Sharp sounds

Eric Fontana, Spogga, and more

by Bob Gulla

Spogga

As we trot out some fresh recordings, we discover there are some interesting acoustic treats to enjoy, as well as some cool indie rock and a small dose ofhip-hop fun. Come friend, come and enjoy it with us . . . .

rebuilthangartheory: Rival of the Cold (Brentwood Estates CD)

It's nice to know that indie rock is there when you need it. That the organic sounds of skilled, sky's-the-limit exploratory bands are only a quick grab away. Rebuilthangartheory is RI's own entry in the competent indie rock sweepstakes. With one foot in pop songwriting, the other in subtly dissonant guitar playing, the Providence boys -- Sean Andrews (bass), Ken Linehan (guitar), Rick Prior (drums) -- adeptly recall the early work of once-formidable bands like Yo La Tengo, the Feelies, Sonic Youth, and Slovenly. The sound takes you back to a time when cool hooks were quiet but present nonetheless, and when the performances, especially on songs like "Dying Breed of Arrows" and the opening "Shark Fin Tube," were sharp without being musicianly, keen without being hip. It's certainly not the kind of stuff that's gonna compete with rap metal or any other oxymoronic mainstream alternative crap and that's why we like it. Like jam bands, inspired indie rockers like rebuilthangartheory exist on their own little precious plane, without affectation, without pretense, and without a lotta extraneous bullshit. That's why it demands your attention; it's like someone whispering when you expect them to scream.

Eric Fontana: Sound Station Seven (CD)

Speaking of indie rock, Eric Fontana weighs in with his debut solo disc, named after the room in which it was recorded. Sparsely arranged but sweetly melodic, the record consists largely of acoustic guitar, vocals, and a few keyboard tracks. Fontana's sound contains echoes of work by Graham Parker ("Saturday Ain't What It Used To Be"), Marc Bolan ("Happy Star"), and Gram Parsons ("Did It Again Today"), which puts him in good company. Trained in part at Berklee, Fontana is a capable guitar player and singer, and this record reflects a certain confidence on his part, a bold sort of resolution in knowing that what he says and how he says it is worth hearing. And he's right. Sound Station Seven is a remarkable creative statement, full of resonant images, rich melodies, and potent performances. On songs like "I Wouldn't Have To" and the Hank Williams-ish "Not Enough Lovers In the World," Fontana sings with an empathic romanticism, a relatable intimacy that has made his area shows a success. Rare is the acoustic songwriter who can write and sing songs actually worth listening to. Eric Fontana is just that: rare.

Spogga: Receive & Transmit (www.spogga.com)

Acoustic performer Spogga has accomplished a pretty amazing thing on this, his second disc. Not only did he record it from a single performance at Club Demenshen back in March of this year with only two mics placed in the middle of the room, he made the whole damn set entertaining. Get it? No fidelity, no production qualities, just a man, his guitar, a pocketful of songs, and a bunch of random crowd noise -- yet it still manages to tell a believable story. Spogga is a brazen, uniquely talented and forward-thinking artist, concerned more with building an audience from the ground up than dashing off to find a major label deal. Not that they'll come a-knockin' anytime soon. Spogga's a little too far along creatively for the majors right now. A quick listen to his cover of Hendrix's "Are You Experienced?" or one of his own tunes, like the charming "Midnight" or the frenetic "Manhattan," demonstrates that.

Following Spogga's six-song live set are four bonus tracks which contrast the rawness of the concert material. All of them, the passionate "Myth," the soulful "Starships," the Eddie Vedder-ish "Sweet Water Moon Child," and the chant "The Nile" showcase a more careful studio side of the artist, which for different reasons is also worthwhile. Significantly good.

C.L. & D. Boogie: Ryan Stiles (MP3.com, www.100proofrecords.com)

One thing that the evolution and subsequent popularity of rap did was put the ability to succeed in the hands of everyone who could afford a microphone. No longer was it necessary for budding musicians to be funded, at least at first. Now, kids could sing along to a beatbox and, provided they could rip samples with some dexterity, send a tape into a label and hope for the best. Of course, that rap and hip-hop scenario doesn't occur often, or at all, here in the Ocean State. But then again, there's C.L. & D. Boogie, two white boys looking for some attention on the area hip-hop scene. "[We're] just a couple of guys trying to bring fun back into hip-hop," they say on their MP3 app. And it's true. Ryan Stiles, named after the ostrich-like supporting actor on The Drew Carey Show, is full of low-key rap and giddy antics. Though it doesn't always compel, the duo does a nice job coming up with some off-kilter experimentation like "Just Dope" and "Killin' Me." Maybe it's me, but their departures from hip-hop sound more innovative and intriguing than their straight-up beats, which don't have enough punch to be effective. That may be a budgetary shortcoming, of course, but if these two freaky rhymers decide to turn inward and experiment my ear is all theirs.  

WANDERING EYE. Alec Redfearn and company have an event in the offing. On Tuesday, December 5, his musical platoon, the Eyesores, will be throwing a CD release party at the Carriage House Dance Theatre (7 Duncan Avenue, off North Main Street in Providence). The band, which rose up from the detritus of the notorious Amoebic Ensemble, will be celebrating the release of Bent At the Waist, their third set.

Recorded at Sound Station Seven, the CD documents the phase of the band that occurred after the departure of original members Everett and Mark Pedini. Writes Redfearn, "The resulting disc is a melancholy experiment in songwriting with elements of minimalism, tango, noise, cabaret music, Eastern European influenced swamp-rock, and film noir jazz. It's a vast departure from 1999's May You Dine On Weeds Made Bitter By the Piss Of Drunkards . . . and the perfect music to blare on the car ride to rehab or the nuthouse." The recording and performance lineup features members of Stringbuilder, Iditarod, and Difference Engine. It's an early show (7:30), and it's cheap ($7), and features special guests Shalabi Effect, fresh in from Montreal. Call 351-2589 for more details.