machine go boom - They're suckers for a happy pop hook.

It took Cleveland indie rockers Machine Go Boom nearly three years to release their second album, their follow-up to 2004's Thank You Captain Obvious. But, says band leader/frontman Mike Baranick (a.k.a. Mikey Machine), the protracted gestation period that preceded the release this weekend of Music for Parents was a blessing in disguise.

"Because it took so long, other songs came up that probably wouldn't have," he says, calling from outside the Barnes & Noble store at Crocker Park where he's hunting down an elusive tome. "Timewise, it spanned the gamut — one of the songs ["All the Way to P.A.'] was recorded around the time of the last album; one of the songs ["Uh-Oh'] was done right before we went into mastering. Originally, I wanted it to be double disc because we had tons of songs — we had 24. But that's overkill. So there's lots of extra songs lying around. But honestly, none of the songs are very good that didn't go on there."

Listening to the 16 top-notch tracks that did make the cut, you've got to wonder how bad the leftovers can be. The tunes cover a range of moods, attitudes and stylistic approaches, from folky tracks like "Small" and "Parents" that are soft but with surprisingly busy arrangements, rockers like the jabbering "Gentleman's Reply" or the explosive, roof-rattling "Niagara Falls" which breaks down at the end, "Layla"-like, into a puddling keyboard-driven outro, and the smudged power pop of tracks like "Circle of Dirt" with its melodic but noisy guitars.

Baranick experiments with vocal styles extensively, using his somewhat limited voice in an impressive variety of ways, whether it's the child-like chirping on "Mummy (Oh My)," the keening Perry Farrell-esque vocal of "Gentleman's Reply," the layered vocals on the world-music-like "M.I.A." or the wobbly vocal in "Oh My." And, with its expert blend of folk, pop and rock and the wistful yet anxious lyrics that mostly tackle the pitfalls of groping toward maturity, the disc exudes a distinctively British aura. Unsurprisingly, Baranick cities the Kinks, especially the 1968 album The Kinks Are the Village Green Preservation Society, as a major influence. None of the tunes slavishly copies that style, but it's clearly in their DNA.

"We're suckers for a happy, poppy little hook," says Baranick, stating the obvious.

They're also suckers for studio craft. Though Baranick performed as an acoustic solo act before forming the band in 2001 and first conceived the songs that way, with the help of producer Paul Maccarrone, the songs were layered in the studio with keyboards, horns, strings and percussion sound effects.

"I met him when he moved to Cleveland 8 or 9 years ago, and we hit it off," says Baranick. "Everything I've recorded has been with him. He's been accumulating instruments and better recording equipment. It started at his home, and now he has a studio called Zombie Proof because it's so impenetrable that if there was a zombie outbreak, we'd be safe. I usually have a bare bones idea when I go in and then we add on layer after layer of instruments."

The band, which also includes keyboardist Carrie Bukala, drummer Arran Biggart, bassist Bubbles O'Connor and lead guitarist Kevin Jaworski, is looking forward to making its next career step with Music for Parents. Local label Collectible Escalators has planned extensive radio and Internet promotion under the direction of former band member Mike Uva, and the band plans to do some touring, first regionally, and then around the East Coast and the Southeast in the fall.

"You can stream the whole CD for free," says Baranick. "I can't imagine doing this without the Internet. I can't imagine doing it without MySpace, which is the dumbest thing but it's totally awesome if you're in a band."

The Wild Eyed Boys

So Heavy

(self-released)

myspace.com/thewildeyedboys

Reminiscent of many of the garage-rock revival bands of the early 2000s, the Wild Eyed Boys (formerly known as the Nathan Corsi Band) have perfected the classic blues-rock formula while managing to carve their own niche in the garage-rock genre. Their newest release, So Heavy, is the type of foot-stomping, heartfelt rock 'n' roll that's sure to hold its own in front of just about any live crowd. Incorporating the influence of some early punk, the band keeps many of the songs moving with the use of tasteful transitions and dynamics, especially on songs like "Pretend" and "Grey-Blue Eyes." A definite classic rock influence can also be heard in the tunes "My Baby," "Friendly Competition" and title track "So Heavy," which shows the band's diversity. — Paul Kulis

Unsparing Sea

EP

(self-released)

unsparingsea.com

EP, the newest release from the five-piece Unsparing Sea, is a collection of elaborate compositions laid on a soft bed of mellow drum and bass parts. The band succeeds in creating a full and experimental sound with the use of a wide range of instruments including guitars, keyboards and cellos. Overall, the instrumentation has a very free-form vibe to it as it drifts along comfortably. Singer-songwriter J.R. Bennett pens thoughtful and imaginative lyrics, and his vocal ability especially shines on songs like "Lightness of Death" and "Life From a Plane," whose melancholy vocal melodies and engaging lyrics are very memorable. — PK