Case 150
Ephemera

by Benjy Eisen

The image of Americana doesn’t get more authentic than that of a tractor in a field under the great whale blue sky. That tractor could very well be a Case 150. Likewise, local Harrisburg band Case 150 could very well be that image of Americana.

In its four-year existence, Case 150 has undergone a number of musical chairs and personnel changes (half of the current line-up doesn’t even appear on the album). In fact, the album is just Thom Bissey (vocal, guitar, bass) and Ed Yashinsky (vocals, bass, guitar) with help from members of The Badlees (Bret Alexander, Ron Simasek), and John Fritchey of Wayne Supergenius and The Polins. As such, and at a length of just under half an hour, Ephemera serves as more of an introduction to Case 150 than a self-standing studio album. All of the songs are originals written by Bissey except one, “Wrecked Up,” by Yashinksy.

The disc opener and easy highlight, “She Got Home,” showcases Case 150’s traditional roots-rock foundation in which sparkling rhythm guitar and four-part harmonies mix with alt-country sensibilities and distortion drenched Nashville-influenced twang. You’ve heard this sound before; Case 150 isn’t taking it to new heights. Ephemera is not testing any boundaries nor are Case 150 leaving fingerprints. They play textbook roots-rock, but they happen to play it exceptionally well. This is music that would be just as at home on the deck of a nightclub in Harrisburg as it would in a cornfield in Illinois. Or at a ski lodge in Colorado. So long as it’s in America, it would work.

The word “ephemera” comes from Greek, meaning temporary, that which will be replaced. As an album, Ephemera is indeed temporary and is bound to be replaced — it’s too short and the band is only two musicians plus guests. But taken as an indication of what Case 150 is all about and it becomes immediately apparent that once they get going, Case 150 is going to be a case of anything but fleeting. As Harrisburg’s best roots-rock band, they’ve got some real talent matched by a batch of strong songs from the heartland. Ephemera gives us a great glimpse at both of these things.

Case 150 will be appearing with Wayne Supergenius at the Appalachian Brewing Company in Harrisburg on June 16.

Saliva
Every Six Seconds

by Jenny E. Decker

Though it’s been out for a few months, the buzz is still growing for Saliva’s major label debut, Every Six Seconds. Named in honor of what men supposedly think about in that time period, the disc is gaining attention for its timeless sound and its hit single, “Your Disease.” The Memphis-based rockers — or rap-rockers, depending upon whom you ask — have compiled a 12-track collection that combines metal, rap-rock, and alternative, drawing comparisons to everyone from Nine Inch Nails to Godsmack for their blend of melodies, heavy guitar riffs, and slight techno underlings.

And while “Your Disease” is currently gaining significant airplay (as will “Click Click Boom” a track that invokes any number of rap infused rock now on the airwaves) there is more than one gem on this disc, including the contemplative “After Me,” the techno-tinged “Faultline,” and the mid-tempo “Hollywood.” With solid vocals from front man Josey Scott, crunching guitar riffs, and compelling lyrics, those tracks highlight Saliva’s best qualities, the least of which is the band’s ability to concentrate less on the familiar screams of rap-rock (although there is plenty of that on the album) and focus more on Scott’s true vocal finesse. When given the opportunity, the man can carry a tune, and he does it quite well. That attribute alone may carry Saliva above the current crop of its peers and provide them with the staying power of which they are capable.

Every Six Seconds is an impressive follow-up to the band’s 1997 self-titled debut. And while “Your Disease” will no doubt bring the customers to the record stores, it will be the remaining 11 tracks that keep them listening. (Island)