Benjamin Cartel

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Big, swinging drums with a slap that might remind you of Damn The Torpedoes, groovy bass, guitar (probably Telecaster) mixed with that heartland twang, super tremelo on the downbeats of "Amelia", roller-rink Hammond on "No One", twinkly Buckingham-"Gypsy" lead on "Angela", something that sounds like the "You Got Lucky" synth on "Leave Me Be", but which might be a treated guitar. Benjamin almost never strums his six-string in big sheets; he strikes it like a rhythm instrument, and keeps it out of the way of the vocals.
THE SINGER: He has the capacity to croon like a troubadour, and he takes it. "Amelia" is probably the most winsome performance here, but much of "Angela" is lovely, too. He can sound tough when he wants to. That isn't often.
THE SONGS: There are those who don't think we need any more Tom Petty songs. Then there are people like me, for whom too many Tom Petty songs are never enough. The Cartel's resemblance to the Heartbreakers have been pointed out for years, but I'd be remiss if I didn't mention that Cartel as he improves, seems to be writing more like Petty. Relative minors, folk-rock progressions, singalong choruses, general Byrdsiness, you get it all here. Slot any of these songs into Hard Promises, and they'd fit in seamlessly. You might not think that's high praise. I do.
WHAT DIFFERENTIATES THIS BAND FROM OTHERS IN IT'S GENRE: Benjamin is more literary than his peers. But he never hits you over the head with it -- it's just there, right under the surface, if you want to engage with it. And if you don't, Benjamin has no problem with your uncomplicated desire to rock along. And Benjamin's own proletarian but sympathetic folkster vocals. What's not to like?
-JERSEY INDEPENDENT MUSIC
BYE FIVE TIMES
Benjamin Cartel
Dir. Claudia Myers
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