No turkeys

Annika Bentley, Vivian Darkbloom, and more

by Michael Caito

Annika Bentley

Though we've given them plenty o' cheek over the years, the fact remains that I've heard songs by John Cafferty and the Beaver Brown Band come from jukes and radios in a Montana bait shop, an Italian gelati joint and a south London blues bar. All three times people present started singing along, an event which, hard by Trevi Fountain in downtown Roma at night, is about as Zen as it gets. I would have checked myself into a loony bin, but realizing Iwas already in Italy, I toppled the government instead. Took maybe 10 minutes. Congratulate the Beavers on a quarter-century of roadhouse rock at the Call on Friday.

Annika Bentley: See You Around, Lifeguard (Billy Likes the Samba Whistle Records 10-song CD; www.annikab.com)

A Rochester teen schooled in choir brings a trio to back these offerings, and regardless of age this young woman is one to hear. Teen angst never besmirches her crystalline visions, and that voice, containing elements of Joni, Ani and Tori, sounds positively lush when backed with her own piano / guitar or the fine work (violinist Rebecca McCallum, cellist Heather Hutton, bassist Kathleen Fraser) by her accompanists. Nerve coupled with verve make occasionally overwrought phrasing and lyrics not only forgivable but endearing. Cloying adolescent whining is never there, but susurrant songs are. The kids, once again, are alright.

Vivian Darkbloom (6-song independent cassette; modus@as220.org)

The framework of greatness lies within, as these six songs (including a Neutral Milk Hotel cover) attest to frontman Matt Obert's songwriting and arranging abilities. Backed by drummer Kristin Hultgren and bassist Lucy Perry, Obert, whose dad does sound for Stone Soup, invests his frazzly pop tales with sprigs of irony and frustration, leavened with enthusiasm and wit. Production-wise it's about as ramshackle as they come, but there's a sense of camaraderie in the zeal with which he overturns pop's apple cart that is unmistakably endearing, if occasionally acerbic in subject matter. But it's a tricky balance: dolled up a bit, these tracks would seem less precious, but that's probably why they work so well together in the first place. An auspicious homespun start for the trio, it should also be noted that Obert is again writing a music column, this time exclusively online at the www.as220.org. site.

String Builder (4-song independent cassette)

The brothers Thibodeau, Alec and Joel, expand their double vocal / guitar to encompass a rhythm section and a smattering of lap steel on this four-song demo, produced by Figgs singer / bassist Pete Donnelly -- himself performing at AS220 on 12.11 -- at his home studio in the Armory District. "Lake View" remains a searing beam of pop genius, and though the final three can't match it, it's less due to their weakness and more due to that song's brilliance. Played in tandem with the Vivian Darkbloom, there's a solid reassurance that, newcomers and veterans alike, there's a pulse of excellence beating strongly in the veins of Providence's pop scene.

This Is Springfield, Not Shelbyville! (47-piece Simpsons indie tribute compilation)

Apu to Willie, Marge to Millhouse, all your faves are represented in this punk and hardcore tribute to America's, umm, something. To what? Well, an excerpt of the organizer's message sums it up: "In a land where fireworks are illegal but any asshole can own a gun, where the evil monsters known as drugs and gangs are used as an excuse to institute curfews on the youth, and where 500 high school teachers earn less in one year than Jim Carrey earns for one fucknut movie, Iam happy to see punk/hardcore and the Simpsons still going strong."

Dozens of tracks -- about a half dozen of which are powerful good -- are separated by the series' many hilarious one-liners, with (mostly, though not exclusively east-coast) bands bringing sonic takes on the tribs of the intrepid Lisa, the murder of Troy McLure (aka Phil Hartman), what's in Kwik-E-Mart and what's under Willie's kilt. Several are interpretations of songs altered from the on-show original (Burns' "See My Vest," "Flaming Moe's," "Nelson's Song to Lisa," "Susie Derkins"), and Wakefield's Arson Family chip in with a typically furious and brief "Six Pack of Duff's." Not to be confused with the official Rhino releases. Duh. If you're a fan, disliking this one's probably unpossible, and heads up for the Arson Family's new split 7" with 46 Short on Long Beach's Know Records, out now.

American History X (Angel Records 17-composition soundtrack to the New Line Cinema film)

Early reviews spanked the film pretty hard, but before it dives to video it should be noted that Anne Dudley did a great job on this soundtrack. You may remember her work from The Art of Noise, the British duo (with Trevor Horn) which can certainly lay claim to being one of the earliest bands to wholeheartedly embrace sampling. Film compositions for The Crying Game and The Full Monty eventually won Dudley an Oscar for the latter, and the Art of Noise is actually ramping up for a comeback of sorts, The Seduction of Claude Debussy (on the UK-based ZTT Records) in a few months, along with the re-issue of her well-received '95 solo disc Ancient & Modern. Meshing the sensibilities of a pop recording studio necromancer with the classical training she received at the Royal College of Music and later King's College, her dexterous use of a boy's choir throughout this gripping score (which she composed, produced, orchestrated and conducted) is breathtaking, making this one of those now-rare soundtracks which pack at least as much wallop as the film. Wagnerian elements? Sure, but aren't they also running around banning his music these days? Poke around enough and you'll hear inspiration from the Catholic Mass, Mozart and, probably not surprisingly given Dudley's next CD title, Debussy.

Ticking off the film's cast, it would seem to be worth a trip, but no matter which way crits point their thumbs, this soundtrack is worth your time.

Fall City Kings: King Size (10-song independent CD)

Agristly blues record featuring Kevin Mack, who by surrounding himself with a band has gained and lost. His most recent single was gutbucket, slimy, and gross, blues with B.O. and a heart of gold, and at certain points in this Chris Cugini (Delta Clutch)-produced swamp rave his earlier, self-accompanied growl's effectiveness is lessened. But that's nitpicky stuff, as on the whole it has a wobbly swing and shuffle that's both slinky and stinky. Mack's guitar playing won't win any awards, and certainly not acknowledgement from the (at least a) dozen R.I.-based slingers who could crush him on points of taste, but his songs will stick you with a shiv if you're not careful. Harp and keys utilized to good effect, the Framingham-based quintet lock into a grimy, rascally groove that features several illuminating moments, like "Frog Legged Woman," "I'll Tell You" and "Get Your Bad Dog Off Me."

STARS & BARS. Load Records pointman Ben advises that Astoveboat's New Bedford, named after the duo's (drummer / percussionist Dale Cunningham and bassist Tom Coucci) home base before they moved to Providence, is selling very well. It's experimental, boomy, beaty bottom end, courtesy of a 55-gallon drum and fuzzed bass, and a killer pea soup fog of a record. They tour with the revamped Six Finger Satellite this month, here to Texas and back.

The Muir String Quartet perform works by Beethoven, Haydn and Shostakovitch on Monday at the Rhode Island College's Roberts Auditorium, and CAV has a rattling weekend with the Geri Verdi Blues Ensemble on Friday and Greg Abaté's Jazz Ensemble on Saturday. Shed have those two record-release nights, and in the Barr Essentials department, the Slip substitute gecko for turkey as main course at the Living Room on Thursday. Varnaline also rearrive on Tuesday, to play songs from their best to date, and newest, Sweet Life (Zero Hour). This is a trio (brothers Parker and drummer Jud Ehrbar) who can and just may knock your socks off.