Now It's On

Album Review: The Summer Pledge "Vessels"

Detroit's The Summer Pledge return with their second full length, the follow-up to 2009's well received "You Are You". Now pared down to a quartet, the band have focused their sound much more this time around on "Vessels". Their debut was more of a cycle of songs, most running into each other, largely instrumental and when there were vocals they were oftentimes buried deeper into the mix. There is a new approach on "Vessels" and it makes for a convincing and worthy sophomore album.

The 11 songs that make up the new album are a bit more structured this time around. Dustin McLaughlin sings vocals on every track, sans the short but sweet instrumental "Madrigal", and they play a big part on this go around. "You Are You" tended to veer into post-rock territory quite often, there is no denying good portions of it sounded like a local version of Explosions In The Sky . However, the songs on "Vessels" follow a more traditional vocal rock blueprint, just don't mistake them as generic. There are still plenty of spaced out guitar excursions throughout the album, the band has not lost their knack for experimental rock music that draws from other influences.  

Highlights include "The Ledges (Outsider)" which is one of the more laid back tracks here until its blistering ending, "B's Teeth"  which is both jazzy and funky at the same time, and the nine minute album closer "Through The Vessels" which crystallizes everything The Summer Pledge does best into one epic track. Album opener "Bloodclot" is my favorite here, amazingly a Summer Pledge song that can be accused of being catchy with its melodic chorus calls of "ah's and "oh's" that stick in your skull. Simply a great track.

The Summer Pledge are hitting the road, cementing their spot as one of the hardest working bands in metro Detroit, on a tour that will take them everywhere from Minneapolis to Denver and on into Texas. Make a point to catch them if they come to your area. McLaughlin, Andrew Davis, Jeremy Damaske and Rob Wilson put on a helluva live show, and they've delivered a helluva second album.  

"Vessels" was self-released May 10, 2012.

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EP Review: Dale Earnhardt Jr. Jr. "We Almost Lost Detroit EP"

Dale Earnhardt Jr. Jr. returned home to Metro Detroit to play a big part in the local celebration of Record Store Day 2012. My recap of their amazing concert at the Majestic Theatre in downtown Detroit can be found here, but the duo also released an exclusive, vinyl only EP for their new single "We Almost Lost Detroit". 

The "We Almost Lost Detroit EP" contains the album version of the Gil Scott-Heron song, and two brand new covers that are exclusive to this release. The duo chose to cover Michigan-based artists, with Josh Epstein picking Madonna's "Like A Prayer" and Daniel Zott choosing "I Think Of You" by Sixto Rodriguez. Their Madonna cover is about what you'd expect a DEJJ cover of "Like A Prayer" to sound like, their echoey electronics melting all over the track. Of the two new covers however, I'm partial to "I Think Of You", a sweet little slice of acoustic based heaven.

The flip side of the EP features remixes of three tracks from the "It's A Corporate World" album done by Michigan acts. Stepdad do a rather whimsical take on "We Almost Lost Detroit", while new addiction Phantasmagoria turn "Morning Thought" into a dreamy, tribal piece. Detroit DJ Chuck Daniels remakes "Simple Girl" into a banging house track, definitely the most radical of the mixes here. 

This will likely be the last release related to "It's A Corporate World" as Epstein and Zott begin work on their second album. This EP was limited to a run of only 2,000 copies, so best to pick one up now before they become harder to find. I saw a lot of copies flying out the door at UHF Records on Record Store Day and this band is only going to continue to get bigger.

The "We Almost Lost Detroit EP" was released on Record Store Day, April 21, 2012 on Warner Bros./Quite Scientific Records. This is a vinyl only release.

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Concert Review: Dale Earnhardt Jr. Jr. with The Hard Lessons & Phantasmagoria - Majestic Theatre - Detroit, Michigan, 4/21/12

It's going to take a lot in future years to top Record Store Day 2012, especially in the Detroit area. For me personally, I got the two exclusive releases I really wanted thanks to UHF Records in Royal Oak who did a fantastic job of managing a huge crowd when their store opened at 10AM. And after a day of browsing and digging through bins at Detroit Threads in Hamtramck and Dearborn Music, I had an incredible bill of Detroit music to look forward to at the Majestic Theatre downtown.

Dale Earnhardt Jr. Jr. returned home for their first local show since September of last year at Arts, Beats & Eats after touring the country, making their first national television appearance on Conan and watching their popularity continue to rise. They've taken that step from 'local band' to national act who just happens to be from Detroit, and as I've said before, it couldn't happen to more deserving musicians from this area than Josh Epstein and Daniel Zott. Making this show even more special, perhaps legendary, was the inclusion of The Hard Lessons, another of this area's best bands, and the wonderful Phantasmagoria, rising stars on the local scene.

Phantasmagoria started the night off just after 9PM with a set of their alluring electronic based pop. With Christopher Jarvis responsible for the beats and musical backdrop, Lianna Vanicelli makes it easy to get lost in her dreamy vocals, as well as her percussion work. The duo mix various electronic styles into their music, a wholly original experience and fantastic way to kick off the evening. This was my first time seeing Phantasmagoria and I look forward to seeing them again as they lead up to their soon to be released first full length album.

This was far from my first time seeing The Hard Lessons, they've been responsible for a few of my all-time favorite Detroit live shows, but it had been awhile since we've seen Augie and Korin Visocchi. The couple took some time off to have their first child but are now back at it, rocking as hard as ever onstage. It had been over two years since my last Hard Lessons show so having them on the same bill with Dale Earnhardt Jr. Jr. was a dream line-up. The two bands played together in New York earlier this year, so when this show was first announced my hope was for a hometown repeat and it was delivered.

The Hard Lessons played for around an hour opening with "See You Again" from 2009's "Arms Forest", (and also used recently in Chevy commercials featuring Detroit music), and weaving their way though a set heavy with old favorites and other "Arms Forest" tracks like the title track and "Sound The Silent Alarm". Also played was their new single "My Kind" which featured them working in "Up On Cripple Creek" in tribute to the late Levon Helm. Along with drummer Ryan Vandeberghe, this is still simply one of the best live bands in Detroit. Much like the night's headliners, no matter how far they travel across the U.S. and worldwide, The Hard Lessons are Detroit through and through, and hometown shows are always something special. Their set closed with a touching performance of "I Can't Sleep", a song they mentioned has new meaning now that there is a young child in the house.     

Dale Earnhardt Jr. Jr. took the stage shortly after 11 and by this point, the Majestic was packed and the crowd ready to party. And that is exactly what DEJJ delivered, one giant celebration of being home, Record Store Day and Detroit music. This show also marked the end of the constant tour Epstein and Zott, along with drummer Mike Higgins, have been on behind their Warner Bros. debut album "It's A Corporate World". The band is taking a break from the road to work on their second album, expected to be released some time in 2013. They definitely left it all on the stage this night, the energy and exuberance of their typical live show taken to another level. 

Their set opened as it usually does, with album opener "Morning Thought". Still my favorite DEJJ song, "An Ugly Person On A Movie Screen" was next with the audience loudly singing along to the eternally catchy 'na na na na' chorus, before going into "When I Open My Eyes", one of a number of songs of theirs that actually improves upon the studio version when played live. Epstein then dedicated their cover of "God Only Knows" to Detroit, stating it would be the last time they'd perform the song for awhile.

Epstein literally took the show into the audience during "It's A Corporate World", jumping down into the crowd to sing the title track while dancing and singing with audience members. At this point a horn section also joined the band for a few numbers. "Skeletons" gave the crowd another chance for a sing-a-long before things slowed down a bit for "If It Wasn't You..." which segued into a stunning cover of Leonard Cohen's "Hey, That's No Way To Say Goodbye". This is the first time I'd seen DEJJ perform this and it left me wishing they'd release their version. I'll be searching for a high quality recording of this performed live as the two songs worked great together. Another treat followed with a rare live performance of "The Fisherman", the only song off "It's A Corporate World" that they hardly ever play in concert.

The only new song of the night was up next, "Don't Tell Me" which hopefully will wind up on the second album. The main set came to a close with "Simple Girl", "Vocal Chords" and "We Almost Lost Detroit" which brought the house down. With the crowd collectively waving arms and singing along, it was an incredible sight to see, this Gil Scott-Heron cover has become a bit of an anthem locally. Detroit rapper Marquise Porter, who released his own version of "We Almost Lost Detroit" a few years back sampling from the original, joined the band onstage as well to add a verse. 

The encore kicked off with their version of "I Think Of You" by Sixto Rodriguez, which was just officially released earlier in the day on their Record Store Day exclusive "We Almost Lost Detroit" EP. A surprise cover was next as Epstein moved to the bass and Zott to the keyboards for a raucous version of Eddie Murphy's Rick James penned classic "Party All The Time". This had the place in a downright frenzy, yes there was crowd surfing, yes there were girls climbing on guys' shoulders and yes, everyone was singing and dancing their asses off. "Nothing But Our Love", their signature closer was next and the party in the crowd continued but no one wanted it to end there and it happily did not. 

After leaving the stage again, the boys from Dale Earnhardt Jr. Jr. made one last trip back onstage, this time decked out in glow in the dark, checkered jackets, much like their EP covers. Epstein announced, "If you haven't danced yet, you'd better fucking do it now" as the band closed an incredible night with their cover of the late Whitney Houston's "I Wanna Dance With Somebody (Who Loves Me)". Two female fans even made their way up to and on the stage at the conclusion of the song, it was that kind of night. 

The great thing about a night like this is that it was all local bands, one that has just so happened to break out nationally in a big way. I go to a lot of local shows, in lots of tiny venues and see amazing bands and musicians play in front of a handful of people at best. It can get frustrating and depressing at times, and I know Epstein and Zott have experienced it as I have been there to see it. It does my heart good to see this type of crowd reaction to Detroit musicians. A packed house, everyone singing, dancing, smiling and partying their asses off to the music. And Dale Earnhardt Jr. Jr. give them a show worthy of that reaction EVERY time. From the light up "JR" boxes to the bubble machines and confetti flying everywhere, Epstein and Zott know how to put forth a spectacle, but none of it would mean anything if they didn't have the songs and stage presence to back it up. These guys put on a SHOW. The energy and musicianship they put out every time I have seen them was only matched on this night by the beaming smiles on their faces at the love their hometown sent back their way. Truly a show I will never forget. Can we make this a yearly Record Store Day tradition guys?

Music Video: Dale Earnhardt Jr. Jr. "We Almost Lost Detroit"

With a huge homecoming show coming up on Record Store Day in Detroit, Dale Earnhardt Jr. Jr. have released their latest music video for "We Almost Lost Detroit". The duo's cover of the Gil Scott-Heron track is presented as a tribute to their home town, to the hard working people who do their thing here every day to help continue to push this area forward. Detroit is too often only portrayed for its negatives, and yes there are plenty, but it's nice to see the true spirit of what goes on here on a daily basis captured. 

In an open letter from the band that accompanies the premiere of the video, Josh Epstein and Daniel Zott state: "We wanted this video to be about people DOING things in and around the city of Detroit. People who are on the job. People who have moved past 'what happened?' and are spending more time saying 'let's MAKE things happen.' These are the people who we feel represent the city of Detroit." They have documented that perfectly here. For those of us who have lived in this area our whole lives, be it city or suburbs, this video is overflowing with Detroit landmarks, businesses and pride. 

Dale Earnhardt Jr. Jr. - We Almost Lost Detroit from Dale Earnhardt Jr. Jr. on Vimeo.

As mentioned above, Dale Earnhardt Jr. Jr. return home April 21st for a show on Record Store Day at the Majestic Theatre downtown. This is sure to be one of the can't miss shows of 2012 as another of Detroit's finest rock bands, The Hard Lessons, are also on the bill along with electronic-pop duo Phantasmagoria. Tickets can be purchased here.

The Now It's On Interview: Brandon Husken of Brae

As a companion to my review of the wonderful new album "Another Time And Place" by Detroit singer/songwriter/drummer extraordinaire Brandon Husken, who records as Brae, I had the opportunity to ask him some questions about his career, music and influences. Many thanks to Brandon for his time and for his thoughtful answers in the first Now It's On interview.  

Reading up on your background, you've been playing in the Detroit scene for a good 20 years. Can you share some of the other bands and projects you've been a part of?

There are really too many to name and none that really went anywhere. But the two that I spent the most time in were called Lid and Simple Neptune. I've also done a lot of session drumming as well. 

Was there one thing in particular that made you decide to step out front and give a solo project a go?

Basically it was out of frustration to start. Just grew tired of being involved in something I felt so passionately about and having the very existence of it depend on other people's mood swings and personal opinions. When you're in a real band unit, if one person starts to drag or decides to start evaluating whether or not they want to do it, it sort of brings everyone down to their level and more times than not ends what you have spent years trying to mold and shape. It has happened to me more times than I care to recall, so I did something about that and it's called Brae. But seriously, now this continues to exist and have as much energy as I can afford to put into it as long as I feel motivated to do so.

Where do you feel Brae fits in the Detroit music scene? I try to see a lot of different Detroit artists and feel there aren't a lot doing this type of music. It's certainly got folk, rock and country elements to it, but solid pop songwriting at its heart. Do you agree or are there similar artists you feel a kinship with locally?

Honestly, when I think of other local artists I can't think of many that sound a lot like us. I'm a child of the 80's, growing and cutting my musical teeth in a pop dominated era. I had a core group of buddies that I did (and still do to a degree) life with. The three of us decided we wanted to be in a band so we basically started playing our instruments to make it a reality. We all had musical tastes much different than the majority of our junior high and high school friends did. Definitely more based in the pop rock genre. When the majority of my school mates and other friends were listening to Metallica, Megadeth, Anthrax, Slayer, Ozzy and harder styles, we were listening to Genesis, Squeeze, Toto, Clapton, Beatles, Crowded House. So that is something that has sort of been bred in me and I feel comes out in my own writing. So long story to say, not really, but there are artists that I have a kinship with through musical appreciation and friendship. The American Secrets, Dale Earnhardt Jr.Jr., Bear Lake, Real Efforts of Real People, Danny Cox, YRLK, Claslan, Kate Monaghan to name a few. There are several more that I've just begun to get exposed to and really look forward to familiarizing myself with. Michigan and metro Detroit, in particular, is extremely blessed musically.

When did you start the recording process for the new album? Did it come together quickly or has this been a work in progress for awhile?

While the songs are being written I typically demo the tunes on my own 2-3 times tweaking here and tugging there. If I have a goal of a full length in mind this process is really timeless I guess, but typically lasts anywhere from 10-12 months. Then we rehearse the tunes specifically for recording purposes and this can be a month or so. Than it's time for the studio. Again, because of scheduling and such this can vary. We were in the studio on and off from August-November for "Another Time and Place". Since I began Brae, I've averaged a full length every two years. That trend will most certainly end however, now that this album is complete. I can't afford another full length (laughs).  Next I'll probably go the route of releasing singles periodically.      

This is your third Brae album and seems by far the most collaborative. Do you see Brae now more as a proper band, or is this still more or less a solo project with a varying cast of collaborators?

It's very much a solo project because of the nature in which Brae has been established. However, I've been fortunate to have finally made a connection on this album with musicians and friends that have made time for me. So I try to make it worth their time and effort. Actually this CD marks the first time some songs have been co-written, which gives the album more of a band feel the way it's been written and recorded. But ultimately it's a solo thing, and I have a core group of friends that will always be my first calls for gigs and such.

 

You said at your CD release show you like to leave song meanings and lyrics up to the listener to interpret instead of explaining them in much detail. I've always loved this approach and many of my favorite songwriters feel the same way. Who were major influences on you as a songwriter? Any personal favorites?

As far as song writing influences I would say Neil Finn of Crowded House, Michael Penn, Lennon and McCartney, Jim James of My Morning Jacket. There are many more but these are stand-outs at the moment.    

Speaking of influences, when did you start playing the drums and did you have any heroes of the instrument that made you want to play them? Any favorite drummers?

I began air drumming at the age of 14 (laughs)! I seriously had a pair of drum sticks and an imagination first. I spent probably a good year drumming in the air to Phil Collins and Genesis. Growing up we had five kids at home and my Dad had a second job to help make ends meet cleaning this bar on the weekends. I used to beg him to bring me and he'd put quarters in the jukebox and I'd bang and most undoubtedly make terrible noise on the house drum set while he cleaned. That graduated to me banging on my friend's make shift drum set literally made of discarded old toy cymbals, plastic trash cans and a real floor tom we used as our bass drum. When I was 16, I got my first real job working as a stock person for a drug store. That summer I fell in the stock room from a tall pallet of merchandise and broke my leg. I collected workman's comp that summer and used that money to buy my first kit.. So I tell my kids now that Dad literally broke his leg to get his drums (laughs). For me the main influence for my involvement in music and drumming has been Phil Collins. There are so many layers to that man musically. And, in my opinion, he's one of the best drummers I've ever heard. Again, the depth of his musical knowledge on the drums is so much deeper than the majority of the population even knows.

"Another Time And Place" certainly has all the elements to get noticed outside of Detroit, and that appears to be exactly what is happening. Any plans to tour outside of the state behind the album?  

I've been working on that exact thing. Trying to see how it will line up and who's on board. 

Lastly, what are your thoughts on the current environment for independent artists? With Bandcamp, blogs, downloading, social media, etc. do you think it is easier to make a go of it and build a supportive fan base without the backing of a label these days? Has the Internet leveled the playing field somewhat? This is a question I have asked artists both locally and nationally, always curious to get different perspectives.

  

If you have the time to get out there and do it, yes. It has leveled the playing field some. But I feel the state of music and performance music is taking a weird shift. Old school you used to record an album and then tour to promote that album and get record sales. Now I see a shift toward CD's becoming a bands business card to entice people to come to their live shows. I'm still trying to wrap my brain around this. But ultimately, with today's technology, it's giving a lot of power to indie artists. But the reality is, no matter how advanced the technology becomes, 90% of the time boils down to who you know and being in the right place at the right time. 

Album Review: Brae "Another Time And Place"

A drummer on the Detroit music scene for upwards of two decades, Brandon Husken decided to step out front with his 2008 release "Catch You In The End", under the name Brae. He is now back with his third release and "Another Time And Place" is his most collaborative album yet and a fine entry into the melodic singer/songwriter field.

Husken's music on "Another Time And Place" incorporates numerous musical styles. There is definitely a pop sensibility at the heart of these songs, but he also touches on folk, country and rock during the course of the album. The mood on some of these tracks takes me back to the music I heard on the radio growing up in the 70's, almost a nostalgic 70's light rock air at times. 

There is a nice mix or more uptempo numbers to go with the slower material, making for a varied listen. The album opens with two short tracks melded together, if you're not listening closely you'll miss where "That Was Then" with its pounding beat ends and "Horizon" begins. But the two make for a fine intro to the music on display here, both boasting catchy hooks and harmonies. "The Veil" stands as the best uptempo track here, a keyboard and guitar driven rocker with an amazingly melodic chorus that calls to work out a dissolving relationship. It's as good as any pop/rock track you'll currently hear on the radio.

The ballads shine on "Another Time And Place" as well. "Truth" is carried along by an achingly lovely melody and lush production. It swims in a sea of strings, acoustics and keyboards. "Together" is a heartfelt proclamation of devotion, support and love with a killer guitar hook. Album closer "Loose Lips" is a quieter piano and strings track that derides rumors before exploding into the minute long full band piece "Sinking Ships" that ends things. 

There literally is not a bad song to be found here. Other highlights include the dark moodiness of "The Tides" and the country inflected title track, which features the wonderful backing vocals of Erica McManus, who also plays a prominent role on "Will The Cavalry Come". 

As a supporter of the music being made in this area, it gets tiresome trying to explain to people the wonderful material that comes out of Detroit, and Michigan at large. Any style of music you can think of, and many you haven't, is coming out of here. Brandon Husken stakes his claim as one of the area's finest pop/rock singer/songwriters with "Another Time And Place".

"Another Time And Place" was self-released by Brae on January 27, 2012.

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Concert Review: Brae with Bear Lake & The Bends - Pike Room, Pontiac, Michigan, 1/27/12

 

The amount of musical talent in Detroit never ceases to amaze me. But like with anything, I have my favorites that I try to see anytime they're playing around town. Bear Lake has quickly become one of those favorites so when they posted on Twitter about a CD Release show they were playing in Pontiac, I checked out the music of the artist celebrating his new album on this night and instantly Brae became another local musician to add to my rotation of favorites.

I love going to these type of shows as I was well acquainted with Bear Lake's stuff, was intrigued and excited by the samples of the new Brae album I heard online but knew very little about The Bends. I always love going to shows with multiple acts including some I am not familiar with for the element of surprise. Sometimes the surprise is an awful one, but I've been lucky to avoid that lately at local shows.

Up first was Detroit trio The Bends whose set focused on their full length "Those Who Worked" which came out in October of last year. With Kevin Briski on guitar and vocals, Aaron Kub on guitar and Denny Scheibe on drums, the band's sound is a mix of rock genres including garage with a bluesy twist. Highlights of the set included the blues-rock burner "The Flight To Varennes" and the surprisingly gentle ballad "Your Heart". As I listen to some of these songs again on their Bandcamp page, I'm regretting not picking up this CD, something that will have to be rectified soon. Add The Bends to the list of great music coming out of Detroit. 

Bear Lake was next and this marked my third time seeing this rising band. They've had a few songs placed on television programs and their current album "If You Were Me" was one of my favorites of 2011, and landed them on the CMJ Album Charts as well. They're certainly poised to be another band that breaks out nationally from the area, with a sound that has been compared to everyone from Radiohead and Death Cab For Cutie to Snow Patrol. But, frankly, Bear Lake are making much better music than the fluff coming from the likes of Snow Patrol lately, if you have not caught them live make sure that changes soon.

As much as I enjoy the majority of their studio stuff, their live set adds a harder edge to some of their more polished studio material. They stretch out some of their best tracks like "Raid Out" and set closer "It's Over" to great effect, and Jon Rice, who also handles lead vocals, showcases his work on lead guitar with extended soloing not found on the studio versions. A lot of hard work and a ton of shows has put Bear Lake near the top of live acts in Detroit right now, their sets are that good.

Closing out the night was the act the majority of those in attendance had come to see, Brandon Husken and his project Brae. With this being Husken's CD release show, the Pike Room was filled with friends, family and associates. I swear I had the feeling we were the only ones in the room who didn't know Husken and the band in some way, but it was great to see such overwhelming support as that was as packed as I've ever seen the Pike Room. Husken has been a drummer with various bands in the Detroit music scene for over 20 years but decided to make a go of it with his own project, Brae, releasing his first album in 2008. This show marked the release of his third album, the wonderful "Another Time And Place", a much more collaborative effort. And many of those collaborators joined him onstage for the show.

Husken's stage set-up is rather unique. As both the drummer and lead vocalist, he stands at the front of the stage with a full drum kit around him while he also sings. Being that close gives you a whole different perspective on the drummer, who is normally buried at the back of the stage, and it was really a singular experience to watch someone that in command of the drums within inches of you. Husken was joined onstage by seven others during the set, including five who played on "Another Time And Place", and a string section of Brandon Cota and Jenna Bottiaux. Jon Sheard handled lead guitar while Adam Serruys also was on guitar, mainly acoustic. Rounding out the band was Takashi Iio on bass, Jason Warnke on keyboards and Erica McManus on backing and co-lead vocals on many of the songs.

Husken warned that he was a little under the weather and his throat was bothering him, but you really couldn't tell during the show. Not only was his drumming impressive, he was in fine voice throughout their set. The band went through the majority of the new album including the title track, "Truth", "Together" and "That Was Then", and the material sounded as good live as it does on the CD. I'll have a review of the CD up soon as well, as it's surely slated to be one of my favorites to come out of Detroit this year. Husken seemed a bit overwhelmed at times over the turnout and, as an outside observer, it was truly heart warming to see. Brae produces a mixture of rock, pop, country and folk influences that meld into  fantastic, melodic music. Hopefully this project will become a mainstay in the Detroit music scene, as well as finding an audience outside of it, and I hope to catch Husken and his band again and often.

Album Review: The Juliets "Perfect Season"

I've been hooked on the music of The Juliets since the first time I saw them live in 2009. Their self titled debut album was one of my Top Five albums of last year and they are back with the follow-up, "Perfect Season". So, did they avoid the dreaded sophomore slump that derails so many bands? Absolutely, and then some.

"Perfect Season" continues The Juliets' mastery of pop music with a twist of baroque and classical. Jeremy Freer continues his uncanny ability to compose top notch songs with all the melodies and hooks your ears desire. It's a gift he puts to good use across all twelve of the tracks on the new album. The duo of Kaylan Mitchell on cello and Sarah Myers on violin still serve as the heart of The Juliets unique sound. Their strings do not serve as filler, they are at the forefront of each song, as important to the band's music as  typical pop-rock instruments like guitar, bass and drums. Speaking of bass and drums, Ashton Hopkins and Jaclyn Phillips round out the lineup this time, making their debut on record with the band.

Produced by the band along with Dave Feeny, "Perfect Season" definitely has a more polished sound than their debut. Also instantly noticeable is the prominent role electric guitar plays on a number of songs. Piano is usually Freer's instrument of choice, and it is utilized often here, but tracks like the driving "Heart In Heart", "Why Should I?", and first single "Loon" are propelled by Freer on electric guitar, as opposed to the acoustic that was used on their debut. Regardless of what his instrument of choice is on any song, Freer has an instantly catchy, accessible melody and chorus ready made for each one. "Only You" even brings some electronic beats and effects into the mix, but these additions do not detract from the formula or distinct sound of The Juliets. They're only occasional enhancements that leave the door open for them to experiment more in the future, without losing what makes their music so special.

There are still plenty of piano based compositions here too, with the best being the energetic force that is "Fashion", quickly becoming a live staple for the band. "G.W.N.L." features Sarah Myers' vocal debut on record in this duet with Freer and "You Found Me Out" closes the album with a bouncy, light pop piece. In ballsy fashion, the longest track here is "The Lost Memory", a lovely instrumental waltz placed in the middle of the album, giving Freer room to show off his skills on the piano while Mitchell and Myers do their thing on the strings.

As good as the uptempo material is, The Juliets also deliver their two finest ballads to this point. "A Perfect Season" opens with electric guitar while somber strings play and the song's beauty just grows from there. Freer's falsetto soars on the chorus of this declaration of love and devotion. Placed near the end of the album is the stunner "Ad-Lib".  Backed by just piano and strings, Freer delivers a vulnerable vocal performance with a melody that is heart achingly gorgeous. He'll be hard pressed to top himself in the ballad department after this one, but it will be a pleasure to hear him try.  

Although I think I favor their debut slightly more, there is not a bad track on "Perfect Season" and it is a perfect follow-up. The Juliets retained everything I loved about their first album while adding in some new musical elements. Jeremy Freer cements his reputation as one of the finest composers working in Michigan and The Juliets are one of, if not the, finest pop bands currently in the state. Much like their debut, "Perfect Season" is an album worthy of breaking them on a national level.

"Perfect Season" was self-released by The Juliets on November 5, 2011.

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Music Video: Dale Earnhardt Jr. Jr. "Simple Girl"

Hometown favorites Dale Earnhardt Jr. Jr. have just released their second music video, for the track "Simple Girl". Josh Epstein and Daniel Zott work their love of basketball into the storyline and of note to DEJJ fans, this is a remixed version of the song, quite different from the version on their debut album (and before that the "Horse Power EP"). I think I like the stripped down simplicity of the original a bit better, but this is a nice re-working. Now to see if I can track down a promo CD of this version...

Concert Review: The Juliets - Emagine Theater, Royal Oak, Michigan, 9/2/11

After seeing Jessica Hernandez and the Deltas, then Dale Earnhardt Jr. Jr. back-to-back at Arts, Beats & Eats, an indoor show with another of the Detroit area's best, The Juliets, seemed like the perfect cap to the evening. The heat outside was beyond ridiculous so it was nice to head inside to the air conditioning of the Emagine Theater in Royal Oak for an Arts, Beats & Eats after-party. 

Taking place inside the Skybox Lounge, the party also served as a promotion for the upcoming MI Fest '11 outdoor music and camping festival, taking place at Michigan International Speedway on September 17. The Raconteurs and Sheryl Crow are headlining this event, but there will be plenty of great local music represented there as well, including the aforementioned Jessica Hernandez, Bear Lake and The Juliets.

It had been well over a year since I last saw The Juliets live, which is way too long. In fact, the last time I saw them was at the release party for their self-titled debut album and first music video in early 2010 at the Majestic Cafe. This was my first time seeing this lineup of the band, with Jaclyn Phillips on drums and Ashton Hopkins on bass replacing Scott Masson and Kip Donlon respectively. As I expected, the fact these five have been playing together over a year now, has them sounding tight and polished live. Phillips and Hopkins make excellent additions to the band.

Their set was a good mix of songs from their debut and new ones from their forthcoming second album "Perfect Season". Musically, the band sounded as great as I remembered. The problem on this night, not really through any fault of theirs, was the venue just wasn't very suitable to live music. The mix was extremely muddy and Jeremy Freer's vocals were buried way too deep. It made it difficult to hear what he was singing during the new songs especially. His vocals also caused the bass drum to vibrate all night, making it even tougher to hear clearly. They sounded as good as I've come to expect from this band, but I'll have to wait for the album to truly 'hear' these songs for the first time. Credit to Freer and his bandmates for soldiering on despite the feedback, his piano cutting out and the overall lousy sound mix they had to endure most of the night.

After opening with an extended instrumental, showcasing Kaylan Mitchell on cello and Sarah Myers on violin, they went into "Who Needs Astrology?" then "This Just In", the first single from their debut album.The first new song of the night followed with "Heart In Heart", which they also released for free as part of their "Awaited Season EP" download.

They returned to their first album for "The Letter" and "Sweetheart" before a run of six new songs from "Perfect Season" starting with the gorgeous title track, the favorite thing I've heard so far off the new album. The new material continues the mix of baroque and classical pop the band hangs its hat on, but there is also a much heavier rock influence on a number of these songs. Freer had his electric guitar out often during the new material and its a welcome addition to their sound. One of the new songs also featured Sarah Myers in a duet with Freer on lead vocals. 

After the smashing "Fashion", The Juliets closed the night with "Evolved Into", one of the best from their fine debut album. It was nice to be able to see them live again, Freer is a helluva songwriter, and I'll definitely have to make an effort to get out and see them more as the lousy sound left me wanting another show. This is another of the best bands coming out of Detroit, how about next year they're actually playing an Arts, Beats & Eats stage? They surely deserve to.