The Rubber Room column is a weekly look at recent and notable releases that don’t fall into the rubric of traditional reviews or reviewed material—namely 7”’s, 12”’s, 3” CDs, EPs, cassette-only, DVDs and MP3-only releases.

The Magnolia Electric Co.
Hard to Love a Man EP
[Secretly Canadian, 2005]

By now, you probably know what Jason Molina does, and whether or not you like it. The new EP from the Magnolia Electric Co provides more of the same, with only one memorable number, the title track. The next three songs aren't bad, but they're just what they are, slowish and country-rock-y, and supported by Molina's voice. Which would make this a for-completists album if not for the final song, a cover of Warren Zevon's "Werewolves of London" that uses slide guitar and the folksy orchestration to bring a more explicitly humorous side out of a Molina project. The dual-guitar solos offer as much homage to as parody of Southern rock leads, and shows a group having (and providing) some unexpected fun.
[Justin Cober-Lake]

The Long Winters
Ultimatum EP
[Barsuk, 2005]

With its lines about "boys and girls in cars" and the ability to "touch the sun," the Long Winters' Ultimatum EP opens by signifying cheese, until you notice the song title: "The Commander Thinks Aloud." With this post-Elton space/distance meditation, songwriter John Roderick brings in a warm folk sound—forgoing the pop—to mark a shift in direction for the group. Chamber strings define the first two tracks, but "Everything Is Talking" offers a more electro look at technology and solitude. The acoustic-guitar and vocal live tracks the close the album ("Ultimatum" and "Bride and Bridle") increase the sense of intimacy, but the versions add little to the songs themselves, in part because the production needs improvement. Forget them, though, and concentrate on those strong first three numbers.
[Justin Cober-Lake]

B. Rich
We All Doin' Time CD single
[The Wire Music Group, 2005]

"We All Doin' Time" doesn't make much sense as a first single. While B. Rich might have something to say on it (and you can basically get that from the title), the song doesn't have the kind of hook or vocal delivery that makes you stop and think, "This is someone I need to hear some more of." Even b-side "Born Rich" has some more noticeable (if not necessarily more original) production. He ties himself down to the beat, sacrificing an interesting flow in favor of a precise one. My guess is that lots of people are going to be making cruel puns on B. Rich's name this fall. If lots of people hear the album, that is.
[Justin Cober-Lake]