Basal Bark Band: Apparently mixed down from individual tracks, this song nevertheless has an extemporaneous quality, with its overdriven, off-the-cuff, seemingly impaired vocals ("Bud and Flyer"), disorienting guitar pattern, random swoopy siren synths, and cut-off beginning and end. The main charms for this listener include the arbitrary turns of the short chord sequence, the utter dissoluteness of the singer, and, it must be said, the overall length. Apart from that, it's an opportunity for the performers to have some fun.
Berkeley Social Scene: This has an instantly recognizable BSS sound, with the parallel distorted guitars, so present in the mix as to give a direct-to-board feel; the angular musical riffs; and the chopped, percussive rhythms. Crisp, sometimes muscular, but never overbearing drums; a solidly supportive bass; an angry hornet lead guitar. The chorus stands out for its tuneful, tight harmonies.
The Freezing Hands: Cross-rhythms, low-bass harmonic conflicts, and insistent drones drive the uneasy energy of this track. The vocals seem to be made up on the spot, and their flailing narrative soon gives way to a frenzied trance of "fire and blood," unquestionably inspired by this week's title. Good sound treatment on the singer's voice.
James Owens: This one came together when I added the dreamy, reverb-drenched lead guitar that drifts complacently through the song. It trades on that cheap effect, so often exploited by Tarantino and his admirers, of layering some bland, soothing fifties tune over explicit violence -- but in this case, without the explicit violence.
Jeff DeSantis: This makes me think of John Cougar Mellencamp, for some reason. A good driving beat, interesting rock-pop chord changes, a bright commercial sound, engaging raspy vocals. The harmonies are good, but a little weak in the production; they need to have the personality washed out of them. The guitar solos are crisp, melodic, and tastefully short. Maintains interest throughout. Seems like a possible vote.
Joy Sitler: Lovely work on the stringed instruments, a gentle 6/8 lilting mood, good slow build in the arrangement, somber strings adding gravitas, coupled vocals heightening the intensity, strategically placed inversions in the bass, dramatic use of the relative minor. Good work, and the vocals are delivered with intensity and conviction. The story is empowering. I might dock a point or two for what is in my opinion a tenuous connection to the title, but everything else about this deserves a vote.
Pigfarmer Jr: Loving the open-fifth guitar lick that drives this tune, and the way it's played. I am completely weirded out by the way you sing sharp when you head down to the VI chord. The song needs bottom -- why no bass? -- and the range of the composition is somewhat confined, but the beat is straight-ahead hooky, and the guitar solo has a fiery quality. I think this one should do more, but I like what's there, so I might vote for it.