Track Listing: The King, La Mer Enchanté, Nice Day, White Flag, Kiss Is In the Chemical, Four Things, China Shop, Exit Wounds, Olden Times, I Shot the Monster, Sonnet.

Reviewing Morgan’s debut CD was a genuine pleasure. This is because I like NIN, Sarah McLachlan, Tori Amos, and Jill Tracy, all of whom sound like they influence Morgan, and indeed, in interviews she mentions some of these artists as influences. The production is very clean and the compositions are full-bodied. Nice to hear real effort being put into a debut release.

No stranger to the world of music, Morgan has worked/performed with the likes of Liz Phair, Ana Lenchantin (Eels), and Veruca Salt. Ok, so enough of that. She clearly knows her way around a cello and a piano. Some artists claim to be classically trained. Morgan actually melds classical with very modern, electronic/industrial even, type composing. The result is a little surprising but works very well because she sticks to a solid piano and strings base and builds from there. There is no, what the heck was that, present in this release, just decent solid songs in both conception and execution.

The CD takes you through many genres essences although is overall the same timber. Some songs, like “La Mer Enchanté” sound downright operatic, while “Kiss Is In The Chemical” is very gypsy cabaret. Each song is distinct, no remixes of the same song disguised by different titles. Morgan’s vocal treatment is different for each song, creating a unique mood for each one. The lyrics are cohesive and coherent. Very introspective. Again, not unlike Sarah McLachlan or Natalie Merchant would write.

“I Shot the Monster” sounds like it might be a live recording. If it’s any indication of her live performances, sign me up! She exudes energy and attitude and would be a joy to see live. She clearly sounds like she can keep the quality together in both the studio and live arenas. When you get to the last song, “Sonnet” keep it playing. There are some musical tidbits at the end including a French song that aren’t mentioned on the CD cover.

There is no reason why Morgan shouldn’t be very popular in our scene, especially among the ladies. Frank did sense the NIN influence and listened to the entire thing. But the surpirse might be that she could also enjoy mainstream success and rightly would deserve it. This one is a total keeper.

Morgan is supported by fellow musicians, Paul Wiancko (cello), Elizabeth Hopper (violins), Wesley Precourt (violins), Randy Cooke (live drums), Dan Rosa (live piano). For more information, please check out her website at www.morgansmusic.net

Track Listing: Pride, Fifty Seven Days, Burn, Fact, Disconnect.

Disconnect, History of Gun’s debut E.P., sounds like someone is trying to channel the musicians of gothic past. I hear KMFDM, Bauhaus, and Sisters of Mercy probably the most clearly. Perhaps a little Ministry for good measure. Still, I found it difficult to formulate an opinion.

On “Fact”, the vocals are gruff and noisy which, for this band, is the way to go. The rock guitar part seems sort of thrown in. Actually, it sounds like there are a lot of things being thrown in all over the place throughout the album. I’m listening to it in its entirety, for the fifth time, and I can’t put my finger on it. It’s either very clever or...

Some artists have the ability to play songs in the style of several genres. History of Guns of guns might be one of such bands. However, instead of creating one song in one style, they have tried to mash them altogether in every song, which is at the very least, a delicate operation. I’m not entirely sure if it works or not.

For example, in the opening track “Pride”, the song is introduced with a piano-type, light synth solo with slow percussion. The percussion slowly increases in b.p.m.; I sense industrial coming on. They establish a little synth overlay which is appropriate. Then come in the distorted guitars which are also not too bad and remind me of KMDFM. So far so good. But then come the vocals where, I think, the singer is hollering for “one last little cashew.” Sounds a little like The Prodigy.

It doesn’t sound so bad when I describe it but listening to it is a different matter. Again, it’s not at all bad and I think if you like old gothic rock you’d probably get a kick out of this. We aren’t adding it to the library but please, check out their website and hear for yourself. I had such a hard time formulating any sort of opinion with this release.

History of Guns recently played the Whitby Gothic Weekend festival this past April 2006 so they’re catching on in popularity which is always nice for any band. For more information, you can visit their website at www.historyofguns.com

Track Listing: The Bridge, Let’s Howl Like Night-Monkeys!, Old Friends, I Love You Like A Shark, Danse Fungique, Ten Percent Brain, Flying Through The Aether, The Visitor, Keynote.

It could have been the chipmunks in “Ten Percent Brain” that threw me off. Or maybe it was the realistic monkey howling noises in “Let’s Howl Like Night-Monkeys!” which was almost frightening. But they also made me laugh. The Spider Translator is definitely alternative. There are a lot of electric hijinks going on. Seems interesting enough but probably not to the average joe who wants a whole lot less nonsense.

The Spider Translator are musician’s musicans. They’re pushing the form of music, experimenting but not in a hit you over your head with a two-by-four sort of way. Instead this is the album that makes you go ‘hmmm’. If you listen, you hear all sort of things. It keeps your brain busy.

“The Visitor” and “The Bridge” are almost normal, straight forward and enjoyable. Maybe a little like REM or XTC but not quite and more electronic. I like his lyrics, an example of which is “I felt like a ghoul in there, underdressed and very underweight, and like the wind in the night air, the river spoke of our portentous fate.” But the lyrics are few, most songs being instrumental with samples and electronic voice type parts, heavy on repetition. In “Flying Through the Aether” I hear something almost visual in the background. I wonder what sort of theatric soundtrack The Spider Translator could create?

Although I found it fun to listen to, in trying to place this CD to a listener I come up with a geeky college student, which is what I was, which is why I like it. The Spider Translator is L. Erickson (voice, bass, keyboard, sampler, programming, percussion), Charlie Ward (voice, guitar, percussion), and Randy Carter (guitar, bass). For more information, check out their website, www.spidertranslator.com

Track Listing: Drive, Next, Midnight Detroit, Madeline, Time For Tea, Alone, I’m From Hollywood, Hours Awake, Snow, Another Angel Song.

I had hope. “Time for Tea” and “Alone” sounded like they might have turned into electric songs but alas, they didn’t. What Severn Way is, is a solid, alternative rock, CD. It’s produced nicely, sounds professional and well developed. The songs are nice. Everything seems decently balanced. Nice, nice, nice.

Do you like Goo Goo Dolls? Then you’ll like this too. Severn Way reminds me of that wave of musicians that flooded the scene a few years back when everything on MTV sounded like a soundtrack to Dawson’s Creek. The sort of music a guy will write in order to get into a chick’s panties. “But he’s so sensitive!”

I got a little bored while listening to the CD play out, so I played a little game. Almost every song has a sound I’ve heard somewhere else. In “Drive” I heard guitar like The Cure. In “Next” I heard definiate Chris Isaak. In “Alone” I heard synth sounds in the background that I know I’ve heard on Radiohead songs.

“I’m From Hollywood” has this little sound that Poe used in her hit, “Johnny” and watery piano I know I’ve heard before but can’t place at the moment. See what fun this is? Forgive me. I should behave myself. Onward then.

The strange thing is that in most of the songs there is an intro that is unique and sounds like it wants to go somewhere. But then he starts the main body of the song and kills the neat little intro part with this almost generic guitar melody. Overall the CD is enjoyable, though. If I wanted to, I could listen to it over and over again without feeling physical pain.

Pernell Disney, who plays guitar and sings, was assisted by Tim Bradshaw (keyboars, lead gitar, bass, drums programming), Gene Diotalevi (guitars), and Mike Wolpe (keyboards, bass, drum programming). For more information, please check out their website www.pernelldisney.com