The Campaign for Real-Time

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"The future aint what it used to be." -- "Yogi" Berra, philosopher/skipper/catcher"The past sure is tense." -- Captain Beefheart, painter/singerThe Campaign for Real-Time don't just do drugs; they are drugs. C4RT claim to be time-travellers who've stolen the hits from tomorrow and unleashed them onto the unsuspecting public of today, but that's not the half of it. Their two frontmen, the ladykilling Rory Stark and polemics-spouting All-World Lee "Big Game" Bronson, will look you in the in eye, completely straight-faced, and say, with absolute sincerity that they talked about the weather with Gabriel Fahrenheit, taught Paul Morphy chess and discovered New Zealand. As musicians, C4RT revels in rabble-rousing songs led by "The Admiral" Dr. J. W. Hemnesphere, a triple threat with a honey-voice and master of all things stringed. The appropriately named Styles (Felix Coyote to the ladies) on vintage Moogs fights head to head with loops that beep, boop and whoosh their own damn way, thank you very much. And the songs are propelled by Dick Dreyfus, a drummer that alternately appears to be either that smarmy dude who just fucked your sister, or a mass murderer, or both. For that matter, all of them together look like a rejected batch of characters from a DC Comics series and think nothing of reveling with the crowd during live shows, that they swear are based exclusively on "King Lear," sometimes forgoing playing entirely in lieu of building human pyramids.It's probably also worth mentioning at this point, in the extremely unlikely event that you haven't already heard it, that their utility keyboard player is a faulty, reprogrammed android named Falconer Model 7 that they found in a dumpster. Their Boston Music award-winning last CD "Yes… I Mean, No" was brimming with instant classics. But the hesitancy that was hinted at in the previous title is gone for a more overall confident sounding (both in title and sonics) "Let It Rise" LP. Call it camaraderie. Grammy-nominated producer Andrew Schneider helmed three of the four A-sides, channeling the dash-it-all approach of "Rachel Says," the myspace sensation of "Adjustments," and the frenetecism of "Connect." Ethan Dussault reprises his earlier role as "George Martin" on C4RT's statement of purpose "Song for New Amsterdam." But why let them have all the fun? The B-sides are as much, if not more of a party vibe than the A's, brimming with ear-bending remixes. Kurt Ballou puts down his guitar from Converge and picks up the funk on "D.C. '77." Certainly, Sir reimagines "In Your Dreams" as a gay discothèque anthem. "Photo" (a song soon to be released on Endless Recordings "Knocks From the Underground" comp) gets the gothic treatment from Al Jourgenson and James W. O. Frontiers, under their Tremulous Hand moniker. Superstar DJ micL PTVN Nintendos the heck out of "NFSPTVN." While Schneider returns for the last word with the tour de force "Turn the Gun on E." (On the accompanying CD, Steve Brodsky takes a break from