that can be enjoyed by all music listeners. This album enjoys a broad series of messages, but focuses on strife, perseverance and inner strength.

Handguns by Greensky Bluegrass

The opening track titled, “Don’t Lie”, introduces the members of the band, and demonstrates the group’s finger picking prowess. Hoffman’s lyrics are accompanied by a great picking solo, and plenty of country/western vibes.

The title track, Handguns, is a dynamic piece that features plenty of honky-tonk sounding slides and dobro solos. The blend of swaying voices and twang creates an undeniably American sound, and an album favorite.

“I’d Probably Kill You”, introduces an interesting aspect to a traditionally stringed genre – a horn section. The subtle use of brass accents ties the piece together. This is not your standard folk jam. The softened horns are an indication of Greensky’s ability to master music well – even while being true to traditional recording techniques.

One of the album’s last tracks, “Hot Dogs (On Parade)”, is a whimsical showcase of instrumentation – including an unforgettable kazoo accompaniment, a drunken guitar part and a clumsy horn section. This track, which is not seen on the pre-released EP, is just more than two minutes, but would be perfect for a parade of bluegrass loving hotdogs.

Handguns is a must have for contemporary bluegrass lovers. Even for listeners with a limited ear for folk melodies, this album is simply full of great music. Hoffman’s lyrics, and the band’s perfect blend of stringed components, make for a completely unique listen. Greensky Bluegrass has once again created an appeal that stretches numerous genres, and several generations.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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Detroit, synonymous with humble beginnings, hard work and kick-ass music, has historically been the target of relentless NFL-related ridicule. This is a city of sport-lovers who were forced to watch their only hero, Barry Sanders, go down with the shipwreck that has been Lions football.

For those who don’t give a shit about football… the last time the Lions won the Super Bowl, it wasn’t called the Super Bowl. That’s all anyone needs to know.

This year the Lions are not being laughed at. In fact, they’re kicking ass. “Megatron” and friends started the 2011 season with an unheard of 5-0 record, the first time since 1956. The Lions’ most recent game, October 30, resulted in an away victory that had people “Tebow-ing” all over the place – Lions 45; Broncos 10.  Start giving a shit because the bandwagon is officially selling seats.

One of the organization’s largest seat-sellers is its annual Thanksgiving Day game (this year on November 24) – usually against someone Lions fans can be happy to lose to (this year Green Bay). Yes, that is what can be heard murmuring sadly in the living room while people are eating turkey, and uncle Marv takes a little nap.

Regardless of the misery Grandpa has come to reasonably expect – Detroiters have agreed that hiring Nickelback to play this year’s Thanksgiving half-time show is unacceptable. It clashes with the team’s newfound spirit… plus Grandpa hates Nickelback. “They’re Canadian!”

As part of the city’s outcry, a petition has been circulating Facebook – particularly in Michigan. The protest titled, “The Detroit Lions: Replace Nickelback as the halftime show for the Thanksgiving game”, hosted by Change.org, currently has more than 44,000 signatures.

The petition description is written from the perspective of an unhappy ticket-holder.

“This game is nationally televised, do we really want the rest of the US to associate Detroit with Nickelback? Detroit is home to so many great musicians and they chose Nickelback?!?!?!”

Dennis Guttman, creator of the petition, does make a good point. Detroit is filled with great music. But whom do we choose?

Eminem doesn’t give a shit about sports, and Kid Rock needs a break. We’re riding him too hard. Wasn’t he just mayor of Detroit for about a week in August?

If Detroit comes up with a suitable solution to this problem, we might have a chance. Removing Nickelback is only half the battle, replacing them will be the ultimate victory. Here are some ideas…

Friday, neo-soul-rocker Mayer Hawthorne (in front of an American-flag backdrop) announced his “candidacy” to play the halftime show, in a video released by Rolling Stone. His newest album, How Do You Do, was released last month, but he has plans to be home for the holidays. Tweeting has ensued – #Mayer4Detroit.

Local Indie-rock duo Dale Earhardt Jr. Jr. made an interesting post on Facebook, saying, “For the record, yes… we would be willing to replace Nickelback on the Thanksgiving Day Halftime show, but we still feel the Robocop Statue is a more important enterprise that we’d rather lend our support to.” They also have reminded us to think positively, saying “at least it’s not Creed.”

Also, local rockers The Muggs have reportedly expressed interest in the topic. Two Facebook pages have been made for them to replace Nickelback (here is the good one).

Join one of these causes and help to overturn this terrible decision. Sorry United Way – your music taste sucks.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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Fingers and Brain was released in August of 2010 with most of the recording being done that same year. Patrick Minjeur, Francis Minjeur and Daniel Vought – all from Detroit – did most of the recording in Patrick’s L.A. studio apartment (Listeners really get the feeling of being right there in the room – headphones help.)

As members went their own ways to pursue academic endeavors, the group found its three Detroit native members sprawled out among California, Michigan and Florida. The future of this biologically mutualistic relationship looked bleak.

After months of an unsure future, the group had reunited once again in Detroit by April 2011. Fingers and Brain gained two new members in the process – Evan Gatny and Rachel Balanon. The product is a great sounding collection of songs by a reunited group of friends.

“The Trees (They Sway),” the first song of the album, kicks the collection off with quick humming, loose strings and a lot of natural harmonized lyrics. It’s a great way to introduce listeners to the group’s style, however, light background strings, shakers and finger picking also imply a sophisticated live act.

The Trees (They Sway) by fingers and brain

“Bears and Coffee,” which has an alternate version on Soundcloud, shows a bit of digital interest with a light beat playing continuously during this quick-rhythm epic. The fat echoing snare reflects the 650 sq ft studio apartment recording space, and the intimate sound of the album throughout.

Bears and Coffee Finished by fingers and brain

The open-chord guitar in, “I Fell In (To a Hole),” is surrounded by stunning harmonized strings and a muted bass from left field. The off stroke of the bass aligns with the natural sounds of the accompanying instruments. This is a great homage to a discreet and original use of the bass guitar. It’s not just for 80s pop apparently. I, and many others, stand corrected.

I Fell In (To a Hole) by fingers and brain

“The Borley Rectory (We Might Just Be Alone)” is easily the most production heavy song on the album (which is still not much). The ambiance of the synth produces most of the effects, along with a clean acoustic guitar. The vocals limb to falsetto and blend together with the circular movement of the whole track.

The Borley Rectory (We Might Be Alone) by fingers and brain

Fingers and Brain is a great testament to patience and reunion. The light styles are complemented by rooted rhythms and quick tempos. Not only is Fingers and Brain timeless, but also the recording methods are humble – and the songs remain contemporary. This is an album for any referential listener who loves to explore new ways of producing familiar sounds.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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Chromeo is a two-piece electric/disco/funk/dance/80s-rewind/pop giant, which surfaced at the turn of the millennium. P-Thugg (keyboards, synthesizers and talk box) and Dave 1 (guitar and lead vocals) have created a unique sound that appeals to a diverse set of listeners – with analog technology.

The highly anticipated Detroit show is a part of Chromeo’s “Night Falls Tour” – which began in September (Dallas) and will end in November (L.A.). The show will also welcome home Hawthorne and the County – a Michigan-born staple of neo-soul/pop.

Doors open for this event at 8 p.m. – tickets are $25.

Motor City Rocks had the chance to chat with Dave 1 about music stigmas, Mayer Hawthorne, J Dilla and the Chromeo’s return to Detroit. Here is what he had to say.

MCR: So you’re traveling from your hometown – to Mayer Hawthorne’s hometown, or home crowd rather, what is the energy like at these homecoming shows?

DAVE 1: It’s weird because when you go back to your hometown you want to make sure like – everyone’s known you for longer, so you want to make sure people don’t take you for granted – you’ve got to come up with something fresh.

MCR: How does Chromeo’s sound compare to Mayer Hawthorne’s?

DAVE 1: His (Hawthorne’s) stuff is more soul. Our stuff is more funk, you know. His stuff is more live instrumentation – our stuff is more programmed. At the end of the day it all comes down to the beat – that funky beat. Mayer doesn’t have an electronic component, but he has tons of soul – and his vocals are amazing.

MCR: Do the Canadian and Detroit music scenes share any qualities?

DAVE 1: Toronto and Detroit, there is a commonality there. They’re also very close geographically, but Toronto and Detroit are close – there’s a similarity there. I remember like over ten years ago, Slum Village was blowing up out of Detroit, and Toronto really embraced that sound. You know, I was a hip-hop producer before Chromeo, and I started producing hip-hop when I heard “Running” by The Pharcyde – which was produced by J Dilla. I remember as a teenager, maybe like 16-years-old, discovering J Dilla – my brother was 12, and we were just huge fans.

MCR: Do you ever get to play shows with your brother A-Trak?

DAVE 1: In L.A. last month we played the Hard Festival, and both Chromeo and Duck Sauce headlined, but it’s tough. He’s usually on tour doing his thing, and I’m on tour doing my thing – so when it overlaps it’s more of a special event.

MCR: Do you and your brother continue to share hip-hop interests? Share new music?

DAVE 1: You know, I like all kinds – from J Dilla, to Soulja Boy. I think what’s great about hip-hop, is that there’s a spectrum. You’ve got your stuff that’s really ignorant on purpose – it’s fun to listen to, it’s funny, it’s entertaining – and then you’ve got your really soulful/musical stuff. You know, people hold Dilla in this underground niche, but J Dilla would walk around with alligator boots and fur coats. You know?

[Laughing]

MCR: Absolutely.

DAVE 1: On the real Detroit shit. I think that he was way more open-minded then some people like to think. And, I think the best way to appreciate hip-hop is with an open mind that encompasses everything from, the Danny Browns, to the Lil Waynes, to the Kanyes, to the Soulja Boys. It’s just like any other music, you know? Like rock music – I can listen to Bon Inver and love it, and I can listen to Guns and Roses, and love it. There’s cool stuff everywhere.

MCR: Does the fact that the hip-hop spectrum is limitless help you when meshing new genres together?

DAVE 1: Hmm. When it come to making Chromeo music P and I are a little bit more – fascist? In a way…

[Laughing]

MCR: How so?

DAVE 1: Well, because we kind of lock ourselves in this time capsule, of analog technology, and obscure 80s records – but it’s a constraint we purposefully set upon ourselves to create this really weird, particular music… which is Chromeo. So, how can I explain this? … Who’s your favorite author?

MCR: My favorite author? Probably Roald Dahl, I like children’s literature.

[Laughing]

DAVE 1: Cool. So let’s say you wanted to write kind of a… fantastic children’s fiction a la Roald Dahl – you would maybe for an entire summer just read him. Even though you appreciate all kinds of stuff, and are probably a really well read dude, just for that project you would only read Roald Dahl and like – immerse yourself in it.

MCR: Okay, yeah I get that.

DAVE 1: That’s kind of how we do it with Chromeo. We just soak up all those 80s funk records, and listen to a whole bunch of Daft Punk, and Chromeo is what comes out. But obviously as individuals we are much more open.

MCR: How do you reach listeners that aren’t open, or rather – those that strictly categorize music?

DAVE 1: You know everything’s a category. You choose a word, and you categorize someone. You say electronic, boom – you’re categorized. You say funk – you’re categorized. How do you categorize Parliament? How do you categorize Hall and Oates? The greatest bands decide those categories, but you have to use them – it’s a fact of language. I’m not mad at that. If it helps people talk about us then yea, put us in that category – I don’t care. As long as you come to the show and have a good time, I don’t care. I like to be very, very open with all the different ways people can perceive us. If they enjoy the music, I really don’t care.

MCR: Well we are excited to have you back in Detroit on Monday– do you have any memories specific to Detroit?

DAVE 1: Yes, actually – we we’re pulling up to the Majestic, when we found out there wasn’t enough power in the venue to plug-in our lights. So they had to bring-in this outside generator. We thought we were going to have to do the show without lights!

[Laughing]

DAVE 1: Yeah, we were stressed out. Like, is this going to work? I also remember we hadn’t sold very many tickets, and there ended up being like 600 walk-ups or something. It was actually a great surprise – and a really fun show.

MCR: Well you’re going back to the Majestic so I hope they’ve made some changes.

MCR: Actually I don’t know. I’m going to ask my tour manager right when I get off the phone with you.

[Laughing]

MCR: Thank you for taking the time to talk.

DAVE 1: We’ll see you in Detroit

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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Atmosphere’s Crofoot Ballroom show in Pontiac, Sunday evening, was an event worthy of reflection. Not only did Slug and Ant bring their high energy to the stage, but Rhymesayers Entertainment as a whole has represented their strength in growing numbers.

Of course, much of the Atmosphere show in Pontiac was dedicated to The Family Sign – the group’s latest installation of hits. As with most underground favorites, fans were already familiar with the latest album. In fact, most would be embarrassed not knowing the words to each song.

This tight-knit circle of Atmosphere aficionados made for an intimate and knowledgeable music experience. Chanting, singing, and rapping were more than encouraged.

Alongside Atmosphere was Rhymesayers west coast contingent, Evidence, who celebrated the release of Cats & Dogs – his label debut. Not only did he keep up with Atmosphere’s on-stage prowess, but easily matched-up with crowd interaction – and a serious set of lungs.

DJ Babu of the legendary Dilated Peoples, and long-time Rhymesayers’ affiliate, Prof, accompanied Evidence. Their chemistry remains undeniable, and high energy persisted throughout their evening’s showcase – the ingredients of a strong label family.

Columbus, Ohio’s Blueprint is yet another Rhymesayer to unexpectedly steal the show. His latest release, April’s Adventures In Counterculture, is a testament to rock/pop – without forgetting the hip-hop.

Slug and Ant obliged the audience with old favorites (such as a lengthy tribute to God Loves Ugly), and even thanked the audience for their loyalty, and support. It’s incredible to know that this group has been making hip-hop in some fashion since 1989.

The Family Vacation tour features guitarist Nate Collis and keyboardist Erick Anderson in order to revive classics with a live twist. This full-band freak-show incorporates what many find lacking in most mainstream hip-hop – instruments.

This tour should be on any hip-hop connoisseur’s to-do-list. If you haven’t had the pleasure of a full-blown hip-hop extravaganza – Atmosphere is the answer.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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Atmosphere

The group has been evolving since 1989 and has since downsized to two permanent members – MC mastermind Sean Daley, known as Slug, and producer Anthony Davis, more commonly referred to as Ant. Former members include: Siddiq Ali (Stress), Musab (Beyond), and Derek Turner (Spawn).

These two pioneers of alternative hip-hop have proven that independent labels can successfully compete with the hegemony that is mainstream music – with their independent label Rymesayer’s Entertainment. Atmosphere’s new-age production, and golden-era hip-hop storytelling, creates the perfect blend of contemporary and old school vibes.

Slug attributes most of the group’s independent success to their grueling tour schedule. The two Minneapolis natives once drove from their hometown to Dallas, only to receive $250 for the gig.

As for lyrical content – those that seek imagery of shiny Ferrari front ends, Crystal flowing like rain water, and irresponsible spending – expect disappointment. The conscious styling of Slug’s content remains intellectual at its core. Rhymes regularly outline middle-class Midwest culture; stemming from sinister women, parties, and trying to have enough money to get the car started – to stories of the past, and regrettable choices.

Slug’s dependency on alcohol, drugs, sex, and validation, influenced the creation of “Lucy.”  Lucy, more frequently referred to as “Lucy Ford” (a play on words, Lucy Ford – “Lucifer”) inspired the titled of the 2001 classic, “Lucy Ford: The Atmosphere EPs”. This deeply personal testament to relationship strife remains one of independent hip-hop’s most refreshing lyrical releases.

The group’s latest album, “The Family Sign”, has been praised after a well received performance at Bonnaroo. The tour, titled “The Family Vacation Tour”, will undoubtedly continue to floor audiences with lyrical topics that can be applied to the lives of those without a $20 million bank account.

Sunday’s performance at The Crofoot will also feature Rhymesayers’ tour partners Evidence (Rhymesayers debut artist), DJ Babu (from the legendary Dilated Peoples), Blueprint, and Prof.

Tickets are $20 -$22 (first come first served), doors open at 8pm. Do yourself a favor – don’t miss this.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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The Welcome, a quartet releasing a slew of concept EPs this year, has successfully depicted these classic childhood moments with their newest motion – hopscotch (which can be downloaded for free on their bandcamp page.)

Being partially recorded at Villa Coola Studios in Illinois (front-man Gehring Miller’s bedroom), the swaying rhythms echo naturally (maybe a live performance in a lucky kid’s bedroom?) Unlike the teen angst-filled April installment (I), hopscotch offers a lighthearted look of the years prior to adolescence.

This three-song EP not only addresses youthful concepts – it becomes them. Soft melodies designed for a child’s understanding of music reign supreme (where is the rainbow crayon font declaring “The Welcome, for kids”?)

The first song of the album is titled “Hey! Come Out and Play.” The song is sung from the perspective of a small child who is looking to do some serious playing (that kid always comes over way too early.) Easy guitar strumming is accompanied by carefree attitudes – whistling ensues.

The following track, “Mail is Great,” sounds like it could be a sappy ballad about letters sealed with tears – until someone’s mom is referred to as an undeniable statute of credibility (‘your mom said.’) The easy groove of the guitar accompaniment directs attention to the simple lyrics and the roomy vocals could easily be taught to an elementary school student.

Featured Track: “Mail is Great” – The Welcome

This song tells the narrative of a healthy child, sending good wishes to a sick friend by mail. The unconditional compassion of one kid towards another is a great exploration of a child’s priorities – sick friends can’t come out and play (and I was half expecting a grown-up version of the mail song from Blue’s Clues.)

The final entry on hopscotch is an EP nightcap called “Night Vision Lullaby.” The song features a soft clean-electric guitar playing a calming melody. The accompanying lyrics insinuate the perspective of a parent putting their little one to sleep. This track is hardly longer than two minutes, but will hit listeners with the smooth lulling power of a jewelry box – or a bottle of mom’s Nyquil.

Childish jokes aside, hopscotch shines a light on a forgotten mindset. Happiness, satisfaction, and love are accurately captured without reference to money, sex, or drugs. Has it been that long?

This album is a fun listen, but also a powerful tool in the hands of a busy parent – great music for impressionable passengers is hard to find.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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Unfortunately, the music world is not an accurate model of fairness and cooperation. This has resulted in many acts being overlooked, underplayed, and above all – underpaid.

Tally Hall, a Michigan rock band founded in 2002, boasts a resume that many local acts would kill for – but this is no ordinary act. The group has appeared at Lollapalooza, SXSW, MTV’s You Hear It First, and The Late Late Show with Craig Ferguson twice (performing their single “Good Day” upon first visiting).

In addition to their live performances, the Ann Arbor based group has been featured on television’s The O.C. (Music from the OC: Mix 6), The Sims PC game series (The Sims 2: Apartment Life), and a Crayola 3D sidewalk chalk commercial (“The Whole World and You” can be heard as chalking children have their minds blown by 3D technology.)

Known for their colorful tie donning, the current roster includes: Rob Cantor (yellow-vocals/guitar), Zubin Sedghi (blue-vocals/bass), Ross Federman (gray-percussion), Joe Hawley (red-vocals/guitar), and Andrew Horowitz (green-vocals/keys).

A quirky mechanized shop in Farmington Hills inspired the group’s first album, Marvin’s Marvelous Mechanical Museum – the only business left within Orchard Lake Road’s shopping plaza once known as Tally Hall. How local can they be?

Tally Hall’s newest album, Good & Evil, was recorded in fall of 2009 and is available June 21, on both digital and vinyl formats. The highly anticipated album has been in creation for six years with Atlantic Records, however, the album will be released through Quack! Media – a Michigan label.

Featured Track:
“You & Me” – Tally Hall

Good & Evil highlights a patient group’s masterpiece, produced by Tony Hoffer (Beck, Depeche Mode, Belle & Sebastian). Riddled with harmonized down beats, the album puts Sgt. Pepper, a Fender Stratocaster, a kaleidoscope, and a box of Crayola 3D sidewalk chalk in a blender – and presses shred.

Not only is Good & Evil catchy, it’s childishly psychedelic. Lifting melodies are produced by a wide variety of instruments while Hawley’s hypnotizing voice and climbing guitar riffs soften grown-up lyrical topics.

The album’s second track titled, “&”, is a fuzzy classic. The sporadic voice harmonization leaves ears craving more, and the use of chimes along side a Beck-like synthesizer turns a whimsical tune into a badass anthem. “&” is a busy melting pot of instrumentation, however, the organization offered by studio conducting causes the flurries of sound to align perfectly. This song has one fault – there isn’t enough of it.

“Turn the Lights Off,” Good & Evil’s tenth entry, has the power of a chugging drum-led pop classic. The lullaby themes insinuated by tubas, jewelry box tinkling, and high-end harmonies are interrupted by a heavy Gameboy 8-bit synthesizer.  Zelda anyone?

Concluding the album is the harmonized opus, “Fate of the Stars.” The twang of the clean guitar down beats, and haunting scale-work of an unadulterated piano make for a perfect space ballad. Similarities between Tally Hall’s “Fate of the Stars” and The Beatles’ “I Want You (She’s So Heavy)” is undeniable – a faint echo rather than a photocopy. The track remains further proof of tantalizing subject matter, as well as advanced musical techniques.

This album is a must-have. Listeners can expect to feel as if they have entered a 24-hour balloon store. This album will lift your spirits, enhance your faith in local acts and have you questioning, “why aren’t these guys multi-millionaires again?”

Tally Hall Good & Evil release show July 22 at the Blind Pig.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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Nick Baran, guitarist of Detroit trip-hop staple Oblisk, has graced the neo-psychedelic world with a solo project titled Superficial. The effort brims with fresh drum leads, as well as a guitarist’s version of shoegaze sounds.

The classic experimental quartet Oblisk has produced pedal-infused sounds reflecting the early 90s, and has introduced a community of electronic listeners to the live aspect of ambient anthems. Nick Baran’s solo venture pulls those who are on the fence over to his side of the yard.

Superficial boasts a collection of trip-hop that reflects to an earlier guitar-driven psychedelic era. The electronic elements of Baran’s masterpiece are cleverly layered behind live instruments, making this album a surreal testament to melancholy themes.

The album’s third track, “It Grows,” embodies the classic sounds of electronic experiments. The female vocalist wails to a minimalistic guitar line that Baran introduces subtly. Above the ringing guitar, the break beat drumming reminds listeners of a 90s hip-hop standard – this song is loud and precise.

The next track is titled “Off The Map.” Synthesized melodies produce the perfect platform for Baran’s repetitive guitar hammers. The minimal styling of Baran’s fretwork implies his awareness of the power of simplicity, accompanying a brash drum line that begs for an emcee’s lyrical prowess.

“Moonshine,” a droning tune leveled out by Baran’s vocals and systematic strumming, could easily be implemented as a slow motion walk sequence in any favorite film. The almost non-existent beat draws attention towards the piccolo-mimicking synthesizer – all guided by the coolest bass line of Baran’s discography.

As far as your standard trip-hop goes, this album isn’t it. The lack of flashy electronic techniques creates a uniquely humbled approach to neo-psychedelic rock. Baran’s selective use of his primary instrument implies a well-calculated approach to a traditionally improvised genre.

Download Superficial for free

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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MotorCityRocks is happy to introduce new contributor Paul Young. Paul is studying Online Journalism at Central Michigan University and is the Arts and Entertainment Editor of Grand Central Magazine. His interests include music, hockey, collecting vinyl, history (especially WWII), glass bottle coca-colas, women, Coney dogs, Street Fighter II, and fireworks. Here is his first review for MCR.

Ypsilanti is known for its post-industrial motif and classic bar venues. Its less than glittery streets have become a haven for Michigan rockers, and their diverse musical platforms. Ann Arbor is to Manhattan, as Ypsilanti is to Brooklyn.

Among the many local acts of ‘Ypsi’ is a fresh rock-hybrid dubbed Hallway. Hallway is a tribute to Ypsilanti, melodic messages and un-bastardized rock-n’-roll.

Jeffery Freer, Hallway’s guitarist and vocal mastermind, has narrowed the band’s voice from a Roy Orbison echo, to a clean pop sound – frequently making reference to familiar rock melodies.

Starting in winter of 2009, Hallway began with a pop-rock sense of composition, and a love for old-time rock.  After a year of performing, the band staged a serious turnover as two of the founding members left the group. Replacing the former drummer and bassist were Daniel McDonald, and Brad Hale.

This new 3-piece arrangement gave way to the group’s 10-track installment – The Rugs.  The Rugs reflects upon Hallway’s pop beginnings, however hints at a more developed idea of the genre. Pop doesn’t have to be bubble-gummy.

The self-titled first track is a montage of stop-and-go rhythms.  The first few seconds offer a high-neck guitar melody along with McDonald’s shifty percussion style. Though the lyrics are mild, Freer’s vocals resemble a 70s punk prophet who has turned to pop melodies (it pays the bills right?). The stabbing guitar riffs throughout the piece complement the chanting messages of paralyzing fear.

“Import Dream”, the albums third track, is an epic ballad running wild. The chugging rhythm implies something technical to come – which it does. A punk dose of Hallway is expressed in a cymbal-smashing hook for this otherwise mild mannered look to the future. If Hallway were preparing for battle (perhaps a battle of the bands), this would be their deep, heroic, pre-clashing anthem.

“Let’s Not Talk” (a great song title) suggests from the beginning that it will be lighthearted, and somewhat unorganized. This textbook pop tune takes a turn for staggering drum rolls, and a deflating vocal line. The melody is almost impossible to follow, and the lyrics only grow weaker. Garage one; pop zero.

The final song of the album is titled “Front of You”. This slow ballad starts beautifully, and completes a simple wailing melody. However, the power of the lyrics is minimized by Freer’s range. The straining front man’s voice is hard to dissect, and the attempted trills are about as predictable as springtime in Michigan.

Hallway displays a unique crossover from light rock to garage pop. Though the transitions and melodies come off as sloppy, the Rugs is anything but unoriginal. This album is a great for active listening (exercise, studying, mowing the lawn…), however, a careful referential ear will pick out its fair share of blunders.

Paul Young

Paul likes almost all music, and four of the five Chucky movies. If he were on death row his last meal would consist of a coney with everything, and a plate of chili fries.

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