POP MUSIC REVIEW : WIRE TRAIN REVS IT UP, BUT VEERS A BIT OFF THE TRACK

You can file Wire Train under Folk-Oriented New Pop Bands (Ringing Guitars Division, as opposed to the more common Jangly Guitars Division).

Though it’s one of the more intriguing entrants in that field, the San Francisco quartet’s show Tuesday at the Roxy posed a question endemic to the genre: Should you rev up the momentum on stage if it upsets the balance in your music?

They revved, and it upset. The edgy propulsion of tunes like “Chamber of Hellos,” “I’ll Do You” and “No Pretties” was edgier and more propulsive than ever. But meanwhile, Wire Train’s delicate blend of folk-derived melodies and earnest rock ‘n’ roll drive fell prey to a muddy sound system and their own tendency to crank up that ringing guitar.

It wasn’t an especially varied show, and singer Kevin Hunter’s conversational drawl was lost in the mix much of the time. But those drawbacks didn’t do severe damage, because these folk-popsters make a pretty convincing rock ‘n’ roll band, and because their material is substantial enough to shine even when only one facet is on full display.

Preceding Wire Train was another worthy Bay Area quartet, Monkey Rhythm. The band built its music around a huge drum sound and the resounding slap of a double-time bass guitar, making for a set of tunes that were funky, aggressive and kinetic almost to the point of violence.

The show was kicked off by Balls of Fire, another band with a big drum sound--this one courtesy of former Kiss drummer Peter Criss.

Made up of a vampish lead singer backed by a power trio (Criss is a recent addition), Balls of Fire started out playing raw, commercially designed rock that needed sharper hooks. By the time Criss took over lead vocals on a Gene Simmons song, though, it was edging uncomfortably toward the territory you’d think he’d gotten enough of in his alma mater.