Last Train Home
Last Good Kiss

“Love’s come down like a big storm / I don’t see any break in the clouds,” sings Last Train Home’s Eric Brace on “Flood,” one of several bracing entries on the veteran Nashville band’s seventh album, Last Good Kiss. But if this is a lucky seven, Last Train Home doesn’t let on. Road tested over much of last year, the new record is a tough, tenacious set of songs sprung from tangled reflection and emotional imbroglio.
“There’s been lots going on, a bit of turmoil, and that’s when some of the best stuff pops out,” Brace insists. “It’s part of growing up, growing older, feeling more assured in some things, less certain about others. I just wanted to capture that.”

The sterling melodies belie any hint of uncertainty. The title track provides a rugged album opener, propelled by a sturdy strum and an insistent surge. “Can’t Come Undone” tempers expressions of regret and remorse with a loping rhythm that also asserts unbounded determination. The haunting “Kissing Booth” and the meandering “May” connect with a sinewy, seductive allure, while tender ballads “I’m Coming Home” and “The Color Blue” bear a loftier, love-struck stance.

Blues hues and blue-collar environs seem to find natural synchronicity, and the mesh is seamless. “I wasn’t going to put out a record with any throwaway tracks,” Brace asserts. “I was going to have to stand behind every cut on this one in a way that maybe I didn’t on previous albums.” That tack pays off. Confident and cohesive, Last Good Kiss offers furtive glances that rapidly gel into an enduring embrace.

lasttrainhome.com

Kellie Coffey
Walk On

With a top 10 country single her first time out and designation by the Academy of Country Music as 2003’s Top New Female Artist, Kellie Coffey had reason to perch her head in the clouds. Thankfully, her sophomore set Walk On is as grounded as its title implies, offering songs that echo everyday observations and circumstances.

Coffey’s intuitive skills allow her to temper her sentiments with both wit and wisdom. “When Pigs Fly” reflects her down-home defiance, while “Bandwagon” takes aim at the excesses of modern materialism. However, she’s also wistful and reflective, never more so than on “I Would Die for That” and “I Thought I Knew You Well,” heartrending ruminations on infertility and infidelity. As Walk On showcases Coffey’s artistic independence, it traverses honest emotions along the way.

kelliecoffey.com

Femurs
Modern Mexico

If the White Stripes started a trend towards lo-fi minimalism, the Femurs may become its greatest champion. A duo from Seattle, they specialize in rudimentary rockers driven solely by drums and acoustic guitars. Their latest offering, Modern Mexico, features six new songs and an additional half dozen from a previous release, Jack Cafferty v. Chuck Scarborough, but it’s the template—a pop-punk approach with a homespun twist—that takes center stage. They wear their influences proudly, with hints of the Ramones, Violent Femmes and Sebadoh reflected in their decidedly unhinged attitude.

In fact, Modern Mexico provides one continuous rave-up, from the rancorous stomp of “Vitamins” to the jaunty sway of “Plastic Swords” and the carefree, kinetic “Crazy Girl.” These bone-rattlers provide a guilt-free groove.

losfemurs.net

Bobby Hamrick
In the Pines

Bobby Hamrick strikes a sentimental chord with the title track of his debut album, an emotional serenade that conjures bucolic images of cabins, campfires and cozy embraces. With its unplugged arrangements and breezy pace, this ode to the outdoors brings to mind John Denver celebrating the joys of his Rocky Mountain high.

Hamrick frequently wears his heart on his sleeve—“Everything for You” and “Life of the Party” show that—but he’s also a spiritual guy fueled by faith. The rambling “Push on Through” and bluesy “Shades of Grey” offer homage to a higher power while avoiding any overt attempt at preaching or proselytizing. Not that In the Pines relies only on mellow musings; “Don’t Just Turn It On (Turn It Up)” becomes a fiddle frenzy, while “Dancing Song” explains how a man with an aversion to the dance floor creates smooth moves. Evocative yet unassuming, In the Pines provides just the right setting for a wistful retreat.

myspace.com/bobbyhamrick

Haunt
As Blue as Your Dying Eyes

Western Massachusetts has produced a steady supply of talented musicians, and scene veteran Matthew Hebert has earned a spot at the forefront with the first album from his latest project, Haunt. As Blue as Your Dying Eyes is a collection of elegant, rootsy tunes marked by gritty electric guitar fills and subtle vocal harmonies as Hebert ponders life with a world-weary air that’s as much a part of New England as colorful autumn foliage.

He sings in a tousled voice that sounds like it has known the loving touch of whiskey, sighing over the past on “Run Run Run,” wondering at his own behavior on “Poisoner” and singing with quiet, earnest devotion on “Love Song,” which aired on the CBS sitcom How I Met Your Mother. All in all, a collection that will leave you marveling at its finesse with no time to be blue. —Eric R. Danton

hauntmusic.net

Dan Israel
Turning

When it comes to birthing musical talent, Minnesota has an impressive record. So it’s not surprising that favorite son Dan Israel’s vocals bear a striking similarity to another Minnesota homeboy, one named Dylan. But while some claim the Bobster’s style has grown increasingly dour of late, Israel’s music—as evidenced in this, his ninth album—is as spirited as it is sublime.

Backed by an all-star musical contingent (various Jayhawks, Foo Fighters, Son Volt and Semisonic members included), Israel’s troubadour stance—whether on weary, back-porch rambles (“Triangle,” “6/20 Song”) or sprightly sing-alongs (“Counting on You,” “News to Me”)—boasts a rich melodic tapestry. Occasional detours aside (like the eerie wail of sound reverberating through “Song for Africa,” more specter than Spector), Turning is well worth a spin.

danisraelmusic.com

Christine Kane
A Friday Night in One Lifetime

Despite five superb albums and astute songwriting skills, Christine Kane hasn’t attained the critical lauding of such like-minded peers as, say, Janis Ian, Catie Curtis and Eliza Gilkyson, all of whom stride similar terrain. That’s unfortunate—Kane’s ability to encapsulate scenarios both humorous and heartfelt easily rivals them all.

A Friday Night in One Lifetime (and separate DVD offering Live At the Wortham Theatre) justify that appraisal. Capturing a thrilling set of songs, the double disc boasts narratives that are tender (“Falling in Love With the Wind,” “Right Outta Nowhere”) and tenacious (“Four Legs Good. Two Legs Bad,” “All the Relatives”), with the pithy in-between patter showing a savvy for stand-up. Her second live offering, it reveals a seasoned entertainer with a great gift for gab.

christinekane.com

Stephen Kellogg & the Sixers
Glassjaw Boxer

Stephen Kellogg’s journeyman trajectory has taken him from indie folkie to major-label hopeful and back to the honest, Everyman stance that finds him determining his own destiny. His latest effort, with erstwhile backing band the Sixers in tow, is a superb set of rugged, road-weary anthems that Kellogg excels at, showcasing the grit and defiance of Springsteen/Seger/Mellencamp filtered through an Americana perspective.

Glassjaw Boxer’s fiery exterior shields a tender soul. Songs like “Sweet Sophia,” “In Front of the World” and the title track boast a surging, rousing revelry seared with sheer exhilaration. But when Kellogg’s in reflective mode, as in the two beautiful ballads “Father’s Day” and “Hearts in Pain,” the stirring of hope and heartbreak is palpable. Consider Boxer another winning round for Kellogg.

sk6ers.com

The Selfish Gene
The Grand Masquerade

The sophomore set from the Madison Wis.-based quartet with the odd name is immersed in ambition—a stunning blend of giddy, effusive melodies with a cerebral mindset. When was the last time anyone opened an album with an orchestral overture? Arty and articulate, the Selfish Gene recall the grand designs of Yes, Queen, ELO and even, on occasion, the Fab Four and Canadian prog rockers Klaatu.

Despite their precocious tendencies—sound effects, maddening shifts in tempo, synths, heady musings—their tunes remain anchored in relentless energy and easy accessibility. “Bad About It,” “Idiom” and “Archipelagos” are so shimmering and celebratory, they soar on pure exuberance. Even in thoughtful mode—“Overboard” and “Evolver,” for example—they’re thoroughly engaging. The Selfish Gene share their talents freely.

theselfishgene.com

Phil Tagliere
The Ghost of Brian

Phil Tagliere’s second solo album following his departure from Gingersol, the band he helped navigate with his brother Steve, continues the path he forged with Slow, his aptly-titled debut. Tagliere parlays his wistful, weary reflections into a broad emotional palate, but this time around, the music is enhanced by richer arrangements and a more accessible sound.

The set begins sturdily enough, thanks to the rugged strumming driving “Shrinking Violet.” However, the forlorn sentiments of “Christ When All Is Shaking” and the tender lilt of “Russian Hill” and “You Go Away” make Ghost seem more fleeting. Nevertheless, when “My Friend Bill” and “Maybe This Time” gather momentum, Tagliere’s celebratory spirit makes itself known.

philtagliere.com

Chris Trapper
Hey You

Chris Trapper boasts an impressive pedigree and a proud indie ethic, having helmed Boston band the Push Stars since the mid-’90s. While that band attracted notice with their reliable repertoire, Trapper’s solo discs provide the better connection. After detouring into trad jazz with sophomore set Gone Again, he returns to the rich, reflective narratives that marked Songs From the Drive-In, his exceptional debut.

This time, Trapper enlists impressive support, including Martin Sexton, Duke Levine, various Push Stars and players from Great Big Sea. Still, it’s his insightful, first-person perspective that entices, whether it’s the humor that belies pathos in “Wish I Was Cool” or the aimless malaise occupying “35th Birthday.” Add a wealth of arresting melodies and Hey You becomes a beckoning call that’s hard to ignore.

christrapper.com

Kym Tuvim
Nothing Sweet Nothing

Classically trained and well versed in a variety of genres, Kym Tuvim summons her disparate influences on her excellent third album, tapping into homespun folk, trad jazz, swampy blues and ethereal soundscapes along the way. With a knowing perspective reminiscent of Carly Simon, Joni Mitchell and Aimee Mann, her songs practically seethe with sensuality.

Consequently, Nothing Sweet Nothing offers an instant connection, from the easy, loping “Pendulum” to a skittish, spirited “Birdsong.” Even when she settles into a slow, measured drift (as in the case of the easy duo “Reach” and “Reservoir”) or frays things around the fringes (a tack she takes on the tangled twosome “Mystery” and “Skin Muscle Bone”), Tuvim maintains an open embrace. Ultimately, Nothing Sweet Nothing is nothing if not delightful.

kymtuvim.com