Morticia's Chair @ the Winchester 5/16 Normally you wouldn't expect to find more than two to three regulars holding down the bar at a place like the Winchester at 7 p.m. on a Tuesday. But last week, the usual crowd was joined by a steady stream of people. The faces numbered local rockers, members of the avant theater and film crowd, Tremonters on holiday and music journalists as well as a fair selection of long hair and black leather jackets. What brought such a diverse group out on a rainy weeknight? Nothing less than the release party for "Beautiful Monsters", the long-awaited third Morticia's Chair CD.

Mark Kae and the band already had heads nodding along to their soundcheck, but made us wait another fifteen minutes or so before beginning their full set. They opened with "Shadows", one of several anti-war tracks from the new release. The words may seem bleak - "..look at all the children with the look of terror in their eyes" - yet they ascend over a major-key riff that manages to promise hope even in the face of apparent despair.

Listening to the CD, one might be tempted to label this electrified folk-rock; but live, they crank it to a notch even Dylan might have grimaced at back in 1966. David Alexy's powerful tribal drumming underlays every track, making one think masked dancers in fringes and horns are capering in firelight just around the corner. Scott Artrip ably holds down the other half of the bottom end on bass, while Jesse Kramer trades licks, leads, and occasional keyboard duties with vocalist Kae.

Yes, the music of Morticia's Chair is highly evocative, at once transporting and inspiring. "Morning In July"'s pretty Byrds-like melody suggests the California sunshine while the druggy lyrics suggest the Summer of Love dissolving into bad acid and Altamont. "Knife" and "Scream" are dark bluesy ballads that feature the kind of soaring guitar work one expects from Robin Trower. And the re-worked "The Candle Burns" alternates between carnival music of the sort that Ray Bradbury might prefer and a mariachi chorus. Other standout tracks included "Blue Absinthe" and "Pixie Girl", and their closing cut, Mimi and Richard Farina's "Bold Marauder". This last was one of several tracks to incorporate extended instrumentation: Kae plays the recorder, while guest artists (the Gomez Express Orchestra) brought in additional keys and a violin. This isn't music for indie kids, but if you still believe you're never too old to rock'n'roll, you just might give two snaps - arms crossed, please - for Morticia's Chair.

For more information on upcoming shows, or to download or purchase their CD, stop by the band website at http://www.MorticiasChair.com.

From Cool Cleveland reader Sade Bushie gothikfaerieATyahoo.com

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