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I used to be a huge Nick Drake fan. I thought no one could do better, and to this day, I still tend to argue that theory. Who in their right mind could even match the aura of Drake’s vocal chords. I did not think about it until I heard Jeff Buckley’s Grace. Then it became apparent that I found someone who I could respect as a singer/songwriter the same way I felt towards Drake. The feelings resurfaced years later when I discovered Iron & Wine’s The Sea & The Rhythm. The subtle EP blew my mind, not in the same way that Nick Drake’s Pink Moon did but a way that complimented this logical progression of musical acoustic greats.

And then a few years ago, I attached myself to an album by A.A. Bondy titled When The Devil’s Loose. The album was so impacting, that I am still amazed every time I listen to that album. He writes with the intent of turning his songs into timeless classics.

Something great tends to come along when I least expect it. It happens out of nowhere, or at least that is how it feels. For Fionn Regan, 100 Acres of Sycamore is not his first album. The End Of History was a great introduction to the Irish singer/songwriter. But for me 100 Acres of Sycamore is the album that did it for me, and I can link him with the musical greats that lead up to this moment. And more than being an incredible release, this is an album that is influential to Irish musical history.

But where his style is traversed is that instead of using traditional Irish folk to motivate his songs, he looks towards the British style of traditional folk music. The only thing that lays planted in Irish tradition is his accent.

I hear the title song, and I cannot help but associate it with the Amazing Blondel or Incredible String Band. To start of an album like that is quite the spectacle, not in an explosion of light but like a proud shimmering glow that gives you hope.

And not like “Sow Mare Bitch Vixen” is anything less satisfying, but the lyrics seem a little off-putting to the style he is presenting, especially when you pair it up to a song like “The Lake District,” an incredible postcard-like folk song.

“North Star Lover” is as great as any John Denver song. And when you hear “Golden Light” flashbacks of every religious-oriented folk album comes flooding into your mind. And if you had parents who became adults in the ‘50s/early ‘60s, then these albums are tucked away in the album storage bin next to that big phonographic stereo sitting in that living room.

100 Acres Of Sycamore is that cool breeze you inhale in from the morning dew. It’s refreshing, intimate, and expressive. It’s a lovely serenade of acoustic musical bliss, and I cannot see myself without it as much as I can see myself abandoning Pink Moon. It just won’t happen.

Link: http://www.ozomatli.com/

Listening to Ozomatli’s Fire Away, I couldn’t help but remember vacationing in Cartagena, Colombia. In the heart of the elegant old city centre, in the bar “Casa de Cerveza”; the band played furiously, beautiful women dancing as far as the eye could see, alcohol easily within grasp and flowing without hinder. It was summertime at its best and if Ozomatli was performing that night, the outcome would no doubt be the same.

That being said, you must remember the atmosphere involved. Here I am defrosting my windshield in the mornings to melt coated ice, staring at grey skies on a 40 degree day; predictably, I’m not feeling so festive.

Ozomatli has described their music as an embracement of the variety of culture in its home Los Angeles. With such a range, the closest term I would feel comfortable using is Latin Funk. Just like Los Angeles, “Fire Away” is an album in motion, nimble and unpredictable in terms of pace and style. “Are You Ready?” starts us off with its upbeat tempo and kinetic percussions. Even if a tad bit over the top yet jubilant, “45” and “Yeah, Yeah, Yeah” follows closely by and continues these frat boy keg-stand anthems. “It’s Only Paper” and “Malagasy Shock” cultivate that rich 70’s era funk that is sprinkled in each danceable jam. The horn section is a pleasant welcome considering an admittedly noisy, nearly obnoxious, sound production on the album.

Before Fire Away, Ozomatli were well regarded as social commentators in L.A and the West Coast through their music and in the community. It is respectively quiet this time around instead focusing on their vibrant tone. This, ultimately, is a noble choice. With an album full of Spring Break party refrains, it would be regrettably forced and lost in transition beyond the faithful core.

Fire Away is a case of bad timing but excellent location. This album is undoubtedly reminiscent of summer. While L.A. is mostly sunny all year long, here in the Midwest in mid-November, we aren’t feeling the same vibes. Not to discredit Ozomatli completely. I’m sure when June/July comes around and I have a few friends over and select beverages lying around; I could see “Fire Away” finding its way to the speakers.

Gawddamn!! This is every rock fanatics dream come true.

I could comfortably end this review right here because that’s all you need and that is everything White Denim gives you. Fits may make you want to dry hump anything and everything with your gyrating, but this album is not the fast and furious more than it is a continuous outburst of guitar chords and drum poundings to the crotch. It deserves a little more explanation than simply saying that the rumbling in your ears is a mere after effect from what these songs will do to you.

If “Radio Milk How Can You Stand It” does not pull you in horns first, then “Say What You Want” and “El Hard Attack” will. For the first half of this album, they just keep punching you in the ear drums with one great guitar riff after another. “El Hard Attack” acts as if Santana got jumped in a back alley. As bloody and bruised as you are from that, it will not matter because you will still be grinding them hips to “I Start To Run.” With jaw agape and body in an uncontrollable fit, you will be amazed at the amount of rock this band can expel.

And it’s forgivable that they slow down for “Paint Yourself,” a song that sounds like a dirty outtake from the Beggar’s Banquet session. And “I’d Have It Just The Way We Were” is the weakest point of the album. And even then, it is still better than what many indie rockers can even dream about.

“Syncn” ends the album completely different than how they began. In its post-coital ambiance,  it’s a song that after listening to it, makes you question what you heard at the beginning of the album was real or not. Was that some of the greatest superfuzz rock and roll I have heard in years? Did it really happen at all?

Fits is a masochistic foot in the face of killer rock and roll and late night expressive rock innuendos. They may not wine and dine you, but they can sure give you the grit.

Massachusettes Avenue in Indianapolis, known as “Mass Ave”, is an emerging cultural district downtown featuring art galleries along with live theatre and great food.

http://en.wikipedia.org/wiki/Massachusetts_Avenue,_Indianapolis

The Historic Fountain Square Neighborhood is located on Virginia Avenue at the intersection of Shelby & Prospect Street.

Fountain Square is one of six official cultural districts in Indianapolis, Indiana dating back to the mid-1800′s.

http://en.wikipedia.org/wiki/Fountain_Square,_Indianapolis