a pair and that the band knew that their placement as first/last tracks would reward a traditionalist listener with a bonus understanding that couldn't be had if you put your shit on shuffle. Much in the same way you couldn't appreciate the classic Marvin Gaye pairing of “Let's Get It On” and “Keep Getting It On” if you heard them out of sequence.

 

And although I consider most of the this album to be in a high energy, pop-punk vein, there are moments and flashes of lo-fi, indie, alternative, and avant garde style that makes me think more of Sebadoh, Half Japanese, or early Nirvana way more than Blink 182. Clearly, Somos has more to say than they put in this release.

 

Then there is the odd album length. At nine average-length songs, it is out of the realm of your standard EP, but I don't think it should be called a full on LP either. Somos seems to be growing and developing, but they must also be cognizant of some limitation that has them taking carefully measured strides, another trait I'd really like to see in more artists.

 

In my opinion, Boston is one of those places that grows its own distinctive flavor of music. Boston's punk scene must be fertile because one of my favorite bands of all time, The Showcase Showdown, grew out of that city's punk clubs in the 90’s. Somos compares favorably with them in my opinion, with a little more musical acumen and a little less blind anger in their lyrics. In fact, with their more melodic style, I would think a Somos’ cover of “Fuck You Norway” or “213” would probably top the originals for me.

 

The final and perhaps most important portent of future success is this four man band is a three guitar outfit with lead singer, Michael Fiorentino on bass. Sting? Paul McCartney? Brian Wilson? All three bands had a frontman bassist. This frees the four piece to include both a lead and rhythm guitar. And if guitarists Phil Haggerty and/or Justin Hahn can play other instruments then all sorts of creative avenues open up. Plus, the fact that since the bassist is the vocalist, it allows their drummer, Evan Deges, the sort of freedom often only seen by jazz drummers. From these nine songs it is clear that Evan has realized this and takes full advantage of it by really exploring a full range of tempo and power.

 

“When You Pass” was my favorite song overall, and is the longest song on the album. It still manages a roller coaster ride of beat and tempo changes, which the various instruments seem to pass control of the song back and forth like a game of hot potato. Michael's voice is a good example of why I have a predilection for Bostonian punk rockers. The New England accent comes off as deep, powerful, and with a subdued resonance somewhat similar to honest to good British punk groups. His voice also compliments the clean sounds coming from the instruments. I'm almost positive that he is playing on a Fender Precision, and I'm also quite sure I heard either Phil or Justin (or maybe both), using a glass slide on several occasions. Those crisp and haunting notes don't usually lie.

 

One of the things that I was taken a little aback by upon first listen is the clarity of the recording. This was definitely not some low cost, low quality recording session. I've only heard the mp3 version of this album but their label, Tiny Engines, is releasing it as a download and on vinyl. As much as I enjoyed this album being pumped from my shuffle to my headphones, I'm positive I would enjoy it many times more coming from the speakers hooked up to my old turntable. In fact, I would say it's a safe bet that I would like this album most after the record had been played a few times too many, and had some added hiss and pop accompanying the music. Then it would be like a time machine for my ears. To find out more about Somos and their touring schedule, Tiny Engines, or to purchase Temple of Plenty, you should head over to their Facebook and or stream their album here.