Boggs

The third Boggs album marks not only the third line-up to record a Boggs record but also the third label to release one. Songwriter/lone member Jason Friedman may appear to be a control freak with this revolving door policy but Forts finds the Boggs at their strongest yet. Tossing aside the reckless bluegrass of debut We Are the Boggs We Are and the more rock-based sketches of follow-up Stitches, Friedman has reintroduced his band as full-fledged rock’n’roll chameleons. Once again he and his drunken cast of characters have completely shaken up the foundations with tremendous results. The rickety acoustic gets used and abused, like a folk singer on meth, even finding some time for peace on ballad "One Year On.” But the Boggs are more about releasing some pent up energy, and it comes out like dogs after a mechanical bunny. "Melanie in the White Coat” is a psychotic’s call to arms that needs a dose of Ritalin to close up, while "Remember the Orphans” is clean enough to pass the white glove test. Most impressive with the Boggs version 3.0 is the bombastic timekeeping — whoever it is really amplifies the bass drum all around, which is apparent as soon as the album kicks in with the walloping title track. Forts helps push the idea that the Boggs are an indeterminate act led by a songwriter who’s always looking to progress both his skills and the Boggs brand, which is becoming more valuable by the album and member.