NOTAR was playing gigs all over NYC a few years back when he caught the attention of Counting Crows’ frontman Adam Duritz. Loving what he heard, Duritz signed NOTAR to his label, Tyrannosaurus Records. With a genre that is his own, NOTAR mixes hip-hop beats, intense rock riffs and has a stage presence like no other. You can check out NOTAR’s self-titled EP when it drops on September 14, 2010. To tide you over until then, Revolt’s Evelyn Miska Krieger recently caught up with NOTAR to ask him a few questions.

REVOLT: You’ve had the chance to work with hip-hop producer MGeeZy. What was that experience like?
NOTAR: Truly, I feel blessed for being able to work with MGeeZy and continuing to work with him. He understood the musical direction I wanted to head towards and the rock/hip hop dynamic works really well for us. Honestly, he is one of the most talented individuals I have ever known. We work well together to say the least.

REVOLT: What in particular did you learn from working with MGeeZy? Is there a “number one” piece of advice you were able to take away from working
with him?
NOTAR: When you’re working with different people I think you always pick up on different things. I never really have to think when making music with MGeezy. It’s natural and when it is completed, it’s epic. I wouldn’t say there was any real advice I received or gathered from working with him but if working with him did anything, it truly reinforced how bad I want to win and, again, how truly blessed I have been to be able to work with such talented individuals. Ask MGeeZy if he received any advice from me. I’m sure he has! Hahaha!

REVOLT: What kinds of approaches did you take into recording your EP? What would you change for the next album you put out?
NOTAR: The approach/purpose for this EP/(and full-length to follow) was to create songs based around a character facing a lot of hardship in his life. I wanted to paint the picture of someone encapsulated in madness, temptation, pain, and immediate gratification. A lot of these songs were based around that ideology. I create each song differently but time and patience usually are the two main components. I believe as you grow and time moves forward, things always change. Music should change and reflect the times in your life that are changing. As long as I’m being honest and true to myself that will determine what changes.

REVOLT: What are you most proud of about your self-titled EP?
NOTAR: I’m most proud I was able to record it and extremely proud that people will hear my work. I put my heart into every song.

REVOLT: You’ve been wrapping up some touring with the Counting Crows. What was that experience like?
NOTAR: It was truly the best time of my life. To be on the road doing what you love with amazing musicians such as the Counting Crows and Augustana was incredible. I wish I had the words to describe how fun that was.

REVOLT: Do you have any further tour plans for supporting your EP? What is your next step?
NOTAR: Yes, I plan on getting out and touring as much as possible. This is being sorted out now. My next step is to continue to work hard and keep recording. How hard I work depends on what is next. Touring is the most important thing for me right now, though.

REVOLT: What is the best part of your work at this point? What is the most difficult?
NOTAR:The best part is being creative. Waking up one day and saying ‘I want to give the world something tomorrow that it doesn’t have today.’ I love writing and creating. The most difficult is the “hurry up and wait” of this
business. “Get this done you have to hurry!” Then I get it done and I’m waiting for something to happen. Was it Bono that said “running to stand still”? Well, that’s how I feel a lot of the time. Haha!

REVOLT: Coming from formal jazz training, how has that background influenced you as you’ve moved into the hip-hop world?
NOTAR: Music is music. I feel that trumpet playing and being trained enables me now to have a better grasp on rhythms and the way I can approach cutting up a beat vocally. It helped my ear as well as overall musical knowledge.

REVOLT: What do you think are some of the most interesting trends in music right now? Is there any particular band or musician whose recent work you’ve gotten excited about? Are there any forthcoming albums you’re
particularly interested to hear?
NOTAR: Whatever is great I love. Goosebumps/chills are my sign something I’m listening to is great. I’m a huge Jack White fan as well as a fan of a slew of others. I’ve been listening to a lot of Wolfmother lately as well. Music as a whole excites me and I’m open to it all.

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The Hush Now’s latest EP is slated as both a conclusion and a new start. Shiver Me Starships follows their full-length album Constellations and is a precursor to their next full-length album due out in the spring of 2011. For this EP the band had the opportunity to work with Benny Grotto (The Dresden Dolls) and Jeff Lipton (Arcade Fire) and although they had the chance to collaborate with such big names and the fact that The Hush Now isn’t a brand new group, the album is lacking a certain something. The vocals frequently sound strained and that, sadly, overshadows some of the good things the band does with the instrumentation. There is possibility on Shiver Me Starships, but the full follow-through isn’t there.

It is difficult to say whether “Other Ones” is supposed to be a take-off on the old Sesame Street song that had the lyric “one of these things is not like the other,” but if the similarity wasn’t intentional, The Hush Now better be prepared for the comparison. That similarity aside, there’s something strained about the song and lead singer Noel Kelly sounds like he’s having difficulty with the vocals towards the end of the song. That makes for a rather weak opening track. That same vocal strain comes across on “Big Awesome,” but whereas it doesn’t show right away on the opening song, it rears its ugly head immediately on this one. Things get a bit better on the chorus, but, in general, this aspect is distracting from the rest of the track.

“Daedalus Bound” begins with a different sound and has more of a synth and keyboard harmony than on most of the other songs. This track also fares better on the chorus when it comes to the vocals, but slips on the verses where it sounds like Kelly is pushing himself too much out of his natural vocal register. The end result is a bit jarring and makes one wonder why some of those big names that worked on the album didn’t recommend a different approach. “For What It’s Worth” has some pretty melodies and the interesting inclusion of what sounds like an accordion, but, like most of the other songs, there’s something grating about the vocals that sound both whiny and nasally at the same time. This could have been a rather haunting track, but instead, it flops.

“Vietnam Giraffe” picks up the pace with a very fast track but falls prey to most of the same problems that the other songs have. The EP is rounded out by “Pure Gold” which, like the others, might have succeeded more had it not sounded like Kelly was going too far outside his range. At best, the track may be slightly reminiscent of some songs by Franz Ferdinand, but unless one can get past the irritating nature of the vocals that sometimes sound as if Tarzan were singing, the strengths of the song get lost.

Shiver Me Starships is a good example of how experience and having experts at mixing and mastering albums doesn’t guarantee that an album will be good. The saddest part of this EP is that it could have been much better if the problems with the vocals didn’t overshadow everything else. It might be time to reconsider a few things before putting the final touches on that full-length due to come out in a few months. –EVELYN MISKA KRIEGER

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Chances are fairly good that you haven’t heard of Sugar Army. For one thing, they’re Australian and seeing as the United States is a wee bit far from where they reside, they don’t come through here too often. For another, their latest album has been released on an Australian label, albeit the largest Indie label in the country, but that still doesn’t always get one on the American radar. However, these obstacles are not valid excuses when an album comes along that is this strong. The Parallels Amongst Ourselves is creepy, dark, weirdly addictive and completely worth giving a chance.

The album opens with “Parallels” which doesn’t immediately come off as the strongest beginning track with its quiet, almost muddy sound and moody tones, but it does build well into “Tongues In Cheeks.” This track was the album’s second single and it isn’t too hard to see why. The song sounds like a modern mix of Depeche Mode with a bit of War-era U2 thrown in. As with a lot of Sugar Army’s tracks, the chorus is catchy but edgy, which is a nice combination.

“Detach” maintains that same sound although it takes a bit of a slower pace, which only increases the moodiness- even though the chorus switches to a major key, which adds some variety. Lead singer Patrick McLaughlin seems comfortable in his higher register and rarely sounds strained hitting some of the higher notes in the song.

One of the best tracks on the entire album was also the band’s third single, “No Need For Lovers.” The song immediately grabs listeners with its tight vocals and catchy chorus but becomes increasingly creepy (though still addictive) after hearing about the song’s inspiration. Sugar Army cites a highly publicized murder of a teenage girl who was killed by two other young women and then dumped in a garbage bin in Australia in 2006. While the tale is grim, and even more so after reading news reports of the trial, the band has definitely succeeded with the track.

Occasionally the album sinks into a melancholy that might be difficult for first time listeners to get into and this happens with “That’s A Damn Fine Cliché.” Luckily for everyone involved, the slow-building song comes second to last on the album and has given listeners ten songs to see what Sugar Army can do and, perhaps, will give new-comers more patience when they get to this track. “That’s A Damn Fine Cliché” is worth the chance as it grows to a layered and heavy sounding melody with that same grim feel but occasional moments of lightness.

When one thinks of Australia there are probably a slew of other images or objects that come to mind long before one considers the musicians of the country. It will take a lot of work and some serious North American exposure, but Sugar Army stands a good chance of standing out from the crowd if they’re willing and interested in putting in the time outside their home country. The Parallels Amongst Ourselves is a creepy sounding album, but there’s still a spark to it and something very fresh that makes it tough to walk away from the collection of songs. – EVELYN MISKA KRIEGER

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Unless you’re a frequent viewer of such teen-oriented shows as Gossip Girl and Melrose Place, or even a closet fan of the Twilight movies, you may not have had much exposure to Eastern Conference Champions. Sure, they have a song on the Eclipse soundtrack and, yes, they even have had a song used in the show Friday Night Lights, but the comforting thing is that the band is actually good. The group has been around since 2005 and gone through some ups and downs while working with a subsidiary of Geffen Records. Ultimately, the band chose to leave their label and work independently. The result is their EP, Santa Fe. Although it is a quick look at what Eastern Conference Champions is capable of, it is a good sampling and carefully put together.

The opening track “Common Sense” is a bit harder and heavier than most of the other tracks on the EP, but, unlike some artists, it doesn’t come across as too much of a stretch for this band. The sound still maintains a consistency with the other songs to come while managing to be different enough to be unique. The guitar and bass lines propel the song and add in a gritty feeling that brings just the right “something” to the track. “Bloody Bells” has more of an indie rock approach and might remind a few listeners of David Grey. The song has a gentler feel but not so much so that it would put listeners to sleep and there is a rather cool instrumental bit roughly halfway into the song.

“Sideways Walking” slows things down even more than “Bloody Bells,” though the pacing works on the overall EP. The track has an easy, loping feel on the verses and picks up somewhat on the catchy chorus. Occasionally lead singer Joshua Ostrander’s vocals sound a bit on the nasally side, but it isn’t so prominent as to be irritating. “On Off,” like “Common Sense,” gets things going again with more of a rock and roll influence. This isn’t to say that the track is head-banging metal, but after two songs of increasingly slower pace, it was a wise choice and keeps the momentum up, not to mention, its quite a good song and one that is easy to listen to multiple times.

Like some very smart and talented bands, Eastern Conference Champions saved the best for last. “Silo” has a bit more of a country feel to it, but there’s something gripping about the pace, style, sound and vocals that just is hard to shake. It’s got a completely melancholy feel to it, but it is a track that will grab listeners, even if they’re die-hard country haters.

Santa Fe proves that it was a good thing for Eastern Conference Champions to strike off on their own and make some changes. The EP is excellent in a variety of ways and while it could be easy to make fun of a band that got included on a Twilight movie soundtrack, one has to hope that the publicity will work well for them as they prepare to release a full-length album this year. Even if it doesn’t exceed Santa Fe, if it only matches it, it will be an excellent album. – EVELYN MISKA KRIEGER

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After breaking up in 1999, it seemed as if the members of Far were going their separate ways for good. As sometimes happens, the end wasn’t quite so definite. In 2008 the band announced that they would be reforming and the 2010 release of At Night We Live is the culmination of their new work together. The songs range from melodic and slow to full out rock and roll, almost all of which will be right at home on contemporary pop radio. However, while some of the tracks will appeal to the average listener, there are a number of songs where things go just a little bit wrong and might easily have been fixed without too much effort.

“Deafening” might give a bit of a wrong first impression with it’s heavy, almost metal-like, introduction. While it doesn’t ever turn fully into a metal track, it is certainly on the more intense end of the spectrum covered by the album. “If You Cared Enough” still has that rock feel, but has a much greater pop influence on the chorus which almost sounds like something from a song by The Fray or Snow Patrol. Even if it seems like this sort of song has been done before, it succeeds more than “Deafening” since the band sounds more comfortable with this style.

“Give Me A Reason” maintains that pop-rock sound but is a little slow in tempo making it seem like the song was performed in slow motion or needs to be speeded up a little. “Dear Enemy” does increase the pace of things, but there’s an unfortunate problem with the lyrics (or their enunciation). While the chorus and many of the verses use the line “Dear Enemy” it actually sounds like the band is singing “Dear Abby.” While that might have been funny if intentional, it ends up being distracting from the actual song’s message.

“Better Surrender” is another track similar to “Deafening” in that it attempts to go a more hardcore route. Like a number of the songs on the album, it doesn’t fully succeed in reaching its goal. Rather than being a song that could pump-up listeners, it is too slow and sounds more like someone took a vinyl recording of a punk song and played it on a low speed. “Are You Sure” fares better with a good pace although it, like “If You Cared Enough” sounds like Snow Patrol heavily influenced it.

While At Night We Live isn’t a bad album, it also isn’t one that will stand out a great deal. Problems with some of the tracks are just too distracting to get past and those that don’t have problems aren’t necessarily going to make a lot of waves in the music world. – EVELYN MISKA

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What is in a name? In this case, it might be good that there isn’t too much in Automatic Loveletter’s name. While their choice of moniker is a bit odd and sounds like a group of trendy kids trying to be clever, there’s a lot more substance behind that name than one might initially expect. Automatic Loveletter’s debut album has some striking songs and, although it isn’t a 100% win, there is a great deal that the band does well. One of the first things that will grab listeners is lead singer Juliet Simms’ stunning voice. Rich, strong and occasionally with just the right amount of grit to it, Simms’ talent comes to the forefront. However, that doesn’t mean one can overlook the rest of the band since, often, a singer is only as good as his or her supporters.

Although not all of the tracks on Truth Or Dare have quite as much spunk, “Heart Song” was a great pick to start things off. “Heart Song” is fast with a good rock and roll feel and allows Simms a chance to show off her amazing voice. The energy is high and the track demonstrates what Automatic Loveletter is good at: putting together some rollicking songs that get stuck in your head (in a good way). “Don’t Let Me Down” initially slows things down considerably but brings up the pace on the chorus. Although it is a little more pop than the strong rock feel on “Heart Song,” it still is enjoyable and Simms’ vocals have enough nerve that tracks such as this don’t come off as being too sugary-sweet.

“Hush” is one of the few places where things get a little too sweet and Simms isn’t able to salvage things with her vocals. Instead of having that bit of grit, the vocals are almost too babyish and, as a result, the song isn’t one of the most interesting on the album. The instrumentation is good but it just pales when compared with some of the beginning tracks. “To Die For” makes up for things with a catchy opening that slowly brings in the rest of the instruments and builds up to a relatively strong chorus. Granted, “To Die For” might seem a little young for some listeners with its very pop-oriented backing vocals on the chorus, but, for what it is, it’s a strong track.

“Let It Ride” is one of the best songs on Truth Or Dare and may perhaps be so due to that rawness that comes through on Simms’ vocals. There is little doubt that she has a hell of a voice, but there are moments on the album where it really comes through and this is one of them. It isn’t hard to see why so many other artists and bands have enlisted her for guest appearances on their own albums. There are a number of good, spirited tracks on the album, but things close out with “Back To Life” which does maintain some of that feel, but finds a balance between true ballad and rock and roll. Sure, “Back To Life” is sentimental and perhaps even a little sappy, but it is strong and displays the talents of the entire band extremely well.

Truth Or Dare has a lot going for it, though it’s too bad that it lacks a little of the spark that Automatic Loveletter has when seeing them live. Occasionally the album may come across as over-produced and a bit too slick, but listeners should try and keep that from getting in the way of the true talent that is present on these tracks. It isn’t hard to see that there is a lot one can expect from Automatic Loveletter. –EVELYN MISKA

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Amber Rubarth has already shared the stage with many big names in what might be labeled contemporary folk music. The chance to perform in conjunction with artists such as Adam Levy, Martin Sexton, Jason Reeves and Loudon Wainwright III makes it clear that Rubarth isn’t just another girl with long hair and a guitar trying to make it in the industry based on a few cute poems she wrote. While a quick listen of Good Mystery might not immediately have major impact, it is the sort of album that will slowly seep into one’s soul. Occasionally there are a few missteps, but the album as a whole is solid with many beautiful moments. Rubarth has made it clear with her music that she has great talent and a wonderful chance to make it in this field.

Unfortunately, the opening track “Edge Of My Seat” is one of those places where there are slight missteps. The song has an excellent chorus that you’ll want to listen to over and over, but, somehow, the verses lack that same pizzazz and occasionally make Rubarth’s voice sound overly childish. “This Is Real” makes up for things (although there isn’t a lot to make up for) and the vocals are gentle without sounding babyish. The melody is delicate with a little bit of vocal harmony on the chorus and makes for a generally lovely track.

“Full Moon In Paris” is another one of the most interesting songs on the album. Taking a much darker approach, it is moody and melancholy with some nice elements of blues to make for an intriguing mix. This is one of the best examples of how great Rubarth sounds when that gritty soul comes through on her vocals. “Answer” returns to the more folk-oriented sound but takes on the very modern relationship dilemma of an answering machine with no messages when one is hoping to hear from their beloved. The subject and song are reminiscent in an odd way of a troubadour’s tale of unrequited love.

Though many of Rubarth’s songs are centered on guitar melodies, “The Photographer” is a nice change with its focus on the piano. As with “Edge Of My Seat” there are moments where Rubarth is pushing her vocals a little too far for her natural range, but overall, the track is a pretty one and adds some nice variety to the album. Likewise, “Pilot” is piano-focused but has more of a modern feel to it, almost something one might hear on a dramatic and romantic prime-time television show.

Rubarth is clearly a highly talented musician and has a good knack for songwriting. There are the occasional slip-ups on Good Mystery, mostly in terms of vocal range, but the album as a whole is beautiful and soothing and worth checking out. –EVELYN MISKA

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It is unfortunate when a band picks a name that they simply can’t live up to. Sadly, that is the case with Serial Thrillers’ follow-up to their debut album. This EP, entitled F5, falls short on a few counts. First of all, their sound is too dated, as if it would be better suited to the ’80s. Some songs actually feel too slow in tempo to be the sort of upbeat track that one imagines they were aiming for. In general, the EP just lacks pizzazz. It isn’t terrible, but it isn’t going to make much of an impression either.

“Ordinary Days” is a perfect example of a song that sounds dated. Heavy on the electronic instrumentation with a few synthesizer sound effects thrown in, it is too much of a throwback to be overly appealing. “The Floppy Swing” misses for some similar reasons. Serial Thrillers clearly have a number of influences but it isn’t necessary to include them all in each song. This is also a track that feels too slow in tempo for what it is and may have fared better if it was speeded up a bit.

“You Can Say Anything” does manage to increase the tempo, but it remains difficult to get past the clear ’80s sound. It doesn’t help that the tracks sound a little tinny, as if the mixing missed somehow and the bass lines didn’t get enough attention. This is too bad because this is one of the tracks that actually has some interesting things going on in the bass line.

As if the song title wasn’t bad enough, “Yeah Okay” almost sounds like a ’80s Kenny Loggins track, except not as catchy. Finally, “It Comes To You” manages to escape from some of the feel that was established on the rest of the EP, but it comes as too little too late. The song itself is good, which makes it a shame the rest of the tracks overshadow it.

Had they come about 20 years earlier, there might have been more of a reception for Serial Thrillers but, as it stands, their sound is out of date and they don’t live up to their name. There is nothing wrong with making a nod to past performers and genres, but to live entirely in that time period won’t necessarily win one fans.—EVELYN MISKA

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There is little doubt that False Starts & Broken Promises is an odd album. The style is anything but what one might expect in contemporary music and the influences are broad and wide-ranging. The London-based group clearly has quite a challenge ahead of them with their unusual sound and unique approach. At the same time, one has to give credit where it is due, and, if nothing else, it is clear that Last Man Standing isn’t afraid of breaking the mold. The songs are varied and each one shows considerable time and concentration, but this will not be an album for the casual listener.

The album opens with the instrumental piece ‘Variation” which sounds a bit like something one might hear in a movie or television show from the ’70s. It is a relatively simple melody over some guitars and drums with a harmonica eventually coming into the mix. It’s a risky approach, however, because some listeners may only give the album one chance and this could easily turn away potential fans. “Queen Kong” might have been a better opener with its funky sound and more upbeat style. Singer Max Vanderwolf has a voice that manages to sail over the intense instrumental arrangements and, at the same time, has a little of that psychedelic feel for which artists like Jim Morrison are remembered.

“Waiting So Long” maintains that retro feel but pulls in some slight aspects of country music. The waltz-time propels the song along and the relaxed pace is a good break after the slight frenzy of “Queen Kong.” “The Dean Street Stumble” continues with the country influences, though one shouldn’t think that the song only has one influence. The mandolin and melancholy feel add a nice dimension to the track that keeps it from seeming too country or too ordinary.

“Everything Must Go” makes the style of the album shift yet again by returning to that slightly funky feel as found on “Queen Kong.” The vocals and the underlying beat give the song a very different sense from the few directly preceding it and it can be a bit disorienting after the previous tracks. “A Man Condemned” signals another change as the album returns to that psychedelic, 1960s style as Vanderwolf seems to channel Morrison yet again.

False Starts & Broken Promises isn’t necessarily the easiest album to listen to. It takes concentration and a certain level of focus; this won’t be a casual listen. However, the approach is an interesting one and a tip of the proverbial hat is in order for a band that clearly doesn’t care what the general populous thinks of their style. It may not be for everyone, but it certainly seems as if Last Man Standing is making the music they want to make, no matter what anyone else wants.—EVELYN MISKA

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Whether you like them or loathe them, there isn’t much room for arguing about the impact Iggy And The Stooges had on punk music through the years. Some of the beauty of having such influence on modern music is that the band still has a sound that works today. Sure, it’s much more raw than the typically over-produced stuff that comes out of studios now, but that thread of commonality is still there. Sony has re-released one of Iggy And The Stooges most influential albums, Raw Power, as a two-disc set with the album in its entirety on the first disc and a more lengthy disc of live tracks. Like many works that later would become crucial to the development of art, Raw Power was a commercial failure when originally released in 1973, but the re-release may bring the album some much deserved attention from younger audiences.

One of the first things listeners will notice is the tinny sound of the recording. Much of this is due to the decision to remaster the original recording mixes by David Bowie. The balance may sound a bit odd to contemporary listeners with the drums and guitars sounding distant and the vocals much more prominent, but, if you’re looking for a more accurate sense of what the original was like, this is it.

Raw Power begins with “Search And Destroy” and Iggy Pop howls out in all his bad-assed glory. The track powers along with frantic guitars and some kick-ass lyrics, making it easy to see why this song and album are so important in the history of rock and roll. “Gimme Danger” almost seems like it doesn’t belong on the album with a much more subdued and somewhat psychedelic style- seeming more like something one might hear on an album by The Doors; however the song was written in response to Columbia Records’ requirement that the original album have two ballads. The other, “I Need Somebody,” has a heavy blues influence and the lack of polish on the recording suits the song; anything else would sound wrong.

“Your Pretty Face Is Going To Hell” might be more familiar to some listeners as “Hard To Beat” brings back that raw and gritty sound while “Penetration” falls somewhere between the psychedelic approach on “Gimme Danger” and the punk sound on “Search And Destroy.” Iggy Pop’s animalistic nature comes out as he hisses the lyrics and ad-libs between verses which, combined, make for a weirdly haunting song. The album’s title track is as invigorating as it must have been when first released and although Bowie’s mix initially diminishes the guitar solo at the end a little, as the solo progresses it comes more to the forefront of the song.

The second disc is a live recording of the band performing in Atlanta in October 1973. Although the first disc is a great introduction for those that might be newer listeners, the second disc is for those serious Iggy And The Stooges fans. The quality is what one might expect from a live recording and if one is willing and enjoys a lot of those unique aspects of live performances, this is a good disc to listen to. Hearing certain tracks like “Search And Destroy” and “Raw Power in a live setting make for interesting listening, but at the same time, if you find extended guitar solos, occasional rambling by lead singers and audience participation irritating, the disc can get tedious.

For many fans, this Masters Edition will be a welcome purchase after the mixed reactions to the 1997 remix by Iggy Pop himself. Still, for all its influence it is hard to say how the album will fare with younger listeners who might be expecting a shinier package instead of the occasionally grimy and even tinny sounds from the Bowie mix. However, if one can disengage themselves from the recording style of modern music, listening to a little (or a lot) of Iggy And The Stooges is an education in where music came from and how much contemporary music is still connected with the past.—EVELYN MISKA

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