Blair bands burn brazen compilations

A high school band usually evokes the image of barely post-pubescent acne-ridden youngsters vainly trying to chisel out coherent musical expression in some garage to the woe of their parents. But you'll find that some student-led Blair ensembles, especially the ones featured in this review have more to offer than acne and angst.

Senior Sean Cooney is not a person; he's a sensation. The musician-actor-showman fronts this instrumental supergroup as only he can. He contributes vocals and blaring trumpet to Contraband, which also includes seniors Luke Allen (songwriter-drummer) and Libby Hemming (bass). The Star You Guide, their album, is a monstrously beautiful combination of funk, jazz, experimental rock and even classic rock-ish sensibilities. Its songs are fierce battles between the trumpet, drums, bass, vocals and even the genre of music being played.

Songs on The Star You Guide vary from intense improvisations of wildly composed jazz-like pieces to calm melodies.

"Sometimes" is crazed music, studded by unique vocal contributions from Cooney, rumble-funk bass and creative drumming.

Though the band is great at jamming, some of their most memorable tracks are their most quiet and carefully crafted. "Zuzu's Petals" has a perfect mix of soft reverberating guitar, haunting vocals, and trumpets that sound as if they emanate from some lonely alley. And to contrast, the chorus is flaring triumph. Also masterful is "Smoke Rising," an acoustic-flavored lament with a sweet vocal duet, poetic lyricism, beautiful rhythm guitar and harmonica.

Defunct is comprised of juniors Eric Shansby, Alex Piazza, Gabe Morden-Snipper and Matt Poness. That, dear reader, is a whole lot of eye-candy. In addition to the beauty factor, Defunct performs with the evident chemistry and mischievous character that won them second place at the Montgomery County Battle of the Bands in March. Their musical mixture of ska and rock is catchy like whoa.

Piazza and Shansby crank out Defunct's vocals, with Shansby's stylings teenage awkwardness personified and Piazza's throatily Brad Nowell-esque.

The quick, light quality of most of the songs on 4-Track Wonder makes the whole album very listenable. "Potential," a Shansby-driven track, has a great Goldfinger-esque flavor. In "Julie's Song," Piazza's aching vocals and Morden-Snipper's riff combine to form a nice track. In the final song of the album, "Turnaround," Defunct creatively toys with blues to a hilarious effect—hilarious because Defunct is a group of middle class teenagers singing the blues. Be sure of one thing; 4-Track Wonders is a musical pick-me-up.

Angry at society, Third Fret compiles its criticism in a 15-track opus of hard-charging, reverberating power-rock: and they call it The Vault. While the album can be gratingly harsh, its unflinching criticism and passion make it a fascinating work.

Junior Sam Goldman is at the forefront of this tempestuous, angry attack, which also includes Blair graduate Julian Goldman and Good Counsel junior Chris Kallmyer. Third Fret follows the lead of Rage Against the Machine; it sends a strong political message and wraps it in hard rock. The album leads with "National Unity," a veritable explosion of metal guitar that attacks corporate commercialism. "Virus in the City" is equally cacophonous, with a world-is-ending guitar solo and a Tom Morello-like focus on repeating, pounding guitar.

Third Fret hits the truest notes with songs like "He Looks Back" and "Slammin' West." They contain the power rock that is the hallmark of The Vault, but have a softer element in them as well. Third Fret speaks the loudest when it tones its music down.