Memento “beginnings” (MCA)
Compare to: Sevendust, Tool, Live
Rating: 6

The word “memento” is derived from “to remember” in Latin, and that’s the sentiment Memento wants to convey in the band’s debut album, “beginnings.” However, Memento isn’t the first band to reminisce about the never-ending tragedies in the lives of its members.

The band was formed after guitarist Justin Cotta and drummer Steve Clark decided to leave the band V.A.S.T., a group that has gained a reputation in the music industry for its ability to intertwine many musical styles into a well-crafted, symphonic blend of sounds.

It is evident from the lyrical content of the album that Memento did not “pay their dues” long enough in its journey to landing a record deal. Plagued by an overuse of hard rock clich‚s, the words in most of the songs never really go far beyond the hooks, which become extremely predictable and repetitious after a few listenings.

Cotta shows his voice is capable of emitting passion and range in a few of the more notable tracks. A good example of this is the title track, “Beginnings,” as Cotta somberly rebukes his father for not showing love to his only son. The song is carried out strongly by a solid chorus that parallels Cotta’s feelings with those he imagines Christ sharing as he was crucified.

A torn conscience and a reaction against Christian teachings pervade the album’s lyrics. Cotta seems to find himself in a conflict between spirituality and the baggage of growing up with a negative experience of religion.

The album is slowed down by a two-minute piano interlude on “Reflections,” played by Cotta. This makes a perfect transition into the next song, “Blister,” which shows that Memento can actually pull off a soft song.

If Memento can resist the temptation of seeing themselves as God’s gift to hard rock and focus on diversifying their writing style, they just might make a splash worth mentioning.

— Andrew Mabe

The Envy Corps “The Gregory Rumes EP” (Bi-Fi Records)
Compare to: Coldplay, Owen, Radiohead
Rating: 7 1/2

Every once in a while, a band comes along and changes the way listeners think about music. With their newly released “The Gregory Rumes EP,” the Envy Corps are doing just that.

The Envy Corps offers up a fascinating blend of British rock mixed with acoustic ballads typical of artists such as Bob Dylan and Duncan Sheik.

“You’d Look Good in Wings,” the EP’s lead-off track, sounds like a musical reference to groups such as Radiohead and Coldplay, with catchy yet laid-back guitar hooks and a vocal delivery perfectly befitting of the song’s mellow feel.

The EP contains seven tracks, a version of “Gnats,” recorded live at Cafe Diem, 323 Main St., and a cover of Pedro The Lion’s “Of Up and Coming Monarchs.”

Most of the songs are acoustic ballads, and the EP lacks the heaviness that would make the band more appealing to fans of harder genres. However, these ballads will appeal to Britpop and American folk fans.

Drawing references from bands such as Radiohead and Coldplay, the Envy Corps delivers a solid blend of modern and old-school contemporary music.

The last track, “Surgery,” gives the listener a picture of late-night lullabies and pleasant memories of years long gone. The song’s pleading, almost prayerful attitude brings to mind a picture of a man sitting on a windowsill, guitar in hand, eyes fixed on the heavens, pleading to a long-lost lover.

Lead singer Luke Pettipoole’s knack for songwriting is most evident in songs such as the soundtrack-friendly “Humble Hero,” as well as “Requiem For an Empty House,” “Nightmares,” “You’d Look Good In Wings (Part 2)” and the closing track, “Surgery.”

Many of the lyrical themes deal with the triumphs and tragedies of everyday life. The mellow tones of the muted guitar and drums fit perfectly with Pettipoole’s innovative lyrics.

— Dan Hopper

Lou Reed “The Raven” (Warner Bros.)
Compare to: Leonard Cohen, Iggy Pop, Tom Waits
Rating: 7

There are many words that can be used to describe Lou Reed. Quirky, extravagant and over-the-top all come to mind. But ordinary has never been an adjective in Reed’s dictionary.

Since his beginnings as the frontman of The Velvet Underground in the 1960s, Reed has always been a lyrical innovator, and his latest project is no exception. Reed was commissioned to create a musical for Edgar Allen Poe’s poem “The Raven.” From this sprang the idea for Reed’s latest, a rugged and disturbing mix of Poe’s poetry and Reed’s music.

With a mix of instrumental tracks, gritty post-punk homages to the late poet, and readings of the poems themselves, the album screams “concept piece” from the beginning. But Reed is able to make it work — the strange combination is a masterpiece on both intellectual and listenable levels.

But it isn’t perfect. Several of the songs on this album try to come across as high-brow, but with dull lyrics. In the chorus of “Edgar Allen Poe,” Reed repeats, over and over, the lyrics “These are the stories of Edgar Allen Poe/ Not exactly the boy next door.” While appropriate as the opening number for Reed’s musical, the lyrics aren’t interesting to begin with, and don’t improve with repetition.

The majority of the album is filled with solid, dirt-in-your-teeth rock. Songs like “Change” and “Burning Embers” showcase Reed’s ability to write songs so thick with jealousy and blue-collar Americana, you can picture the smoke-filled bars about which they were written.

Mixing Reed’s gristly lyrics and musical style with the morose imagery of Poe may seem like a strange pairing, but the poems are the highlight of the album. Of particular note is the orchestral version of “The Raven,” read by actor Willem Dafoe. Concept albums can be dangerous for many artists, but Reed has the experience and street cred to make even Poe’s works an art-rock masterpiece.

— Aaron Ladage