Muzik Reviews

Patrick Yandall - A New Day

For his tenth release A New Day, veteran jazz guitarist Patrick Yandall delivers an album full of different styles. As with his previous work, the songs of A New Day are filled with Yandall’s smooth guitar soloing, which remains impressive. The 11 tracks of A New Day are often highlighted by the talented saxophone and brass playing of Jeff Laakso, making Yandall’s effort perfect for fans of instrumental jazz.

A New Day opens with its title track and single. Here, Yandall infuses his jazz foundation with polished R&B brass melodies. Of course, “A New Day” features several bright guitar solos from Yandall that help round out the song. Marc Pierucci’s confident key playing adds the final touch to a perfectly composed track filled with smart melodies.

Yandall clearly knows how to write a powerful R&B melody and continues to showcase this skill later in A New Day with the tracks “Urban Flight” and “If You Love Me.” Yandall brings some of his most memorable guitar riffs to these songs, which also benefit from driving bass and key rhythms.

At other points on A New Day, Yandall’s sound relies heavily on funk, such as the uptempo “I Am There.” Funk guitar riffs are complimented by beautiful saxophone solos that really make the track stand out. If you’re a funk fan, it would be hard to find a more pleasing sound than “Pistons Stomp.” The song definitely is the funkiest on the album.

Instrumental jazz fans will quickly adopt A New Day because Yandall can add so many different sounds to the jazz template that each song has. “The Path” has Latin guitar riffs that add a whole new intrigue to the album. Even blues fans can find songs to enjoy on the album like “Mr. Fattburger” and “LC Squared.”

Overall, A New Day continues Yandall’s successful legacy. The textured tracks of the album make it a fascinating listen for any jazz fan.

MuzikReviews.com Assistant Senior Editor-Chris Homer

March 3, 2009

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Animal Collective - Merriweather Post Pavilion

There is no shortage of opinion on Animal Collective, who – depending on the party asked – are either the harbingers of the next great genre movement or just another over-hyped, lo-fi psychedelic band. Like everything else, the truth is probably somewhere in the middle, but that hasn’t stopped the Baltimore-bred Collective from making their “greatest ever” claim: case in point, the band’s ninth full-length album in as many years, Merriweather Post Pavilion. It is undoubtedly their best effort to date – a writhing, wooly, post-apocalyptic experiment whose catchiness belies its indie fur. Perhaps more accessible than even the band itself intended, Pavilion proves that vanguards can have their cake and eat it, too.

It is important to note that (as is usually the case) there is a brain center behind the Collective’s whimsical forays: Panda Bear, aka Noah Lennox, who astute listeners may recall has his own career (the throb of “Comfy in Nautica” off Person Pitch still haunts my ears.) Despite the fact that the term “Collective” here is quite literal (the band’s lineup is something of an amorphous blob), Lennox provides much-needed vocal and stylistic continuity on Pavilion. What results is a calmer, more playful cadence that was absent on works like 2007’s Strawberry Jam, whose tracks – like the paranoid screed of “Fireworks” – were effective on a far more visceral level. So while the nerves have been doused in favor of self-confident loops and other quaint noises, the calmer change of pace is executed deftly enough that many longtime fans won’t even mind.

The first standout is indisputably “My Girls,” a near-spacey romp trickling with makeshift percussion patches and thick, thick (think milkshake-laden) vocal overdubs. Percussion is the driving force here, as the song winds and builds into its various structures with little-heralded segues. The rest of Pavilion is equally hypnotic but never as natural, making “My Girls” its innate signature piece. That’s not to imply it ever gets boring; on the contrary, the Collective pump their compositions so full of prickly synths, reverb onslaughts, and a half-dozen other special effects that it’s hard not to pay attention. The band is essentially the indie equivalent of Michael Bay, turning noise and wreckage into solid entertainment.

Despite the ear-ease of “My Girls,” it is the schizophrenic nature of “Daily Routine” that perfectly encapsulates the stream of consciousness Pavilion envisions. Its front half stammering with sparkling organ rolls and crisp beats, the conclusion is slowed into the glitchy throes of a dying computer. The song is striking and yet haunted, its casual lyrics like code for some forbidden secret. Few acts could take such musical crumbs and turn them into a full course meal, and yet it is that miraculous act that Animal Collective savors with regularity on Pavilion.

By the time the didgeridoos of the spastic “Lion in a Coma” and the unraveling epic that is “Brother Sport” come and go, listeners will have made up their mind as to whether Animal Collective are indie saviors or idiot savants. Merriweather Post Pavilion makes a strong case for the former; already the most critically-acclaimed album of the year, it pulls sonic genius from the air far too many times to be deemed accidental. It may have taken nine albums to get here, but Animal Collective seems to have finally achieved perfection in musical immediacy.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 26, 2009

Anodize - Signs Of You

On Signs Of You, Miami’s Anodize does their best to mix electronica programming with blasting rock riffs. It’s a good thing that Anodize has an electronica side to their sound, without it they would just be another genric, alternative-rock, radio-ready band. Signs Of You isn’t incredibly innovative, but it has a few tracks that fans of mainstream alt-rock can get into.

Anodize delivers one of the best tracks of the album with the opening cut “Get It Right.” Hard rock guitar mixes well with programmed beats on the song. Fans of Linkin Park will find the sound of “Get It Right” to be similar to the long-running rap-rock band, without any rapping. The song definitely could find a home on current alt-rock radio.

Compared to the heavy sound of “Get It Right,” the next song “Iris” sounds somewhat surprising. The verses of the song are largely composed of dark synth sounds mixed with airy piano melodies. Anodize gets away from the grungy guitars that populate the rest of the album on the track, allowing for the more unique side of their sound to come out and creating a fairly intriguing song.

“Tuesday” uses a similar sound to “Iris.” Again, Anodize begins to establish an identity that could separate them from the pack of hard rock bands on the song.

However, Signs Of You contains too many tracks with the same, predictable grungy guitar mixed with electronica beats. Tracks like “On The Outside” and “All Alarms” quickly become boring. I also feel that the vocal range of Vito Lastayo is too limiting on some songs like “When You Run.” The track would be much stronger with a singer with a greater range.

Anodize does come back strongly later on the album on “Electric Star.” It’s clear that Anodize does have the potential to build a great sound from the song.

Signs Of You suffers from an over-used rock sound at several points. However, the more unique sounding tracks make Anodize a band to keep your eye on.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 26, 2009

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The Spencer Katzman Threeo - 5 is the New 3

Tired of mundane, cliché guitar riffs? Tired of the formulated song formats that tire the ears and mind? If so, perhaps it’s time to treat yourself to a copy of the Spencer Katzman Threeo’s 5 is the New 3. Their latest release on 6v6 Records, the creatively titled “threeo” embarks a ten-track musical journey that leaves listeners satisfied.

With veteran musicians Keith Witty (bass) and Dave Sharma (drums and tabla) at his side, guitarist Spencer Katzman wastes no time in establishing a fluid, two-minute groove, that despite its 5/4 meter, floats by naturally; Katzman dances over the track, and instead of letting the meter shape his playing, he drives it with his playing. Witty and Sharma provide light and unobtrusive backbone for Katzman’s melodic, yet rock/blues-like soliloquy. Early on, Katzman’s versatility is quite evident; tracks such as “Guiding Light” and “Bella Django” allow listeners a taste of his lush, clustered chord voicings at comfortable tempos. With a steadfast sense for timing and feel, Katzman, at times, almost presents the illusion that time disappears–an admirable musician’s aspiration. Putting his electric guitar down for a track and allowing the album breathing space, Katzman dons an acoustic guitar for a tabla-backed groove entitled “Clinton Hill”–a tribute to the Brooklyn’s own namesake. For nearly four minutes, Katzman’s tasteful acoustic breathing floats easily overtop Sharma’s tabla. With a strong, yet delicate backbeat, listeners will have a tough time sitting still.

While not limiting his attention to only sentimental material, Katzman’s take on the Brendan Benson title “Emma J,” features hints of rock influence and a slightly driven electric guitar attitude and tone; again, with Witty and Sharma in tow, the effortless 7/4 seems to fall right in listeners’ laps. Perhaps Katzman’s gem of the album, “So Long, Old Friend” checks in at the seven spot; modulating a bit from previous and forthcoming tracks, the track’s innocent sendoff to a long-time companion sends chills up the spine. As an added treat, Katzman’s jazz chops surface a bit more, leaving fans of Bill Frisell and Ben Monder wanting more. Katzman’s Brazilian influence follows and can be heard in the introduction and entirety of “Where’s Frankie?”. The title track “5 is the New 3” checks in at the ninth slot with the most outgoing selection of the album, and features the highest energy present on the album–Katzman’s ability to effectively and seamlessly navigate transition is commendable. “The Tami Show” brings 5 is the New 3 to a timely close, leaving behind a sense of relief, not from the album itself, but from the busy, noisy, bustling of the outside world.

For the Spencer Katzman Threeo, music seems to traverse their minds effortlessly. Those capable of producing collaborative sound so well are few and far between. If for some reason, listeners find themselves unable to take to the sounds of 5 is the New 3 upon first listening, sit back down and aurally peruse the collection again. Just as appreciation grows for a fine wine after an initial tasting, the same is true for music and for the Spencer Katzman Threeo’s latest–you’ll be back for more.

Matt Jaworski –Muzikreviews.com Staff

February 26, 2009

Coyote Poets of the Universe - Callin You Home

Denver, Colorado’s Coyote Poets of the Universe return with yet another musically diverse album on their fourth effort Callin’ You Home. The Coyote Poets are definitely a band that defies the standard genre definitions. Each song has a unique style, with influences ranging from jazz to surf rock and everything in between.

While the Coyote Poets have structured songs without a lot of jamming, the diverse instrumentation of the band gives a bit of jam-band sound to Callin’ You Home. The unusual instrumentation of the Coyote Poets and the three distinct vocalists allows the band to create experimental, yet digestible songs like “Yes Or No.” The song features steady violin melodies, but retains an old-school outlaw country sound. Of course, later the song features an oboe solo that’s unlike anything you’ve heard before. Don’t be scared off by the Coyote’s experimentation, patient music fans will begin to enjoy the song quickly.

Later, “I Don’t Know Birds” and “Disturbance” are powerful bluegrass songs. Bluegrass fans will take pleasure in the familiar sounds of banjo and violin that mark the genre. “Disturbance” also has funny, stream-of-consciousness lyrics. It’s always refreshing to see a band loosen up and have a little fun. The Coyote Poets show their sense of humor again on “Surfin@Stonehenge.” The track is a hilarious instrumental that combines Irish melodies on flute with surf rock guitar. However, you can’t dismiss the track as a simple joke because it manages to work as a rock song.

Callin’ You Home also has some rock-a-billy tracks like “Jesus Debbie (Shut The Fuck Up)” and “Criminal.” Buddy Holly-sounding guitar riffs mix pleasantly with the unique elements like flute and violin that Coyote Poets of the Universe add.

Coyote Poets of the Universe give their strongest song of the album on the title-track “Callin You Home.” Here, the Coyote Poets combine the many different elements of their sound to create a beautiful, experimental ballad.

Callin’ You Home is about as diverse an album as you can find. Coyote Poets of the Universe keep you guessing about what’s coming next throughout the album. You won’t get bored with this CD.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 25, 2009

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Sharyn - Girl Player

Back in my radio days, piles of CD’s would arrive at the station on a daily basis. At times, it was my job to go through them and find anything that might possibly be worthy for airplay. Sometimes I would have time to listen to only a few notes of each, making “yes” and “maybe” stacks.

Sharyn’s Girl Player would be a CD I’d throw in the “maybe” pile initially, and then pull out for a second listen. The songs rattle around in your head and stay on your mind.

Today’s pop music is disposable. In these technological times, anyone can make a song, hence the proliferation of one hit wonders. Girl Player is full of “girl power” and features some tight production and strong backup rappers who help Sharyn rise above the mediocre masses.

The title track, “Girl Player” is upbeat, and swings on the dance floor or an aerobic studio. “Have You Ever” sounds a bit like Rihanna, and is a standout. “Love You Long Time” grows on you after a few listens, it’s a frothy silly song that is fun to sing to after a few glasses of whatever.

“Tell Me” has a bit of a haunting flavor that makes it the weakest cut. The mid-tempo ballad “Undoubtedly Yours” showcases Sharyn’s pleasing vocals.

This U.K artist should find a place on the U.S charts soon. Poppy but not too predictable - Girl Power plays well on the stereo at home or in the headphones at the gym.

Susan Evani - MuzikReviews.com Staff

February 25, 2009

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A.C. Newman - Get Guilty

If indie cred were money, A.C. Newman would be a very rich man. As the frontman and brain power behind critical darlings The New Pornographers, the Canadian singer/songwriter has made a living dabbling with the uber-talents of modern indie rock (including fellow band member Neko Case.) Yet here we are treated to Newman as a single entity, reveling in the breezy, bombastic nature of his sophomore album Get Guilty. A follow-up to 2004’s The Slow Wonder, Guilty is a full assault of acoustic glory, managing to revel in noisiness and verbosity without ever being obnoxious.

And while Newman doesn’t offer anything unrecognizable to most indie fans (or Pornographer aficionados), there is a certain meticulousness to his Brian Wilson-invoking folksiness. Songs play out with an excruciating eye towards composition, as if Newman has taken the scrupulous nature of “Our House” or some other populist classic and used it as a musical template. The upshot is a record with intelligence behind the breeziness and a purpose behind the mellow ‘tude. The sacrifice of wild antics for clever songwriting pays off: Newman remains firmly in control, employing a cool voice at the mic and a steady hand at the guitar in search of Guilty’s sweet spot.

Luckily for audiences, he finds it often, and mostly in the times away from all the rich-but-overwrought appeals to retro folk. “There Are Maybe Ten or Twelve” explodes in simple, oft-repeated refrains punctuated by rock-candy distortion, flutes, and pizzicato whispers, with Newman and a female accompaniment gently (and perhaps sadly) reminding us to “make of that what you will.” That opening salvo, dusty and atmospheric, represents Newman at his rugged best, and continues in the surf-shadow sound of tracks like “The Heartbreak Rides.”

“Prophets” is brilliant in its familiarity and confident in balancing hard and soft elements. Here, as in many places on Guilty, Newman is content to rinse in gentle, melodic repetitions, crying “Strike on, zero!” amid the ecstasy of a falsetto chorus. Listeners come to realize soon enough that Guilty is content to let harmony take over the driving responsibilities, and Newman is more than capable of rising to the task. “Thunderbolts” is nothing more than honest-to-goodness chord progressions elevated beyond their serviceable duty by vocal sincerity alone; “The Palace at 4 AM” is as lashing as a hard rain, but leaves an impression only on account of Newman’s swaggering narration.

By now it’s apparent that Get Guilty is a kind-but-restrained record, managing introspection and sensitivity without much sap. It is that command – and an ability to move beyond its elegy to 60’s-era harmony folk – that remains in one’s ears far after the finishing touches of “All Of My Days And All Of My Days Off.” My suspicion is that it’s no accident, but rather the intervening craft of A.C. Newman’s musicianship.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 23, 2009

Halie Loren-PICK OF THE WEEK - They Oughta Write A Song....

Halie Loren’s second effort They Oughta Write A Song…. picks up where her first release Full Circle (2006) left off. I found once again that her voice was able to wrap me up and take me away…always a welcome relief from the stress of everyday life these trying times we are facing.

The title track appropriately sets the stage and is a fine original arrangement that plays well to Ms. Loren’s talents as a vocalist and intimate storyteller. This is just the beginning however and it does set the table for the many delights that are ahead for your ears.

Loren primarily focuses on classic songs interpreted through the eyes of jazz and some are interesting choices. “A White Shade of Pale” was one that caught me by surprise and as it turns out, a very good choice. With the way Halie and her excellent band produce, this classic rock tune you would think it was a jazz song first not the other way around. It sounds natural and flows beautifully with Halie’s soft and inviting vocal style and the band behind her pulls her along and she returns the favor as the interplay in this song (and the entire recording) turns out to be the key constituent that makes all of this work so well. Matt Treder (piano, keys), Mark Schneider (bass), Brian West (drums) and Tim McLaughlin (trumpet) provide the driving force behind the woman out front.

There may be only three originals here but the selection for the cover tracks is quite diverse allowing the band and Halie to stretch out and enjoy each song and use that opportunity to highlight all of their talents. It is intelligent musicianship and song selection to be sure. I am big on originals, particularly with indie artists because it is so difficult to garner attention for your work. It seems that everyone is doing cover albums, especially in the jazz world, raising the bar even higher for those looking for recognition. In this case, Halie Loren rises above the norm and is able to stand out and throw in a few originals to make sure everyone realizes she has what it takes to create and perform her own material. There was never any doubt from where I sit but what will someone that just discovered her think? I am glad to report that my belief is that the consensus should be in Halie’s favor for most of us that are appreciative of classic tracks well done regardless of style. How can you miss with songs like “The Dock of the Bay” and “As Time Goes By”? If you have the right band behind you and a vocal talent to deliver the goods then success is sure to follow.

Keith “MuzikMan” Hannaleck

February 25, 2009

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The Soul of John Black - Black John

Ecard "Betty Jean"

Black John and The Soul of John Black. Whichever way you look at it, this John has got his groove thang going nonstop on this recording on the sizzling hot Eclecto Groove label. I have not heard a CD from this label that I did not love yet.

This is the gospel according to John, in a very musical sense that is. Black John sings from deep down in his soul and plays the six-string the same way. He gets help from his friends on this project including notables Adam McDougal (keys), Oliver Charles (drums), Scott Seiver (drums), Jake Najor (drums), Shawn Davis (bass), Davey Chegwidden (percussion) and Bill Botrell (2nd guitar), the list and resumes are long and impressive.

It sure sounds as if Mr. John is a good match for everyone that steps in the studio to lend a hand. I knew I was going to enjoy this the moment the title track kicked in. This sound has the perfect blend of street smarts, a belief in the lord above, and enough real life interplay including expletives to keep it real and every day as the sunshine and blue sky. In addition to all of that, the dude can sing and play, he makes you believe every story he is telling and if you don’t he sounds like he will give you a thrashing you will never forget. I have to say I like his style and his straight up with-no-chaser look at life.

This man is breaking some new ground here with a melting pot of emotion and sound that crosses over many different musical lines in the sand. He steps into gospel and then grabs back the blues and rocks on “I Knew A Lady” and then commences to serve up some nasty funk and soul on “Black John”. He cuts it loose on “Betty Jean” (about Miles Davis’ wife Betty) and warns her that she will be missing out saying things like “a cool MF like me,” and then lays it all down heavy on a track that would have made Isaac Hayes envious, with the rockin’ soulful and cinematic “Push Into The Night”. Like he says in “Holiday Inn”- don’t give me no chaser, give it to me straight, and he is not talking only about the booze here. Just as some of the rough edges wear off and the sun is ready to set, Black John pulls a rabbit out of his hat to close down the day with a tender ballad to his lady, offering us some haunting vocals accompanied by a beautiful acoustic guitar.

Just when you think you got this guy all figured out he does something entirely different that you would not expect. For that, I believe this artist will have tremendous success wherever he plays out live or records. The Soul of John Black is diverse and entertaining in so many ways and that is an unusual thing in these strange and uncertain times. This artist is consistent yet unpredictable all at the same time and that is why he seems to find it easy to rock and cut out a groove that you cannot resist on every track.

Keith “MuzikMan” Hannaleck

February 17, 2009

Weird Old America - Vaudeville

Recently there’s been a back-to-basics trend going on in indie rock. Bands like The Black Keys have reminded us off the raw, bluesy sound that bands like Led Zeppelin, Cream and Jimi Hendrix were built on. Weird Old America’s debut Vaudeville is a great example of this trend. On Vaudeville, Weird Old America adopts the sound of many classic rock bands to make a memorable debut.

After the introduction, Weird Old America gives you the funky “Devil In A Dream.” The song plays like an amped-up Santana song. Guitarist/vocalist Nick Diaz shows off his guitar soloing ability during the song, which mixes well with the conga drum rhythm.

At other points, despite hailing from New York, Weird Old America adopts a downright filthy southern-rock sound. The frantic pace and sliding guitar melodies of “Pocket Change Blues” deliver a song that’s a cross of Lynyrd Skynyrd and ZZ Top. “Sooner Or Later” really gets the most out of the southern-rock sound with a great guitar solo introduction complimented by the organ playing of Matt “Van” Baram.

Vaudeville definitely displays an impressive repertoire of styles for Weird Old America. After a few powerful southern-rock numbers, the band makes a dramatic shift into psychedelic rock on “Carry Me Away.” It’s easy to see shades of Hendrix in the song, where Diaz’s soloing ability impresses yet again amid the well-structured blues sound of the verses.

Other songs on Vaudeville seem to be influenced by even earlier rock artists. The punchy, bluesy guitar riffs and doo-wop vocals of “Checkpoint Charlie” channel Chuck Berry with success.

Weird Old America delivers a raw, passionate rock album with Vaudeville. Albums like this one will make you hope that the back-to-basics trend sticks around for a bit.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 22, 2009

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Latent Anxiety - Perception, Sensation, Reaction

Perception Sensation Reaction

I met IIja Rosendahl the man behind Latent Anxiety, back in 2006 when he asked to me to review his Perception CD. Now after several years have passed I had the opportunity to hear the more recent projects that followed titled Sensation and Reaction.

After a few listens to Reaction and Sensation I remain steadfast in my choice as Perception for my favorite recording. It only took one listen again to remember why I enjoyed it so much. Although Reaction and Sensation are good albums, the vocal style was warmer and more consistent on the first CD. The approach on the follow up releases is intentional, the music is supposed to be cold and calculating, like a premeditated act.

Perception was my first impression of Rosendahl and his creative process, the guitar playing and his interesting vocal style impressed me. Now I feel as if this artist has somewhere to go besides where he resides currently with his music. After several albums with the same sound and styles, I think its time to consider going into another direction so stagnation does not set in. All of this aside I do respect the artist for his ability to create all of this music by himself. I can also hear the strides made technically with the guitar playing and the overall production of each CD. The difference between Perception technically and Sensation then Reaction are obvious.

Latent Anxiety is dark music, even though at times the electronica elements and vocals may sound like a few octaves lower than the 80s one hit wonder Ah-Ha, which is not a bad thing at all, at heart this man is a rocker. What he is accomplishing here is to give the audience some variety. That one aspect to create songs that stand individually is where I admire this artist the most and for what he comes up with on each CD.

Writers like Edgar Allan Poe inspire IIja, thus the dark corners of the mind get some exploration through the music. The electronic parts give the sound a colder edge, and then IIja sets out to sing in robotic like chants repeating vocals to the pulsating beats. Admittedly, I become a bit agitated with the repetitive vocals and the lyrics at times are weak, however, he makes up for all of that with some good guitar work, and as a whole offers some compelling vocal mixes to complement the music. On a few tracks vocalists of the female persuasion add their touch, which softens up the darker side a bit and leans more to the electronica and pop fans, featuring less complicated story lines.

“Love Delirium” (from Reaction) is one of the best songs in the collection and it was a great choice for an interesting visual treat with an accompanying video, which is included on the media section of the CD. The CD is also available as two-disc set with one recorded in 5.1 surround sound, which I did not have the pleasure to enjoy at this time.

Other notable tracks are “Psycho Discrace” (that is not a typo), “Life in LA” and “Cold As Ice”.

Latent Anxiety is unique in many ways and a great talent that needs to explore and expand horizons to move to the next level to find the international acclaim that all ambitious artists are reaching for.

All three CDs have some great slices of rock and electronica that are hard to ignore and have a tendency to grow on you, with that said, what else could a recording artists hope for when releasing an album?

Overall Rating:

Keith “MuzikMan” Hannaleck

February 22, 2009

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Saltman Knowles - Return of the Composer

For syndicates and listeners who believe that the future of jazz is in danger, Saltman Knowles’ newest release, Return of the Composer, quickly eliminates all doubt.

Musical comrades since their University of Massachusetts days, bassist Mark Saltman and pianist William Knowles have recorded a noteworthy collection of material that not only satisfies the ears, but underscores the return to solid songwriting and composition. “Homeland” kicks off with an instantly head-nodding groove, injected with an intoxicating taste of middle-eastern harmony. As added incentive, the smooth trumpeting of Alvin Trask, and the timbre of Lori Williams-Chisholm’s voice and Rob Landham’s alto saxophone meld into one another, creating a sound that listeners might mistake for another instrument; Landham’s solo showcases the effective use of simplicity, and a sophisticated understanding and application of improvising over a modal vamp. Williams-Chisholm’s scat solo phrasing, syllables, and vibrato are hauntingly reminiscent of the great Ella Fitzgerald–a treat to any jazz fan’s ears; Saltman Knowles notes, “Mrs. Lori Williams-Chisholm has been singing the hell out of our melodies for the past couple years, and her voice has become an integral part of our sound.” Holding down the rhythm section, Saltman and Knowles are both masterfully in their element of groove with drummer Jimmy Junebug Jackson.

The Kenny Dorham “Una Mas”-like intro and Brazilian-influenced melody of “Bellport” provide a backbone for Knowles to demonstrate his tasteful pianistic prowess. “A Study In Purple,” composed after learning of a colleague’s passing, is exactly what the title suggests–a musical exploration of the feelings associated with the sound of the color purple (properly called Synaesthesia). “Shalom and Salaam” draws more on Eastern-influenced harmony and seamless rhythmic lockup, while tracks like “Disfavor” and the 3/4-meter “It’s Been A Mad Spring” pay homage to more traditional jazz–further showcasing the group’s versatility. “Creepin’ Up” holds up to its title with an easy-to-get-lost-in syncopated rhythmic figure; again, successful navigation is the trend of the album. Closing out the album, the elaborately-arranged “Pain Management” features Williams-Chisholm providing traditional vocal lyrics over a beautiful intertwining with Knowles’ lush accompaniment, before breaking into an easy, medium-tempo swing that eventually fades away into silence.

Aside from a mild taste of the Avishai Cohen (bass) trio, Saltman Knowles seems to have developed and discovered a fresh and inviting sound. Rhythmic variety, pocket, and interaction are all executed and contained in a manner that allows melody to flow unobtrusively back and forth, cradling listeners’ ears for the long haul. For those who hold a stiff upper lip and do not wish to be caught tapping, nodding, or gesturing to the music of Return of the Composer, good luck – you’ll need it.

Matt Jaworski –Muzikreviews.com Staff

February 23, 2009

Buddy Ivory - Rough Cut

Buddy Ivory boasts a variety of musical influences and genres mixed to create their unique sound. From rock to country, blues and R&B, Rough Cut has it all. The guitar licks are sharp and the drums do what the band set out to make them do – keep the beat lively and have the listener at least tapping their feet. Dancing would be much more satisfactory for Buddy Ivory, as they try and produce music that “will make you want to get up and dance.” They want you to “get your groove on.”

“Alabama Fighting Men” is a song highly influenced by the country genre, while “Organ Grinder” is decidedly rock. “Shadow Play” is a very interesting track in its style and approach. The lyrics are more spoken than sang, and the deepness of the voice sounds like Barry White. The guitar and keyboards bounce around to fit with the image of shadows jumping in and out of sight, giving the song a mysterious, yet comforting feeling.

“Wait For Me” opens with a very fun intro and continues to keep the high energy of the CD going. The only thing that takes away from this song is the backup vocals that sing “wait for me” which sound out of place, if not just out of tune. An effect that Buddy Ivory sometimes uses is an echo of their vocals. While it seems like a minute detail, it either enhances the gritty sound, or is just another added noise, and in places on this album, the echo is not needed.

The guitar playing in “Change of Direction” is fantastic; the vocal quality may leave something to be desired. However, the singer sounds like he’s having such a good time, it’s easy to forgive and forget. “Nothing But a Thang” pays homage to what players were doing “back in the day” with a nice 3 ½ minute instrumental.

“Someday You’ll See” is another track that has very good instrumental composition, and shows how the band’s playing skills are highly developed. Unfortunately, the singing sounds a little out of tune and wavering in spots, but again, the singer’s passion for his music shows through.

Buddy Ivory’s debut album, Rough Cut, shows the band’s ability to produce many different sounds of music, and do it well. It showcases their talent of rocking out, playing with passion, and having fun. With some work on the vocals, Buddy Ivory will be a complete package deal.

Christen LaFond-MuzikReviews.com Staff

February 22, 2009

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The Bird and the Bee - Ray Guns Are Not Just the Future

Most Indie fans out there were probably exposed to twosome The Bird and The Bee in 2007, when their eponymous debut produced the satellite radio favorite (and Grey’s Anatomy-featured) “Again & Again.” For the uninitiated, the Los Angeles duo of Inara George and Greg Kurstin are one of the few acts out there who thrive at mixing 60’s chic and modern pop without committing blatant plagiarism.

Generally, the resultant music can be described as something between Odelay and James Bond, and it’s no different for their sophomore album Ray Guns Are Not Just the Future. And while it’s certainly not the most creative or novel offering of 2009, George and Kurstin offer enough cool and confident retro-poise on Future to cement themselves as a talented songwriting (and performing) team.

Most of Future’s backbone resides in George’s dainty-but-satirical voice, which boldly coos lyrics that may or may not be veiled, sarcastic insults. Surprisingly, the near-deadpan delivery works in effective tandem with the rest of the fare; that is, a plethora of heavily-sampled hits, snappy beats, and a syncopated aura well suited for an airport terminal (and that’s all meant as a compliment, of course.) Thus, Future is, appropriately, what the 1960’s might have imagined the future looked like – sparkling, fast, lovesick, and addictively poppy.

Furthermore, it’s clear from the opening burst that George and Kurstin have moved beyond the initial forays of “Again & Again.” “My Love” is whirling and bittersweet, peppered with handclaps and lo-fi flutes to sustain the climbing glitter. “Diamond Dave” is “Diamonds Are Forever” for a new century, its atmospheric organ pops and orchestral waves perhaps ripped from the credits of some spy film.

The splashes of brilliance are sprinkled throughout, but their concentration is greatest on tracks like “Love Letter to Japan,” whose tongue-in-cheek shtick and bubblegum swagger rival those of Cake. Hence, Future is at its best when channeling the more cinematic ghosts of its retro gaze and leaving (for lack of a better word) intelligence behind. As the funky, clunky “Polite Dance Song” demonstrates, it’s one of the few times when glitz and glam are preferable to brains, wit, and message.

Not that Future is mindless. Rather, it is subtlety crafted and often ingenious with its compositions, even if the latter are nothing more than a few chords. Yet as the adorable “Birthday” can attest, music is often more about feeling than thought – more heart than brain, if you will. Like their name, The Bird and The Bee’s craft is deceptively simple, often sounding breezier and slimmer than its creators might realize. In this critic’s opinion, we’re all better off for it.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 22, 2009

Daryl Shawn - As Promised

Can an album of non-classical solo guitar work succeed? Can it avoid the monotonous and esoteric? Can it have a broad appeal, or will it sound like a demo tape?

These are questions Daryl Shawn brings up with the recording of such a project and attempts to answer in the affirmative.

Shawn’s work sits somewhere in between classical, folk, pop, and rock - drawing on all four in his compositions. From the start with “Advance Notice,” Shawn has penned an almost Sting-like tune with a sophisticated sound and a pop sensibility. This sets the tone for what’s to come, as the artist makes a point of showcasing the composition as much as the playing, preferring musicality over flashiness.

The title track, or tracks as it is a three-movement suite with Andante, Moderato, and Adagio sections, waxes to the classical side of things. In closing, with “Montage” Shawn brings things back to a more pop-influenced guitar-groove tune. A wide range of taste and inspiration are clearly on display here, but is the album a success? Yes and no.

While the artist successfully avoids the tasteless, he doesn’t break any new ground. He showcases his playing and composing, but the ear often cries out for accompaniment like ribs in need of barbeque sauce. Many of the tracks are thoughtfully written and seem to belong, while others like “Interstate” seem to have been written like film scores and don’t stand on their own.

Despite its flaws, this album leaves the door open for progress. It falls short of the mastery of Pat Metheny and Charlie Haden’s Beyond The Missouri Sky, but far exceeds the esoteric and tasteless nature of an Yngwie Malmsteen. Daryl Shawn has shown that he is a good guitar player and that he is also an artful composer, not necessarily in that order; a rare find indeed, as anyone who knows enough guitarists will tell you.

Noah Small – MuzikReviews.com Staff

February 21, 2009

For Questions or Comments On This Review Send An Email To mailto:nsmall@muzikreviews.com

Carbon 9 - The Bull

For their WorldSound Music debut The Bull, Carbon 9 delivers an album that walks the line between industrial and hard rock. Crunching guitar melodies mix with the soaring sounds of synth programming throughout the album. On The Bull, Carbon 9 establishes a sound that’s reminiscent of Nine Inch Nails, infused with more developed guitar parts. If you’re looking for an album that puts a nice twist on the familiar hard rock sound, Carbon 9 won’t disappoint you.

Carbon 9’s Nine Inch Nails sound becomes immediately visible on the first track “What Is It We’re Made Of.” Stacey Quinealty’s vocals are backed up by dark, brooding synth sounds that would make Trent Reznor proud. The song also gives you a good taste of the synth programming that adds to Carbon 9’s sound without distracting from the other elements of the album.

The Bull is packed with high-energy industrial-rock songs like “Crawling Over Me” and “Somebody Like Me.” Memorable guitar riffs find a nice home amid the many synth melodies on both songs.

The Bull is also a well produced album. On songs like the title-track “The Bull,” it’s impressive how Carbon 9 is able to pack all the elements of their sound in. “The Bull” may be filled with all the crunchy guitar and synth you can handle, but the infectious bass line still comes through.

Perhaps the most fun track on the album is Carbon 9’s cover of Danzig’s “Mother.” The band retains many of Danzig’s original guitar parts in the cover. Of course, Carbon 9 adds their own unique style to the song with industrial sounds, resulting in an excellent cover.

“Butterflies In My Head” is another highlight of The Bull. The song is more focused on guitar parts than many of the other tracks on the album. “Butterflies In My Head” shows that Carbon 9 can write a successful song where the synth parts are kept deeper in the mix.

While The Bull has many strong efforts, I’d like to see Carbon 9 establish a more experimental sound on some songs. Deeper tracks like “I’m Not Broken” and “I’m On My Own” begin to sound a little predictable.

Carbon 9 falls short on a few songs, but The Bull is still a good listen. The album is a strong example of how a band can mix styles with success.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 19, 2009

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Late of the Pier - Fantasy Black Channel

There’s something to be said for “messy” music – the artistic equivalent of smearing hot, greasy Sloppy Joe filling onto a toasted bun. Chances are that said mess has been executed much better by our overseas brethren as of late (most notably the British), whose approach is decidedly more fun and guiltless.

That will have to serve as the best introduction to Late of the Pier, whose untidiness on Fantasy Black Channel is less post-punk flavor than a mix of electronic throwback and ethnic stylings. In other words, there’s an experimental freedom on this quartet’s debut that belies the neo-rock exterior, giving their sound an immediate heart. It’s a far cry from the emptiness (and safety) of many modern bands, whose tongue-in-cheek skills need a much-needed brushing up.

Of course, it must be said that Late of the Pier’s “mess” has no lack of showmanship, often screaming by like a hyperactive, over-flexing Elton John concert. Fantasy is essentially a race, where guitars, drums, and squawking synths haphazardly replace the eager muscle cars. Yet the chaos is often digitized and syncopated, as if Daft Punk had come along and dipped the whole thing in a funky, dance-groove coating. The result is a tone that channels all the best artists and visionaries of the 80’s, borrowing from nearly every musical prism of the decade. Indeed, one whiff of vocalist Sam Eastgate’s punchy outbursts will conjure up obvious images, both pop-culturally and otherwise, of Reagan-era adolescence.

That isn’t to say all the arcade-dwelling antics are somehow soulless, or even simply a trivial paean to earlier acts. Instead, the boys of Pier manage to inject enough originality and spit into their project to forge a unique commodity: psychosis. There really isn’t any other term for the paranoid sear that’s been branded all across Fantasy’s tracks, with the opening discotheque schizophrenia of “Hot Tent Blues” serving as the foreshadowing. “Broken” and “Space and the Woods” are all electric scissor snips, pop bounce, and frenetic funk. A few more pieces employing this type of bipolar, computer-driven alternative would have made a solid (if unsurprising) album, but it turns out that Pier has a few more things up its sleeve.

The demented faux-xylophone of “Random Firl” is offset by ever-looped beats and other manipulated tweaks – a cacophony if there ever was one, yet a melody that manages to come together quite nicely. The irreverent, self-parodying streak helps, of course: “Heartbeat” is unabashedly new wave, yet the whimsical crunch and painful analog are all purposeful. Ditto the video game whirls of “Focker,” which tingles and buzzes like a power saw hit with lightning. And, without a doubt, the coup de grace that is “Bathroom Gurgle” is the best example of such caricature, cheek, and brashness.

In the end, Late of Pier’s greatest accomplishment is turning that Sloppy Joe glop into art – and digestible art at that. Indeed, in other hands Fantasy Black Channel would be as nonsensical as its title, a strung-together disaster of goofy noises and overused throwbacks. The fact that it isn’t, but rather an engaging record, is a testament to the group’s musicianship and artistry.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 19, 2009

Key Dragon - Dragon Mythos

Dragons, dragons, and more dragons.

Key Dragon’s latest release, Dragon Mythos, is an enigmatic amalgamation of sound and creativity incarnated in a new musical genre: dragon metal. Drawing influences from many wells, this California-based quintet takes on the role of a mythical storyteller, narrating the legend of the dragon. While Dragon Mythos has potential on the surface, much of the album is draped in a cloak of ordinary and disarray.

Following a stereo-metallic opening guitar slide, the spell of “Childe Wynde” is cast. Vocalist Tamara Venus Star’s makes her first appearance of the album, descending a spiral staircase of chromatic melody; as she does so, Ron Langford’s laryngitis-plagued gutturals trade off lines and provide backing vocal foundation. As is the case with most of the album, Star’s vocals are heavily saturated with reverb and delay to the point where her lyrical impact lessens. While bordering on primitive, the rhythm section (with great synthesizer tones in tow) maintains a rather monotonous motif and pocket rather well. “Moo Inanea” follows (as does “Jawzahr” tracks later) with an accurate representation of the marriage of 1980s dark alley-type motion picture soundtrack and a rousing tournament of Mortal Kombat — take a listen — the evidence is present.

Nearing the album’s midpoint, “The Prince and the Dragon” breathes life into listeners’ ears with an innocent piano theme that carries Star’s vocals into and through a moderate-tempo vamp; the piano provides a long-awaited sonic contrast that makes for a memorable track in an otherwise mundane collection. Jawzahr checks in at the number eight spot with a medieval-influenced vamp that alternates between a main guitar theme in 5/4 and connecting bits of 4/4 time; alongside the 9/8 meter of “Beauty of the Beast,” this is the extent of Dragon Mythos’ adventurous technical acumen.

After nine tracks that lack noticeable variety, “The Promise” emerges; Star’s hypnotic vocals poke through and allow listeners a sample of her smooth-as-glass delivery – if only her vocals were less effected on the rest of the album… Checking in at the thirteenth and final spot, “Marduck and Tiamat” draws the album to a rather nondescript close.

Unfortunately, while the cover art and album title arouse buyers’ curiosity, Key Dragon fails to garner the interest and musical satisfaction that listeners so desire. Despite their creativity, clean and solid tracking, average musical performance, and diverse backgrounds, Dragon Mythos fails to follow through with a memorable, diverse, and concise collection of material. After a rather tiresome and lengthy thirteen tracks pass, listeners are ready to give their ears a break. Concentration on stronger and more diverse material, with a little more respect paid to Tamara Venus Star’s gentle vocal styling could produce an album that allows Key Dragon to live up to the reputation they most definitely deserve.

Matt Jaworski–Muzikreviews.com Staff

February 16, 2009

Glasvegas - Glasvegas

It’s not often one gets to talk about Scottish musical exports, let alone one with as much unbridled buzz as Glasvegas. Then again, neither do those much-heralded acts ever surpass the accompanying hype as easily as the Glasgow-based quintet does on their self-titled debut. Coming virtually out of nowhere, the Glasvegas boys seem to understand the fundamentals of rock better than their peers: unassuming, heartbreaking, and immediately accessible, their sound is equal parts simple syrup, British aura, and anthem-scaling teenage tragedy. As a result, it’s no stretch to consider this eponymous release among the best rock records of the year.

Other reviews are sure to invoke “Braveheart” jokes (from which I’ll refrain, no matter the temptation), but despite all the usual ugly stereotypes that go along with hailing from a smaller country, there has been no attempt by Glasvegas’ handlers to downplay the Scottish flavor. Amid sloppy, brash Glasgow cockney and liberal use of the word da, vocalist James Allan infuses every guitar-drenched track with unadulterated doses of pain. It’s the relentless use of tear-jerking minimalism that ultimately rockets the band into truly glorious heights: the melodrama is poured on thin and ultimately eschewed for blasting, austere emotion. Thus, unlike “Braveheart,” Glasvegas offers no heavy hand, satisfied instead to display spectacle-less pain paired with unyielding sheets of reverb-drenched guitar.

It’s a potent combination, considering that the boys of Glasvegas seem to have already perfected a fusion sound of 50’s romantic pop, blue collar bearing, and modern British Isle-bred punk. Tracks like “Geraldine” are familiar and yet starkly refreshing, offering all the usual neo-rock combinations, but sucked through a novel prism. Allan brays like a drunken wolf the whole while, singing “I will be the angel on your shoulder/My name is Geraldine, I’m your social worker” in equal parts humor and agony. The mixture of friendly alternative and husky vocals is nothing new, of course, but Glasvegas gives it new electricity somehow: “Go Square Go” offers a cyclical refrain heard in dozens of other songs, yet manages to drag fleshy sincerity up into the pulpit anyhow.

Other times, it’s raw pain dressed up in adolescent posturing that takes center stage. “Daddy’s Gone” is tired as a concept but wrenching in execution, as Allan wails “He’s gone, he’s gone, he’s gone” in crucified measures and listeners can hear the confused child beneath. With raw swells of distortion as their paint, the band paints a portrait of a still-festering wound, used with similar efficacy on the cascading splendor of “S.A.D. Light.” As with the result of the album, the song attains atmospheric perfection without sacrificing any harshness, lending just that much more worth to the quintet’s stinging passion.

There’s little more to say of Glasvegas’ near-perfect debut and its ability to balance workman poise with star-gazing sorrow. The equal doses of sarcasm and brazenness used to lighten the shadows could fill another paragraph alone; such is the number of levels on which the band works it magic. Perhaps it’s time to retire the countless haggis and kilt jokes and just enjoy the music.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 15, 2009

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The Trews - No Time For Later

Looking at the cover for The Trews’ No Time For Later, you might be wondering if the band sounds as intriguing as their Ralph Steadman-inspired cover art looks. The answer is yes, this albumis the sort of rock album that’s allowed to have thong-clad women on the cover. The third album from Canadian-born The Trews, No Time For Later is a diverse effort that draws pleasantly from classic rock influences with songs ranging from hard-rock anthems to introspective, mid-tempo numbers.

The Trews dive right into one of the album’s most pop-friendly songs with the title-track “No Time For Later.” The song has a gleaming, sing-along style chorus and addictive guitar hooks that could make it right at home on rock radio. However, what truly makes the song great is the organ and country-influenced melody that gives the song a Neil Young folk-rock feel.

From the pop-friendly sound of “No Time For Later,” The Trews rapidly switch to a harder rock sound with “Dark Highway” and “Be Love.” Both songs are driven by well-crafted guitar rhythms that when combined with the high-energy vocals of Colin MacDonald provide an AC/DC sound. Songs like these two will remind you of everything you love about rock.

Impressively, no two songs on No Time For Later sound alike, creating an album that’s never tiring to listen too. After getting the rock out, The Trews throw another folk-rocker at you with “I Feel The Rain”. The song has an undeniable updated-CCR sound that will be enjoyed by classic rock fans.

Perhaps one of the album’s most interesting songs is the single “Paranoid Freak.” Here, The Trews drive the song with a piano melody that’s not present on other songs, scoring yet another unique and successful style for the band. The track becomes really fun when the Pearl Jam-style chorus kicks into full gear.

The Trews seem incredibly comfortable playing many different styles, as evident by the Celtic-punk track “I Can’t Stop Laughing.” Later there’s an impressive, mostly acoustic effort in “Man Of Two Minds,” before The Trews return to their hard-rocking ways with “Hold Me In Your Arms” and “Gun Control.”

No matter what the style of the song is, the band nails it. No Time For Later impresses from beginning to end. The Trews have officially arrived with this album.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 16, 2009

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Melissa Morgan - Until I Met You

Fans of vocal jazz will love Melissa Morgan. Her vocal tone is sophisticated and complex. Many singers belt (you can just pick a pop diva for an example), using a big, loud sound, like the the clarion call of a trumpet. Some use a whipsy flute-like tone singing almost in falesetto (like Dido, for instance). Melissa Morgan, though, is more like a saxophone, or a rich english horn. Couple that tone with her obvious knowledge of jazz singing, and you've got a jazzer's delight.

There's more to this recording than the singing, though. If I had to sum up the arrangements in one word, it would be 'clever'. The first few bars of the first track, “Save Your Love For Me”, got a chuckle out of me the first time I heard them. Pianist and arranger Gerald Clayton kicks off the album by toying with the rhythm of his opening statement as the tune goes on. It's a beautiful set-up, and indicative of a whole album of arrangements that are very entertaining, but also completely loyal to the spirit and history of this great music.

As if that were not enough, this is an album that sounds good no matter how far you turn it up. The production team did an outstanding job. I am often frustrated by jazz recordings that lose the mellow sound of the upright bass in the ensemble. Another common problem is for the rhythm section to be reduced to mush, the playing of keyboard, guitar and bass lost to simply become a series of nondescript chord changes. Not so here! You will every note of each player, with almost no sibilance in the background. This is one fans of vocal jazz should have in the collection, for sure.

Donny Harvey-MuzikReviews.com Contributor

February 14, 2009

Gina Holsopple - Unless

I listened to Gina Holsopple’s new album, Unless, while I was on my couch doing some work. I found my head floating about to her hypnotizing piano and Romantic lyrics, instantly transplanting my stress with glee. I really dig this album. It has a similar sound to so many other artists I have heard, but somehow Gina’s music slithered into my bones. There’s a rude authenticity in its feel and sound that I eagerly support. The question you are all inevitably wondering: is it any good? What is Good music? The debate is endless and so are the aspiring candidates. The answer is simple really; good music is any music that inspires desirable feelings. Gina Holsopple will most certainly do that.

Gina is a traveler and her music takes on the traveler’s air. The light footed and swift-paced mentality resonates in the songs, which are just as well sung in the concert hall as on the trail; songs like, “If I Were”and “Long Dirt Road”are perfect ditties to hum while you walk. No matter where you’re headed, this album will make the journey a little brighter with its playful imagery and clever rhymes. The songs in the album are co-written and performed by Matt Wood, along with Gina the triple entente of acoustic guitar, piano, and violin give the music a mountain feel. It is like a tamed sort of bluegrass, not as wild or rascal-bout. It’s softer, more composed, and a little more mid-western. iTunes classifies the album as “Singer/Songwriter” which I can only interpret to mean folk. Although a broad classification, it is music for the people by the people. It is delivered in concise, easy to remember doses (on average two and a half minutes a pop), and it has an innate country feel, which brings it into, or damn close to the folk genre.

Let Gina Holsopple grow on you. Her meandering melodies and winsome voice are sure to make your foot tap, head bob, and lips open wide with a smile. Unless, is not a revolutionary piece of artwork, but it is good music, and good music is good enough. Any album you can listen to start to finish, over and over is worth your time and money. There is something to be said about homegrown music, and this is what I have to say. Support the grass roots musicians in the business because they’re the ones who make it real. I look forward to Gina’s next album; hopefully this one stirs up the pond enough to get her name out there. Easy listening everyone, enjoy.

Brad Crescenzo-MuzikReviews.com Contributor

February 16, 2009

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Andrew Bird - Noble Beast

There has been an unequivocal resurgence of folk music in the past decade, from the up-tempo bluegrass stylings of Nickel Creek to the warm Appalachian sound of Fleet Foxes. Both are examples of purity, with the latter especially representing a kind of no-holds-barred acoustic outlook unseen in modern music. That “modern” usage is key, as a hybrid kind of style has uprooted from the popular movement of late, of which Andrew Bird is the perfect illustration.

Associated with critical favorites such as Bowl of Fire and Squirrel Nut Zippers, the Chicago-born songwriter’s fifth solo album Noble Beast is fascinating prism of Indie scattershots and narrative talent, a summation of neo-folk if there ever was one. Taken as a whole, it can be likened to an acoustic adaptation of Thom Yorke’s The Eraser – deeply intimate, enigmatic, and an altogether gorgeous display of musicianship.

The comparison to Yorke is apt, at least in the vocal sense, as Bird has the same kind of insecure, neurosis-bordering voice so well-suited for today’s fare. Of course, there is a husky Midwestern dust covering it all that the Radiohead frontman lacks, and it lends Beast a flavor that is altogethermore rugged and individualistic than paranoid. That lends the folksy intricacies a bit more heft, despite Bird’s Vampire Weekend-esque usage of collegiate vocabulary (if tracks entitled “Nomenclature” are any indication.)

Listener’s first hint of Beast’s sincere sophistication comes with “Masterswarm,” where heavily-trotting acoustic plucks are joined with clicking beats, lazy cellos, and a rural Latin atmosphere. This sort of varied approach is seemingly one of Bird’s trademarks, and as “Masterswarm” grows in crying tones, it becomes obvious that restraint is another. Never is there a much-expected explosion of stadium anthem-riding; tracks such as the shabby, pizzicato-loving “Fitz & Dizzyspells” are constant, breaking only slightly into quieter moments here and there, the greatest high being a set of dueling whistlers.

“Not a Robot, But a Ghost” is one of Beast’s inevitable high points. Built upon a bed of crushed percussion straight out of Bjork’s Vespertine, its quasi-jazzy style and fuzzy, tripping beats are the closest Bird comes to Indie minimalism. It, like the equally-brilliant “Anonanimal,” pushes the five-minute mark in an effort to evolve and mutate; such is the organic nature of the album. Luckily, this pair of tracks is a showcase for Bird’s musicianship rather than hubris.

In theory, critical consensus must exist somewhere, and it seems to have finally materialized with Noble Beast. Along with Animal Collective’s Merriweather Post Pavilion, the album is an early frontrunner to be 2009 version’s of Fleet Foxes’ self-titled debut; that is, universally-heralded and enjoyed. Yet being the wily veteran of awe-inspiring talent that Andrew Bird is, this should come as no surprise.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 13, 2009

Scott Robertson - Swing Patrol

The title of Swing Patrol is more than just a nod to Scott Robertson’s father and the musicians he worked with during World War II. While skepticism might be the first reaction to an album proclaiming to swing, the album name is no misnomer. Swing Patrol is a collection of covers arranged by Robertson and his guitar player, Ron Thompson, with the exception of “West Coast Street Beat” which was written by Robertson and Thompson. The songs are performed in trios, quartets or quintets with Brent Grubbles, Evan Arntzen, Bria Skonberg and Danny Parker filling out the permutations. Every song does in fact swing.

That’s enough jive talk. Swing Patrol is an exceptional album. It isn’t straight swing music necessarily. There is a good dose of Dixieland mixed in as well. There is not one song here that isn’t worth listening to, and at a brisk 36 minutes you might as well listen twice. From the gentle and drifting guitar on “Do You Know What It Means to Miss New Orleans” to Skonberg’s wonderful singing and even better trumpet playing on “Johnson Rag,” Swing Patrol never falters. Each track deserves to be listened to once for every musician playing to fully appreciate what each is doing.

The Robertson and Thompson original, “West Coast Street Beat,” features strong Dixieland influence and is also one of the better songs (but as previously mentioned all ten tracks are phenomenal). Another highlight, “Shiny Stockings,” allows Thompson’s guitar playing to carry the listener along like a warm breeze. Swing Patrol as a whole has the feeling of a warm-weather album and with spring right around the corner I plan on keeping it in high rotation. If you are not a person who thinks of music as having the potential to be seasonal, hopefully, listening to the Beach Boys in the dead of winter has served you well.

But what’s wrong with Swing Patrol? What are its drawbacks? Picking a favorite song isn’t easy. Really there aren’t any flaws to speak of. Even the album art is pretty spiffy. If you like jazz or swing, this album won’t disappoint. Unless of course the only jazz or swing you enjoy is big band style, but that level of specificity seems unlikely. Even people who aren’t fans of jazz would be hard pressed to not enjoy a group of high quality musicians playing together. Even though you may not drool over it like I seem to be with this review, you’ll be glad you gave it a spin.

Dennis Mersmann MuzikReviews.com staff writer

February 13, 2009

Questions or comments regarding this review? Email Dennis dmersmann@muzikreviews.com

Various - The Blue Note 7 Mosaic

The Blue Note 7 tribute band is the encapsulation of “the then” in “the now”, whereby talented musicians are working together to reinterpret very powerful music through new arrangements and individual solos.

1. Mosaic (8:31)

Nicholas Payton- Trumpet

The first track off the album “Mosaic” is an uplifting piece brought to life by Nicholas Payton on the trumpet. The spirit and liveliness of Blakey’s Jazz Messengers’ song- not surprisingly- continues to create a mosaic of sound and joy in the hearts and souls of those who hear it.

2. Inner Urge (7:36)

Steve Wilson- Alto Saxophone, flute

Jazz’s ability to express complex emotions so astutely through the use of music continues to amaze me. The Joe Henderson original “Inner Urge” is no exception, this song greatly enhanced by saxophonist Steve Wilson captures the different feelings that often swell up inside of someone with a great desire or urge.

3. Search for Peace (7:59)

Ravi Coltrane-Tenor Saxophone

The tranquil and relaxing song “Search for Inner Peace” is a beautiful composition that is both melodic and mesmerizing. Tenor Saxophonist Ravi Coltrane plays gracefully, gently infusing his solos throughout the composition.

4. Little B’s Poem (6:27)

Peter Bernstein- Guitar

The inspirational tune “Little B’s Poem” is a very sentimental arrangement by Steve Wilson, who switched to the flute “in keeping with the lifting poetic feeling” of Bobby Hutcherson’s original arrangement.

5. Criss Cross (6:55)

Bill Charlap-Piano

“Criss Cross,” also arranged by Steve Wilson is an upbeat and exciting piece that adds a little variety to the Thelonious Monk’s “rhythmically-captivating” original. Pianist Bill Charlap plays stunningly well adding a bit of flare and spunk to the composition.

6. Dolphin Dance (7:07)

Peter Washington-Bass

“Dolphin Dance” arranged by Renee Rosnes’s is a pleasant song that fills listeners with bliss. The bass line provided by Peter Washington though subtle is very powerful and intricate.

7. Idle Moments (6:36)

Lewis Nash-Drums

The song “Idle Moments” is the most melancholy song off the album. Previously arranged by Duke Pearson, Bernstein’s arrangement is said to “find him carrying the mournful melody before passing it on to the horns.”

8. The Outlaw (6:30)

The complexity and chaos of the song “The Outlaw” originally arranged by Horace Silver is ingeniously “built on two 13-bar segments, a 10-bar channel, vamps, etc.” The song’s energy and excitement is representative of the talent provided by the many musicians featured on this album.

Lauren Stair-MuzikReviews.com-Staff

February 12, 2009

For Questions or Comments Regarding This Review Send Me An Email lstair@muzikreviews.com

The Hot Club of San Francisco - Bohemian Maestro: Django Reinhardt And The Impressionists

The Hot Club of San Francisco is an ensemble of gifted artists whose main purpose is to lovingly salute the music of Django Reinhard, an “old timey” Frenchman considered to be the father of “Gypsy jazz”. At first, I wasn’t familiar with this genre, but after spinning Bohemian Maestro: Django Reinhardt And Impressionists I realized I was a fan of the form and didn’t even know it.

If you’ve ever watched Woody Allen’s movie Sweet & Lowdown, you’ll instantly recognize The Hot Club of San Francisco’s style. In fact, the main character in the film, played by Sean Penn, is a jazz guitarist who is obsessed with one Django Reinhardt. If you aren’t familiar with the soundtrack, or this approach, it takes a little time to get used to the combination of banjo and violin.

The first cut “Le Surdoue” sounds a tad off-key to my ear and I was surprised the group chose one of their weakest songs to start the CD. I imagine some of the compositions are much better experienced live; sometimes a recording can sound too flat.

“Vendredi 13” and “Les Copains D'Abord” are upbeat and jovial, featuring grand keyboard work. These particular songs sound like Sunday brunch or a smoky bar in Manhattan (Well, back when you could smoke that is).

“Pour L'Egyptienne “conjures up images of Lawrence of Arabia and really the essence of the whole CD invokes the moods of various movies. I found it amusing that Bohemian Maestro: Django Reinhardt And The Impressionists ends with a great rendition of Claude Debussy’s “Clair de Lune”, a song that reminds me of the movie Oceans 11. Debussy, by the way, is considered an Impressionist.

I personally didn’t care for some of the slower songs like “Waltz for M. C. Escher” or “Bolero” They were a bit like a dirge and too down for my taste. I prefer more up-tempo music like “The Pearls”. Other enjoyable pieces include “Les Chemins de L'Amou” which is classical and comforting in the way that a familiar piece of music can be. “Nympheas” has an “old school,” feeling as well reminding me of the zippy Muzak they used to play in the supermarket.

Overall, The Hot Club of San Francisco’s mode of music is an acquired taste. For those who like their instrumentals shaken and stirred quite a bit, Bohemian Maestro: Django Reinhardt And The Impressionists will be an excellent mix for your collection. The CD is full of background music that conveys a variety of feelings and suits the needs of many social situations.

Susan Evani - MuzikReviews.com Staff

February 11, 2009

Foreshadow - Nations Of Failure

If you’re looking for a metal album that’s the aural equivalent of a tooth-breaking punch to the face, Foreshadow’s debut album Nations Of Failure is probably just what you need. As the title and militaristic cover art suggest, the album has a definite punk rock edge of criticism for the U.S. government. Songs like “Police State Paradise” and “Freedom of Fascism” show Foreshadow’s disappointments. Of course, a metal band trashing the government is nothing new, and eventually that’s how Nations Of Failure feels too.

That’s not to say that metal heads won’t enjoy Foreshadow’s sound. The band successfully mimics a lot of other hardcore metal bands. The chugging, dingy guitar riffs of “The Earth Dilemma” will speak to Hatebreed fans, as will Steve Coolis’ shrieked and growled vocals.

While Foreshadow plays knee-cap shattering breakdowns throughout Nations Of Failure with songs like “Mk Ultra” and “Tranceformation of America”, they also experiment with strange melodic passages, vaguely reminiscent of System Of A Down. The duel sound established on songs like “My Crisis” and “End Of Innocence” provide an interesting break from the heavy diet of thrash metal.

Ultimately, Foreshadow doesn’t do enough creatively to stand out from other political thrash metal bands. The most creative effort comes on “Problem, Reaction, Solution,” which begins with a clever intro of spliced speeches about terrorism. Later in the song, Foreshadow conjures the image of a marching army with perfectly timed, punchy breakdowns. Despite the success of “Problem, Reaction, Solution,” many of the songs sound like a hundred other metal songs you’ve heard.

Still, if you like your thrash metal, Nations Of Failure has a place in your music collection. Foreshadow may not be the most creative band you’ve ever heard, but has what metal fans are looking for.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 12, 2009

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Young Memphis - Bout That Time

From looking at the cover of Bout That Time, the kid has the right idea when it comes to proving his status with bling – he’s got huge gold rings, grills showing, even a backwards baseball cap that proclaims he’s “Iced Out.” But someone has got to tell Young Memphis that Flava Flav called – and he wants his big clock necklace back.

Young Memphis, a 26-year old rapper from where else but Memphis, Tennessee started playing the drums as a young boy and progressed into a writer/rapper by his teens. Being from Memphis, his musical sounds stack up against other southern rappers like T.I., Juvenile, and Young Buck.

Bout That Time has the classic rap/hip hop themes. A peek at song titles such as “Parking Lot Pimping,” “Getting Cash,” and “Gotta Hustle” give an idea of what the CD will be about. You get a glimpse into Young Memphis’ life (or hopeful future life) including an abundance of money, jewelry, girls, cars, and illegal substances. He’s riding on 24 inch rims, and he doesn’t let you forget it. Every other song is a “Brainstorm/Thunder Soundz exclusive,” as to make the listener feel a certain privilege while listening to it. Rappers are famous for sampling other artist’s beats or lyrics, which is apparent here and there on the CD. But a lot of the material seems to be unique.

“Get Jiggy” may be a frequently-used phrase in the hip hop world, but for a person who doesn’t listen to rap that often, it may just make you want to listen to the G-rated Will Smith version. “Let Your Chain Hang” has a familiar tune mixed in with the hip-hop vibe. Similarly, “Da Hottest” uses a variation of the familiar Halloween theme in the background, giving it a somewhat creepy feel. The beats and synthesizers give each song a different sound

“Stop Snitching” and “Murders & Robbers” establish Young Memphis as a rough guy, not to be messed with, or else. But the opening and closing tracks show that he can have a softer side and sing about sexy ladies with finesse.

Bout That Time comes off as exactly what it’s supposed to - dirty south, gang bangin’ hip-hop. While the beats and foreground synths change up the sounds from track to track, the lyrics don’t do the album much justice. If you enjoy nodding your head to hip-hop beats, pick up the album. For anyone else, it’s just another rap CD.

Christen LaFond, MuzikReviews.com Staff

February 11, 2009

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White Rabbits - Fort Nightly

Journeying from rural splendor into urbanized mecca seems like the kind of thing that would faze any band, but one won’t be able to tell from White Rabbits’ debut Fort Nightly. To their first full-length album the New-York-City-by-way-of-Missouri sextet infuses a brash sneer that is equal parts glib and raucous.

The comparisons to Vampire Weekend are obvious (and not worth mentioning, frankly), but there is something rather unpretentious about the Rabbits’ kick that sets them apart, a kind of fun-loving attitude prone to hummable tunes. In other words, the message is less important than the vessel, a principle the Rabbits adhere to in their own disorderly way.

Fort Nightly is actually fairly misleading, at least at first glance, as it’s free-wheeling rockish nature gives way to a more organic sound akin to acts such as Evangelicals and Menomena. It’s that old-but-new analog tape sound we all love so much, a mixture of ethnic elements and straight rock drenched in lo-fi production.

Such has been the Indie movement as late, and so if the Rabbits can’t be saluted for pure creativity, they can be credited for doing predictable things well. As a result the album isn’t much a head-turner, but overcomes such weakness with the welcome irreverence of driven tunes and catchphrase lyrics.

“Kid On My Shoulders” opens up with TV On The Radio beats and guitar shimmies – that is, if the Brooklyn boys had spent about a decade in the arid lust of Las Vegas. The track’s frenetic swank foreshadows an album full of clipping spitfire, with oversaturation and amplified warmth the Rabbits’ weapons of choice. Thus the opening hellbent-Elvis approach melts into “The Plot,” another guitar-slashing, drum-pounding drive through the desert, augmented by surprisingly-subtle vocal harmonies (another pleasant staple of Nightly.)

Amid the single-minded musical force is a sense of whimsy, the band fully aware that its swagger is partially tongue-in-cheek. “Navy Wives” stutters and spurts until a bossanova-inspired strut takes over with confidence, a honky-tonk piano taking the central stage this time. “I Used to Complain Now I Don’t” takes that knowing sneer to the next level, rumbling and bumbling and fully at home in its faux-Latin vibe, with a thump that bellows as if from inside some darkened saloon. The Evangelicals-tinged insanity comes at the listener full force on “March Of The Camels,” which explodes and then softens in between its freakish falsetto nightmare chorus.

Again, for anyone who considers themselves a fan of modern Indie music, this kind moody, messy fare will come as no surprise. The last year and a half have been filled to the brim with such releases; yet that isn’t enough to disqualify Fort Nightly as another forgettable entry. In the end, it is unique enough (and well-executed enough) to merit a second listen, a remarkable feat in this day of unworthy oversaturation.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 11, 2009

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Tony Desare - Radio Show

I’m always a fan of a well-planned concept album. There’s something about the songs of an album working together to create a bigger theme that’s intriguing. On Radio Show, jazz musician Tony Desare hails radio broadcasting with original and cover songs that represent different eras of radio.

What makes the album conceptually cool is the way Desare introduces each section of songs with authentic sounding DJ “broadcasts,” done by SNL comic and long-time radio personality Joe Piscopo.

For instance, Desare’s cover of Chuck Berry’s “Johnny B. Goode” is introduced with Piscopo’s take on a 50’s DJ on the track “We Got A Dedication.” Likewise, Desare’s cover of the big-band song “Get Happy” and his original big-band composition “A Little Bit Closer” open with introductory tracks that sound straight out of the 40’s. Overall, these “broadcasts” add another level of interest to the album.

Desare’s jazzy, piano-driven sound and smooth vocals allow him to really pull off the big-band style songs with great success. “A Little Bit Closer” will definitely be a pleasure for Frank Sinatra fans.

While I admire Desare’s creativity on Radio Show, some of the covers leave you wanting just a little bit more. Desare’s all piano version of “Johnny B. Goode” certainly shows off his skill as a piano player. However, I’m left wondering how you can cover Chuck Berry and totally neglect guitar. It just doesn’t seem right.

Desare’s cover of Bob Dylan’s “The Times They Are A-Changin” showcases his piano playing and vocals again. The song is played as a slow piano-ballad and is not a bad effort, but I miss the raw folk power that Dylan gave the song.

Desare’s jazz sound may not lend itself well to every cover on Radio Show, but he does succeed on a few of them. His jazz covers of 80’s songs like New Order’s “Bizarre Love Triangle” and Phil Collins’ “Easy Lover” are impressive and unique, especially considering how far from jazz these songs were to begin with.

Overall, Radio Show succeeds thematically and certainly shows Desare’s ambition. At times, Desare struggles with covers of songs that simply don’t fit his style. The album still has high points though, making it a strong effort from Desare.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 10, 2009

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Eliane Elias - Bossa Nova Stories

Eliane Elias has done it again.

Following her 1998 album, Eliane Elias Sings Jobim, and her 2008 Something For You (a salute to the late piano genius and composer, Bill Evans), Eliane Elias’ latest Blue Note release, Bossa Nova Stories, is yet another fine example of early 1960s Brazilian Bossa Nova tradition mixed with fresh perspective.

With renowned bassist Marc Johnson in tow as associate producer (who performed while in his late twenties with the late Stan Getz during the early 80s), Elias has clearly found a unique and appropriate blend between artist and collaborator; their musical camaraderie dates back the early 90s. Bossa Nova Stories’ synergy emanates from Elias’ weightless vocal interpretations laced with light piano accompaniment; fold in guitarist Oscar Castro-Neves, Marc Johnson on bass, drummer Paulo Braga, and thick string arrangements - shake up a nice martini, sit back, and listen…

Right out of the gate, Elias takes on “The Girl From Ipanema” – perhaps bossa nova’s most sacred and recognizable work. With thick production, effortless vocal deliveries, and effective use of space, the track does more than justice to honor the writing of Antonio Carlos Jobim; Elias’ voice is both intriguing and sensual. “Chega de Saudade” features Elias floating over rapid Joao Gilberto-like guitar comping with soft snare brushing – a brisk tempo gently pushes the tempo along.

As a tasteful change of pace, Elias offers a variety of tracks including “The More I See You,” a dreamy version of “They Can’t Take That Away From Me,” and Stevie Wonder’s “Superwoman.” Listeners are treated to the virtuosity of Toots Thielemans’ smooth harmonica lines on “Estate (Summer)” and Stevie Wonder’s “Superwoman.” Elias has the innate ability to transform traditional jazz standards into bossa-influenced renditions while maintaining natural integrity and flow.

If anything, Bossa Nova Stories’ downfall is an overabundance of tracks; a strong ten would hold more water than a rather lengthy fourteen, but that notwithstanding, Eliane Elias’ latest effort is a breath of fresh air drawn into material that has hosted a gamut of artists and countless lackluster interpretations. Effectively tackling the works of Jobim is no simple task; the approach to such material must be unique and innovative. Luckily, listeners will be overly satisfied from Eliane Elias’ initial delivery to her final cutoff. What’s next for “the lady from Sao Paulo?”

Matt Jaworski – Muzikreviews.com Staff

February 7, 2009

For Question or Comments on This Review email Matt @ mattj@muzikreviews.com

Jem - Down to Earth

Welsh-born songstress Jem (nee Jemma Griffiths) became someone to talk about in 2004, when her debut album Finally Woken produced the addictive single “They.” Despite its similarities to the works of a famous, herein-unnamed Baroque composer, the track was a genuine slice of catchy-but-smart pop so heartily craved by today’s listeners. The sophomore Down to Earth is more polished but no less crafty, still relying on the dual workhorses of infectious beats and Jem’s sandstone voice to carry the load. As a result, the album’s embrace of cinematic gloss is full of whimsy and low on melodrama. That kind of natural cool is hard to come by in pop, and it manages to pull Earth up from the mediocre doldrums.

Make no mistake, though: the album’s spine is crafted from the kind of standard fare-design meant for radio dominance (moving from Menomena’s Friend and Foe to this has been quite I step, I assure you.) That quality lends Earth a kind of hybrid quality, as Jem is hardly a typical pop idol. More hypnotic than symphonic, her take on the genre is filled with ethnic jams and electronica flavors; Dido from another planet, if you will. Thus, every turn at Top 40 also comes with a soulful sort of trip-hop attached. Luckily for Jem, that tactic comes off less as a gimmick than a lovable quirk.

Minimalism serves it well, too: the eponymous opening track is the whip-crack of electronic beats and little else, employing Jem’s smoky pipes in tandem with a too-hummable chorus line to drive home its point. That contrasts mightily with the gospel funk of “Crazy,” one of several tracks in which Jem boasts a healthy appetite for soul. There’s little else once can label the plethora of handclaps and clav-mimicking shots that dance around with the organ parts, a kind of sentiment echoed on the bouncing chorale of “Keep On Walking.”

That’s not to say that Earth is a singular exercise, despite its lean on vocal-heavy genres. “I Want You To…” is an unabashed mash-up of folksy Mexican atmosphere and club-thumping attitude, while “You Will Make It” drips with the sentimental piano of ballads such as Greg Laswell’s “High and Low,” complete with low-lying string parts seeping in at the edges. The shared locus here is Jem’s throaty instrument, often placed front and center to bear the compositions, Atlas-like, from start to finish. And while Earth’s repetitious nature (“I Always Knew” is practically a clone of “They,” and handful of other pieces past and present) gives the music a bleeding nature, it is Jem herself who manages – by way of her own resounding charisma – to juice emotion and sincerity out of the machine.

Later hits or misses such as the goofy, cloying and disjointed “Aciiid!” aren’t enough to derail that success, as even at its weakest, Down to Earth is vastly more interesting than most popular fare today. Perhaps it doesn’t reach the creativity or sublime beauty of, say, Juana Molina’s Un Dia, but neither does it attempt such a climb. The aforementioned label of “smart pop” is apt in this case, as Jem has clearly found confidence, craft, and a niche in her sophomore effort.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 8, 2009

For Questions or Comments On This Review Send An Email To kliedel@muzikreviews.com

Russ Hewitt - Bajo El Sol

The fusion of jazz and flamenco is at the heart of this effort from Texas-based guitarist Russ Hewitt. Bajo El Sol, or Under the Sun, is a good name for this brightly produced and mostly up-tempo work.

While the influence of Hewitt’s flamenco-flavored playing is present on every track, make no mistake about it, this is a smooth jazz album. The title track greets the listener with the more than competent drum work of Walfredo Reyes Jr. and percussionist Rafael Padilla. The work of this rhythmic duo helps the album keep its focus and prevents a full-blown smooth jazz purgatory from setting in.

The second track, “Lydia” is a good demonstration of how this album falls short. While showcasing Hewitt’s tasteful playing style, the song never really takes off. If not for the drums and percussion to keep things moving there’s very little else to enjoy on this track, or on the entire album for that matter.

Hewitt is talented, but really never shows what’s under the surface. This is an entirely risk-free venture, that to its credit or not, depending on how you look at it, can easily stock the library of a music supervisor for use in countless travel shows.

Highlights from the album include the ambling waltz “The Pampas,” and the odd-metered “Byzantine.” These tunes stand out more for their varied rhythmic feels than anything, they move from start to finish in predictable fashion with Hewitt holding back from showing anything that might be too bold.

While this album isn’t unlistenable by any means, it hardly calls you back for a second go around. Many of the tunes are texturally pleasing, thanks to the work of Padilla and Reyes. Hopefully a follow-up album will show us what else Hewitt has in store. Sadly, like most smooth jazz, this work doesn’t rise above the level of good background music.

Noah Small – MuzikReviews.com Staff

February 8, 2009

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The Who - The Who At Kilburn: 1977

Riveting performances, entrancing lighting arrangements, and of course timeless musical feats are included in this two-DVD set of live concerts from The Who. This package includes a re-mastered recording of the renowned 1969 performance at the London Coliseum of their rock-opera Tommy and also the digitally restored concert from 1977 at Gaumont State Theatre in Kilburn, which was one of last shows that The Who performed with drummer, Keith Moon.

This compilation only further solidifies The Who’s influence on past and present generations, however via this new route of preserving themselves, The Who have made their celebrated live performances available to future generations as well. These concerts paved new roads for the live performance venue in the 60’s and 70’s, but perhaps even more notably, they have perpetuated their fame throughout the past 4 decades. The elite quality of the music combined with the astonishing lighting production, and The Who’s ability to entertain their audience allow for anyone to enjoy these DVDs from many angles.

Well known songs such as “Summertime Blues”, “I'm Free”, “Tommy's Holiday Camp”, “Shakin' All Over”, and “My Generation” are included on both of the programs from the concerts. This is an especially nice touch because it proves The Who’s capacity to transcend the effects of time and continue to play the music that has and will continue to appease its listeners.

MuzikReviews.com Staff-Marina Lane

February 10, 2009

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Menomena - Friend and Foe

In music there are “quilts,” so to speak, from which many bands are cut, even if they aren’t aware of it. Menomena, by way of Friend and Foe, are from such a quilt, and share it proudly with acts such as 31Knots, Evangelicals, and Department of Eagles. Specifically, that is the nightmarish, carnival-like menagerie of sounds, genres, and near-goofy expositions that is currently dominating the Indie scene. Friend and Foe, like others before it, is a jack-in-the-box mosaic that rejects the beholden status of other lo-fi fare, changing up styles and approaches on the fly – sometimes even mid-track. Atop it all like champions of a junk pile are Menomena, finding pleasure and pain in the musical equivalent of maniacal alchemy.

All that is meant as a subtle compliment, by the way, as the album – the Portland trio’s third full-length – is nothing short of a haphazard masterpiece. Deceptively coherent among all the indiscriminate artistry, Friend and Foe mimics its title in providing absurd exposition and oft-dueling melodies like so many paint splatterings across a canvas. It’s a fitting metaphor, as intentional or not, Menomena injects Foe with a visual appeal not unlike some kind of modern art installation. Undoubtedly that comes from the restrained but interpretative stance of the group itself, as members share both vocal and instrumental responsibilities without ever sacrificing their strangely-cohesive sound. In other words, though Foe is hardly standard Indie fare, it sure as hell balances experimental noise and consistent melody well enough to offer adequate ear candy.

“The Pelican” sounds as if from the coffers of the aforementioned 31Knots (particularly “Strange Kicks”), complete with that Cold War Kids-ish piano punch. Accompanied by a fuzzy industrial march, the track loses itself and then inhales again, bursting at the seams often but never coming completely undone. That razor edge is balanced by songs such as “Wet and Rusting,” the dizzy combination of simple piano, rich acoustic, and ambient flourishes powered by an assortment of shuffling percussion. The thinly-veiled sarcasm is still present however, and persists on the strangely jazzy “Air Aid” and intentionally-cloying “Weird.”

Yes, the hatred and angst is often wrapped up in quirky packages – sometimes humorously, as in the piano-driven beauty of “Rotten Hell,” where demonically-slowed vocals sing pleasantly of demolishing their enemies. That misplaced splendor is matched by the hellish vibe of “Boyscout’n,” whose whistling refrains are like some throwback hybrid of “Leave it to Beaver” and “The Twilight Zone.”

Despite its tendency in later areas to sound like Liszt on acid (such as “Evil Bee” and “Ghostship”), Friend and Foe is as perfect an exercise imaginable in teetering songwriting. Indeed, for much of the album, Menomena spend their time gleefully straddling a precipice between poppy melodies and utter chaos, seemingly unaware themselves of where it will all go. Through luck (or else some kind of superior foresight), the thing gets from A to B without the slightest bit of indulgent alienation, and for that Menomena must be commended.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 6, 2009

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Alberta Cross - The Thief & The Heartbreaker

Some musical gems are released, forgotten, and then discovered again long after their initial burst. Case in point, Alberta Cross’ The Thief & The Heartbreaker, a kind of half-full release, half-EP hybrid dripping with folksy pain and Americana anguish. There’s bluesy suffering running up and down the spine of this little record, a trait that no doubt owns credit for the resuscitation, and a welcome dose of muddy heart in a year of digitally-dominated Indie fare. With sheets of well-strummed guitar and little else to aid them, the New York-based Alberta Cross is keen on summoning austere country ghosts without ever sounding hollow; it’s a fine line if there ever was one.

Ironically, the blues-driven angle is both diminished and enhanced by the vocals of Petter Ericson Stakee, whose near-falsetto is simultaneously (and brilliantly) slackjawed and pure. Every word and lyric is appropriately crucified, stretched, and beaten, until – like an over-juiced blood orange – not one more ounce of grief can be extracted.

Of course, this isn’t to say that Heartbreaker is a funereal journey. Rather, there’s a skip somewhere in the sonic trudge – like a hint of sun peaking through an electrical storm. The result is a kind of head-held-high experience, soldiering on despite the daily grind of failure, and it succeeds, ultimately, by way of that bittersweet intimacy.

The first hint of aching simplicity comes on “Lucy Rider,” which offers nothing more than a smattering of recognizable guitar peels and Stakee’s croon, but somehow succeeds in crafting Cross’ tumbledown aura. The mood is less Mason Dixon than it is Western-gazing, echoing the lonesome beauty of America’s still-hollow frontier (quite a feat for a city-based band.) “Low Man,” Heartbreaker’s best track, is a deliberate rumble, sounding as if played from the bottom of a strip mine. Its haunting, low-tech approach – no more than a couple of chords, really – begets a smooth, arching melody that is deceptively complex. That same air rises from the slow-burning “I’ve Known For Long” and the more outward “Old Man Chicago,” the latter of which indulges its blues roots with joy.

Without a doubt, Cross’ centerpiece is “The Devil’s All You Ever Had,” a Kings of Leon-esque slither, near-drunken and dreamlike in its progression. Though less snug than “Low Man,” the track is a well-flexed bicep of the band’s skills, full of crashing melody lines, epic spacing, and grief-stricken narratives. As Stakee moans “I went to see the preacher man now/To see where the Lord went wrong,” listeners will undoubtedly sense the boon of musical torture.

It remains to be seen whether Alberta Cross’ novelty is benefitting from the clipped nature of The Thief & The Heartbreaker, as an extended entry may put their minimal sound to the test. Aside from that, however, there is little to question of a foray which, both artistically and technically, eschews lofty machinations for rough-around-the-edges sincerity.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 3, 2009

Farkus - Thought You Should Know

In a time where pretentious art-rock bands are hailed like the second-coming of Jesus, it’s always nice to hear a band that sheds the notions of what’s cool and simply rocks. With their debut EP Thought You Should Know, Chicago’s Farkus delivers a sound that appears to draw on a diverse set of rock influences that will appeal to a wide variety of listeners.

At certain points, Farkus uses the pop-punk sound that Chicago regularly breeds. “Salt” has the repetitive, but enormously catchy guitar hooks that are familiar to bands of the genre. The result is a driving rock song that’s universally appealing to rock fans.

However, it would be a mistake to pigeon-hole Farkus as a pop-punk band. “Salt” may have a chorus that gleams with all the markings of the genre, but the song has some clever soloing that adds another level of interest.

Compared to the pop-hooks of “Salt,” other songs on Thought You Should Know sound downright dirty, similar to 90’s grunge. “Chance” and “New Love And Prescriptions” use guitar riffs that may remind you of the likes of Pearl Jam or Alice In Chains. While these tracks sound dark and dirty at times, singer Tony Maguire’s melodic and unique vocals that arrive later in the songs expand the appeal to more than just grunge fans. “New Love And Prescriptions” also has a strong guitar solo that’s classic rock and roll.

Later, Farkus delivers a shockingly delicate acoustic track with “Windsor Noose.” Maguire’s voice shines again on the song, complimented by a well-composed guitar melody. If you’re a frequent listener of singer-songwriters, you’ll find the song addictive.

Farkus isn’t afraid to show a diverse sound on Thought You Should Know. While Farkus mixes styles freely, they do a good job of keeping enough of a pop-feel to please any rock fan. The EP successfully proves a band can make a highly creative recording, without having to scare away the average listener.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 2, 2009

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Federal Moguls - High Risk Investment Planning

It’s difficult to discern how serious the Federal Moguls take their own lyrics. Some songs tell deeply personal stories. The duo of DJ Q-Ball and Troy Walsh recount their childhoods with “Bad Rap,” each shamed by parents for their interest in the modern race music that is hip-hop. They confess to hiding N.W.A tapes and listening to “The Message” under the covers at night. The verses amount to a chronicle of the Moguls’ ongoing relationship with an art form from a culture they were unfamiliar with. Eventually their careers in music are legitimized in their parents’ eyes because it sustains them financially. The story appeals to anyone who has attempted to turn a hobby into a job, not just hip-hop heads.

But the songs aren’t limited to gut spilling lyrics. In fact, the tone shifts drastically from somber to silly, then back. The more tongue in cheek tracks such as “Head Over Heels” and “Pursuit of Perfection” undermine the tone of the clearly serious songs. Not to say that a musician should make albums that are only serious album or only jokey, but if Weird Al wrote a song about his parents’ deaths, listeners wouldn’t know how to take it.

“Head Over Heels” takes part of the chorus from the Tears for Fears song of the same name (always a plus) and repurposes it to describe a love of keg stands. This is where the issue of how serious the Moguls are with their words arises. Do they really feel so strongly about chugging beer that they penned a song about it or are they mocking people who flaunt their consumption proficiency? “Pursuit of Perfection” suffers similarly. Over a dance club beat, the duo raps about getting gussied up to hit the town and get falling-down drunk. It’s unclear if this is the life of the Moguls or if they are being critical of people they observe.

The Federal Moguls musical styling is an interesting mix. At times, they go for bombastic club style beats, such as “Pursuit of Perfection,” and occasionally favoring more subtle ones (and sometimes DJ Q-Ball’s musical relationship to the Bloodhound Gang is too obvious for comfort). No matter what the style, the lyrics remain intelligent and insightful, even in the funnier songs. Maybe this is part of goal. To make songs the masses can mindlessly bump and grind to while spinning yarns about drunken buffoons who mindlessly bump and grind.

High Risk Investment Planning deserves multiple listens based on the lyrics alone. Each time through, the songs will reveal more impressive word play and sly references that were missed the first time around. The album would be a wise investment for anyone looking to bolster their party playlists. The songs are danceable for sure and anyone actually listening to them during a dance party will be rewarded with the rhyme “I hate Kelly Clarkson / I hate holding farts in.”

One last brief note: The copy of High Risk Investment Planning I received listed 18 tracks, iTunes read it as 17 tracks and the Moguls website lists 15. They’ve evidently combined track six with seven and 17 with 18. Don’t worry when you’re track list doesn’t match what we have listed in this review.

Dennis Mersmann MuzikReviews.com Staff

February 5, 2009

The Loudhorns - One For Maynard

The Loudhorns truly live up to their name on their debut album One For Maynard. Composed of a trio of trumpets, two trombones, French horn and tuba, The Loudhorns have a huge, full sound that you’d expect from a brass band. The band also features a talented rhythm section composed of keyboards, guitar, bass and drums. Considering that The Loudhorns are composed of some of Nashville’s most experienced brass studio players, it is not surprising that One For Maynard shows amazing instrumental ability that brass players and music fans alike can enjoy.

One For Maynard opens with the jazz/funk number “Give It One.” If you don’t consider yourself a fan of jazz, you’ll still find the powerful melodies and driving rhythm of the song addictive. Steve Patrick’s ability as high lead trumpet also shines on the song; he gives a performance trumpet players will not want to miss. Tuba player Joe Murphy proves that while his instrument is not traditionally gone to for solos, he can still crank out an incredible one on the track.

The Loudhorns do a great job of mixing up styles to keep One For Maynard fresh. The band definitely does a great job with traditional jazz songs like “Birdland,” coming up with their own arrangement that gives the song a unique twist. However, One For Maynard also draws from other sources besides jazz. “La Fiesta” has a beautifully arranged Latin melody, anchored by the great keyboard solos of Ron Gilmore.

The Loudhorns also draw from classic rock with their cover of Queen’s “Bohemian Rhapsody.” The band’s take on the song is clever and enjoyable as they aptly mimic the vocal harmonies of the song through various brass melodies.

What truly makes One For Maynard shine are the many solos. “Superbone Meets The Bad Man” features great trombone soloing from Barry Green that will be enjoyed by the average listener, but adored by trombone players. Likewise, the organ, trumpet and trombone solos of “Left Bank Express” work together to create an irresistible song.

One For Maynard is an outstanding album that truly shows the powerful sound of a brass band. The Loudhorns succeed in creating an album that is as catchy as it is talented.

MuzikReviews.com Assistant Senior Editor-Chris Homer

February 3, 2009

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The National - Boxer

Sometimes it’s the simple things that define a band – an overnight-sensation radio single, perhaps, or maybe the outrageous personality of a movement-bearing frontman.

In The National’s case, it is the deliciously lazy baritone of lead singer Matt Berninger, whose effortless narratives fuel the haunting movement of Boxer, the Brooklynite band’s fourth album. Ramshackle and Rising-esque, Boxer is a prodding and rural slice of modern Americana rock, intimate and loose on all the right levels. Though familiar in its textures, the album ultimately overcomes its household shackles thanks to a deft hand and the admirable distinction of Berninger’s voice leading the way.

Often the charm lies in the speed, or lather lack thereof, of The National’s offerings: unhurried and ambling, the music often matches the just-awoken mellowness of Berninger’s observations. The tactic rarely reaches self-parody, with tracks unfolding as if a forest under time-lapse surveillance, first blooming and then dripping away with rich, velvety sounds. Such a method requires subtlety; thankfully, The National have mastered the gloved-touch approach to pop, employing a litany of organic percussion, easy guitars, and soft piano strikes to build their melodies.

Opening track “Fake Empire” is a testament to that: bursting out trouble-free with piano and organ, Berninger leads a marching beat into horn accompaniments and dirty guitar riffs. “Mistaken for Strangers” is full of sardonic humor and pancaked drum-punch; as one of Boxer’s best tracks, the song builds up and then destroys itself, reaching low into the electronic depths in attempting to match Berninger’s output. The Springsteen comparisons are appropriate, though the parallel doesn’t reach to a cloying level: “Brainy” is typical Boss storytelling – though perhaps mournfully so – and “Slow Show” borrows the folksier tinge of working-class bar standards to lift up a low melody.

Still, there are times when The National come across as a stripped-down, less-urban Interpol: the poppy, crunchy “Apartment Story” is singular and atmospheric, complete with a Banks-esque penchant for under-enunciation and strange metaphors. “Guest Room” is similar, utilizing repetitive and ringing guitars to deliver its hypnotic refrains.

Boxer retains its own identity more often than not, however – the beautiful, rippling “Racing Like a Pro” is a smattering of woodwinds and fluttering acoustics, strung together barely and delicately by Berninger’s tired drawl. It and similar tracks – such as the sprawling “Ada” – are perfect microcosms of the album’s elusive, sleepy mood. Here, The National have perfected the artful-but-exhausted posture so many modern bands attempt to emulate without sacrificing their own identity.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

February 1, 2009

Jim Croce - You Don't Mess Around With Jim, Life & Times, I Got A Name

“Operator – could you help me place this call?” Once again, the answer is yes…

In commemoration of the thirty-fifth anniversary of his tragic and untimely death in a plane crash, Rhino (Encore) Records has re-released Jim Croce’s three timeless studio albums You Don’t Mess Around With Jim, Life and Times, and I Got A Name. Croce fans can sit back, turn the cell phones, television, and outside world off, and be transported back to the early 1970s.

Produced by the legendary Cashman & West team at New York City’s Hit Factory in May of 1972, You Don’t Mess Around With Jim features the organic vocal and acoustic guitar tones for which Croce became so renowned and recognizable. With friend and musical prodigy Maury Muehleisen close at his side contributing lead and fingerpicked acoustic guitar lines (as well as perfectly delivered background vocals), Croce forged a signature sound that became immediately identifiable. The vocal deliveries are honest, yet tender, as he relates anecdotes of hope, homesickness, and lost love. On the flipside, Croce’s matter-of-fact narratives of pool-room hustlers and down-on-their luck saps provide visuals that reveal themselves as the yarns are spun. Tracks such as “You Don’t Mess Around With Jim” (Croce’s first hit single), “Operator (That’s Not the Way It Feels), and “Time In A Bottle” are amongst the lineup – three of the most recognizable songs in pop/rock history – not bad for a debut album.

After extensive weeks on the road with Muehleisen (and occasionally Tommy West on piano and backing vocals), Croce headed back into the studio to record his sophomore album, Life and Times, which was released in January of 1973. As if three hit singles weren’t enough to satisfy listeners, Croce struck gold with “Bad, Bad Leroy Brown” and the Christmas favorite “It Doesn’t Have to Be That Way.” While the sonic makeup of Life and Times is nearly identical to the prior year’s album and tough to top, Croce’s vocal interpretations seem even more mature; the guitar arrangements are perfectly arranged – “These Dreams” will send chills down the spine.

Following the release of Life and Times, Croce and Muehleisen again hit the promotional college, theatre, and late-night television circuit. Despite the physical and mental workouts that accompany traveling, Croce headed back to the Hit Factory in the summer of 1973 to record his third and final studio album, I Got A Name. Croce is on top of his vocal game as usual, however, listeners may notice a sweet, but almost weary and sorrowful inflection present on many of the tracks. The guitar arrangements sparkle over “I Got A Name”, “I’ll Have To Say I Love You In A Song”, and “The Hard Way Every Time.” As the album’s tracking came to a close, producer Tommy West accompanied Croce on a final track - a bittersweet piano and vocal version of Muehleisen’s “Salon and Saloon.” Croce’s voice gently glows through the track, freely wandering over cascading piano lines and thickly-layered chords; little did Croce, West, or listeners know that this would be his last studio recording. On September 20, 1973, following a show at the Prather Coliseum in Natchitoches, Louisiana, Croce and Muehleisen perished along with five others in a plane crash en route to a show the following night in Sherman, Texas; Croce was thirty, Muehleisen was twenty-four. I Got A Name had not yet been released, but would later be, posthumously, in December of 1973.

While the majority of today’s music industry is characterized by layered electric guitars, digital audio recording technology, and sharply dressed artists, most lose track of the musical core: honest songwriting, musicianship, and integrity. Jim Croce was a simple man who drove a truck, wore a denim shirt and blue jeans to performances, sang honestly, performed his intricate guitar parts while he sang (without overdubbing or digital editing), composed from his heart and personal experiences, and told unforgettable stories that, to this day, still cruise the waves of FM radio. The sound present on all three of these monumental re-releases is warm, honest, and inviting, as if one were sitting in a living room with a couple of musical comrades, having a good time. Though it has been thirty five years since his passing, the music of Jim Croce lives on; it truly seems that he has been one of the lucky few to catch “Time In A Bottle.”

Matt Jaworski –Muzikreviews.com Staff

January 31, 2009

AG Silver - Love Keeps No Score

AG Silver’s style on the EP Love Keeps No Score isn’t something we have never heard before, but it is so polished and finely cultivated that it grabs you and makes you listen. Singer Jon Ornee’s poignant vocals and soothing voice mesh with the music so well, sometimes you think they are one. The guitars, piano, drums, and bass run together like a well-oiled machine. Nothing is out of place.

“Falling Still” has a U2-esque feel to it. Initially, the song seems to be about a broken relationship with Ornee repeating, “I’m in love for the last time.” However, the lyrics keep you guessing. Perhaps he’s in love for the last time because he doesn’t need to find love again-he’s still falling in love. Either way, lyrics on all the tracks refreshingly stay away from vulgarities or heavy sexual undertones, seemingly fitting with the bands motto, “Rock with a conscience.”

The track the EP was named for is the best song of the bunch. “Love Keeps No Score” sounds a lot like Hard-Fi’s “I Shall Overcome,” but has a tighter, more solid foundation. The guitar is played at a faster tempo while the drums keep a steady pace; the mix of tempos in all the instruments bring the song to a frantic culmination just before the listener is carried out on a wave of vocals.

Ag is the chemical symbol for silver. That takes the guesswork out of where the name came from. The four-part band from Michigan has been making a name for themselves playing in front of college crowds for the past two years. They are self-managed, own all of their songs, and set up their own touring schedule, which is an admirable feat in itself.

“Onto Something” nicely wraps up the 5 song follow-up to the band’s previous record, Wake Up and Smell Reality. It has an uplifting nature about it which may be in part to the whimsical accompaniment of what sounds like a xylophone.

Listening to Love Keeps No Score, overall, is a pretty gratifying experience. Some of the musical compositions sound like those of other artists, but then again, isn’t imitation the most sincere form of flattery?

Christen LaFond, MuzikReviews.com Staff

January 29, 2009

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Allison Scola - A Braver Kind

America is changing. We Americans are embracing our diverse cultural backgrounds in an unprecedented way. Allison Scola embraces her heritage and American story very personally on A Braver Kind, and it's worth a listen. This young woman uses her deep foreign roots and a complete openness to all of world music when creating her songs. You will find many unique sounds on the album, from the short, exotic introduction featuring the Middle Eastern oud to the final fading tones of her clarinet. At the same time, though, the easy pop feel of most of the music is comfortable and familiar. Heart-felt tunes that reflect her soul such as “My Naked Heart” lie alongside light pop tunes like “Jump,” making for a fascinating mix reflecting many influences.

As far as pop influences go,”In Your Arms” has moments that are quite reminiscent of Jewel's “Standing Still.” In fact, there are more than a few similarities between the two artists, with the main difference being Scola's employment of a wider variety of instruments and musical styles. “Your Key” is a heartfelt tune that thematically could be Scola's version of “I Can't Make You Love Me” though again the music is all Scola's and not so similar to Bonnie Raitt's. On the more traditional end of the spectrum, “Amore Amore” is very like an Italian (rather than Southern Gospel) rendering of “Down to the River to Pray” from “O Brother Where Art Thou”with Allison Scola taking the lead instead of Alison Krauss.

I have only one true criticism of the album. The use of drum loops on “My Naked Heart” and “I Want to Touch You” lend the songs a canned sound that has to be overcome by the rest of the music - which does overcome that initial sound. The use of folk instruments such as accordion and mandola and classical instruments such as clarinet really help the music to stand out from average pop music. Now this is not to say that all use of electronics on the album are bad! “My Naked Heart” also has some interesting synthesized effects that add to rather than taking away. Overall, this is an enjoyable album. It seems familiar in it's freshness, because it is pop with something more. That something more is Scola's history, honesty, and originality.

Donny Harvey-MuzikReviews.com Contributor

January 29, 2009

Green River Ordinance - Out Of My Hands

Fort Worth, Texas-based Green River Ordinance has accomplished quite a bit in their short career. Since releasing their debut EP in 2003, Green River Ordinance has piled up awards from their local Fort Worth music scene. The band has played shows alongside the likes of Bon Jovi, Collective Soul and Sister Hazel. Major label Virgin Records snatched up Green River Ordinance in 2006, leading to the band’s debut full-length Out Of My Hands.

Much like the big-name bands they’ve played with, Green River Ordinance has a huge power-pop sound. With Out Of My Hands, the band delivers an album bred for pop-radio.

Green River Ordinance doesn’t do anything shocking on the album. Frankly, they don’t need to. The band creates sparkling hooks out of its instrumentation of duel guitar, piano, bass and drums. Vocalist Josh Jenkins has the gritty but melodic voice that’s familiar of Matchbox 20’s Rob Thomas, adding to the addictive quality of the band.

Out Of My Hands is packed with fun, shamelessly catchy, guitar-driven songs like the first track “Outside.” Green River Ordinance establishes a successful formula of pop-rock with “Outside” that’s returned to throughout the album.

You won’t find amazing guitar solos, but the band hits their stride with timely melodic guitar riffs amid the toe-tapping rhythms that make the album so pleasing. “Come On” will leave you smiling from the help of memorable riffs and rhythm break-downs.

Likewise, the title-track “Out of My Hands” is instantly pleasing thanks to a strong guitar playing, with a simple but pleasing solo, and complimenting piano melodies.

Other potential pop-rock monsters like “Different (Anything At All)” and “Learning” abound on Out Of My Hands. However, Green River Ordinance plays the slower-paced songs just as well.

“On Your Own” features a slow, piano-driven melody that sounds like a great cross of Counting Crows and a harder-rocking Train.

Out Of My Hands may be one of the strongest pop-rock albums you’ll ever hear. It’s simply an incredibly fun listen. After all, who hates fun?

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 29, 2009

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The Yelling - The Yelling

It’s always nice to pepper a music review with biographical information, either on a quirky, self-destructive-but-brilliant frontman or perhaps the band themselves, as personalization has always gone a long way in setting up the efficacy of an argument (whether pro or con.) It demonstrates a level of understanding and investigation perhaps unfamiliar to most Internet outlets; in other words, the proof that I’m not writing this in my boxers or from the seat of my toilet after having listened to the item in question for only a few seconds.

All that brings me to an interesting question: what do I know about The Yelling? And the answer is: absolutely nothing. Nothing, that is, except that they make damn good music, with their brief, self-titled, debut EP a tantalizing slice of retro-tough rock foil, its tarred-and-feathered approach to performance akin to the unheralded Hairspray Blues. With just a hint of raw soul peppered throughout, the Yelling take their messy, machine-gun sound and blow it up inside listeners’ ears, content to mash an old-school rockabilly format with a fresher razoresque distortion. The result is singular, brief, unrelenting, and perhaps a better insight into the band than any biographical snippet could be.

In truth, The Yelling is a Hollywood-bred quartet led by guitarist Nathaniel Cox, whose voice is equal parts nasal itch and guttural howl, but rarely loses control. Indeed, this seems a chronic restraint on the band’s part: though guitar lines could break into a dirty mess at any moment, they often don’t, opting to stick with more melodic patterns. The strategy conjures up the tough-but-tuneful art rock of the early Smashing Pumpkins, as evidenced on “Long Time My Love,” a track filled to the brim with droning electricity and brooding, clipped beats. The song marches up a cold mountain, its steps filled with agony and ecstasy, drunk and stumbling.

Such dark imagery is a testament to The Yelling’s musicianship, as they carve out grim opuses again and again with nothing more than a wall of humming amps. The mellotronen sweeps that start “Burning For What” are joined by similarly-bended guitar grazes, with nothing more than a fat chunk of electric bawling to push its refrain. Funky dirt is smeared all over “Blood On The Steps,” a little ditty with enough lumpy overdrive to please Peaches and enough start-stop rhythm to satisfy The Black Crowes. Yet even here, the melody refuses to derail, indicative of The Yelling’s intentions to push – but not quite break – the sonic envelope.

What else to say about this terse little EP, except that it invites all the best kinds of adjectives in describing the careless attitude rock should have? Burning and bitter but never cluttered, The Yelling have made quite the five-track splash, equipping their EP’s hard clout with a pop proclivity. I suspect that’s all listeners need to know.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 28, 2009

Double Breasted - Who Will Love You?

Double Breasted is a new sound for the rock genre. Who Will Love You? is their first full length album and it truly manifests and exhibits the creativity of all three members. Each one has an unmistakable talent and passion for their music. Josh Bicknell on percussion, Ardith Collins on the cello, and Kristy Chmura on the harp, make up what they have self proclaimed as “couture rock.”

The combination of these three voices creates an elegant, captivating, and almost haunting encounter with music. The resonating long notes on the cello combine with the melody and harmonies from the harp to produce an exquisite classical sound, meanwhile the vocal lines, and percussion have a more pop feel. When the two are merged on this album their music takes on new depth. Their sound is intriguing because of the unusual combination of instruments a close ear is easily pleased with its complexity while an easy listener can also enjoy the sheer beauty.

“Animals”is a brilliant track that opens with soft harp and soothing cello then progresses through a stunning harmonic chorus that includes all three of the band’s voices. As the melody picks up, the cello, harp, and vocals soar to new and exciting places then come full circle and close on more delicate tones. The entire album brings an appealing new face to rock and all the while satisfies every craving for remarkable musical talent.

Muzikreviews.com Staff- Marina Lane

January 27, 2009

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The Bad Plus joined by Wendy Lewis - For All I Care

Cover albums are often difficult to pull off. It’s hard to take a well-known song and make it your own, while staying true to the original. With For All I Care, jazz-trio The Bad Plus tackles an ambitious array of covers, including Nirvana, Pink Floyd, Heart, Yes and the Bee Gees. It’s truly amazing how Reid Anderson (upright bass, vocals), Ethan Iverson (piano, bells), David King (drums, vocals) and guest vocalist Wendy Lewis are able to create unique jazz covers of modern rock songs with the slim instrumentation of The Bad Plus.

For All I Care opens with a version of Nirvana’s “Lithium.” Anderson’s rendition of Lithium’s addictive rhythm line on upright bass, mixed in with off-kilter, syncopated rhythms is pleasing. Lewis’ vocals on the song may remind you of Tori Amos’ recent version of “Smells Like Teen Spirit.” The pounding, grunge guitars of the original chorus have been replaced by the wild piano soloing of Ethan Iverson on The Bad Plus’ version. The resulting cover is unique enough to belong to The Bad Plus, but still pays tribute to Nirvana’s version.

The Bad Plus gets very ambitious with its cover choices, following “Lithium” with a cover of Pink Floyd’s “Comfortably Numb.” You may be skeptical if a jazz-trio can pull off the full psychedelic sound of Pink Floyd. The Bad Plus manages to create a song that’s just as floating and psychedelic as the original thanks to Iverson’s skilled handling of the main melody on piano. While no one could ever hope to top Pink Floyd, The Bad Plus’ version will still impress devout Floyd fans.

Later, The Bad Plus impresses again with a cover of Heart’s “Barracuda.” It’s quite cool to hear the song’s most memorable riff played on upright bass. Once again, Iverson’s piano playing keeps you from missing the guitar. Lewis’ vocal power also really shows by the way she handles the song.

For All I Care’s jazz-covers of rock songs will be enjoyed by jazz and rock fans. However, the album also contains covers of songs by modern composers. Songs like “Variation d’Apollon” and “Fem (Etude No.8)” sound more like what you’d expect out of a jazz trio. These tracks may be a little hard to take for pop music fans, but still show the amazing instrumental ability of The Bad Plus.

For All I Care stands out as a unique cover album. Jazz fans won’t want to miss hearing The Bad Plus and Wendy Lewis make rock songs their own. Rock fans shouldn’t miss out on these covers either.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 27, 2009

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Santogold - Santogold

Over the past decade there’s been a bit of a new creation in music, which I’ll freely label the “female electro-pop artist.” Look no further than the reinvention of Gwen Stefani and Nelly Furtado for the best examples of such, with both songstresses making pains to distance themselves from their more traditional origins. Furtado, especially, has been castigated by many a fan for dumping the more ethnocentric thrusts of her past work in favor of synth-drenched hitmakers. Yet, arguably, the move has paid off: there’s nothing radio loves more than sexy electric foot-thumpers, and Stefani and Furtado (and even Fergie, on some level) have been there to provide the fodder.

Now, Philadelphia-bred singer/songwriter Santi White has come along to fill the ranks and steal these ladies’ sonic thunder. Masquerading as Santogold, the former Epic Records A&R representative has cast a much-welcomed and long-delayed mean streak over all the poppy self-preening. Her self-titled debut is a mess of genre-blurring antics and punky attitude, with no dearth of pop animalism (chances are, you’ve already heard track “Creator” in a beer commercial sometime over the past few months.) Yet amid comparisons to other racial barrier-breaking acts (such as M.I.A.), White can probably be linked more accurately with the multiethnic stylings of bands like TV On The Radio, whose similar urban roots allow for a rougher (if still radio-friendly) sound.

Despite the mash-up nature of the album, there are still some notable tendencies, the foremost among them being reggae and ska-influenced rhythms. On some level, Santogold’s sound is an extension of the experimental Caribbean-dance hybrids of artists like Eddy Grant, famous for “Electric Avenue.” A track like “Shove It,” for instance, with its thumping horns and semi-sarcastic overlay, owes much to that former piece. Still, White makes the sound her own – brooding, crunchy, and fraught with an apocalyptic atmosphere, “Shove It” is Santogold at its cross-bearing best.

That punchy, vinegar-soaked, chip-on-the-shoulder gait inevitably spills onto other areas: “Starstruck” is a swaggering monster of laboratory beeps and other computing chirps, something a mad scientist version of Busta Rhymes would produce. Yet then there’s “Lights Out,” a straight-up 80’s paean complete with glorified saw waves and drum machine marching, where White casts off her grizzlier persona in favor of playing the blue-eyeshadowed mic goddess. It’s this kind of versatility that makes White’s me-against-the-world pose slightly more bearable, allowing such lo-fi gems such as “I’m A Lady” to sound about as authentically Indie, unassuming, and engaging as possible for an artist whose history is steeped in R&B.

This characteristic, above all else, allows the album to rise above the pleasant but unsurprising pop backbone riddled with songs such as “L.E.S. Artistes” and “You’ll Find a Way.” Yet even in the standard fare, White proves that Santogold is a savvy, brainy guise – one part street girl, another part Bohemian, and infinitely more compelling than her so-called peers.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 26, 2009

Various - The House of the Rising Punk (DVD)

The House of the Rising Punk was a 1998 German TV documentary regaling the “wonderness” that was the world famous CBGB’s; the New York City venue that opened in 1973 on sketchy Bowery Street. Now thankfully available on DVD for U.S audiences the fabled tales have aged gracefully. At the time of the interviews, CBGB’s was still open and founder Hilly Kristal was alive, so watching it now brings on a touch of bittersweet nostalgia.

When I first walked into CBGB’s in the 90’s, I expected and WANTED it to be a dump, and I wasn’t disappointed. A friend’s band played for a small crowd on a slow, quiet Tuesday night, but you could feel good vibes whispering through the joint. As Patty Smith colorfully states, “The place was always reeking of piss and vomit and dead cats” and I knew what she meant. Man, that’s punk!

The iconic music that permeates throughout The House of the Rising Punk adds a delicious layer of flavor. After my first viewing (and I watched this several times!) I was inclined to dust off a few gems of the era from my own collection to keep the mood going. The documentary kicks off with Richard Hell (of the group Television, the Voidoids and others) talking about how Television was one of the first bands to play at CBGB’s. Their reoccurring gigs incited bands like The Ramones, The Talking Heads and Blondie to ask for their own time slots as well.

Tom Verlaine, who also played in Television, is interviewed along side Patty Smith. It’s interesting that Richard and Tom aren’t together when they’re speaking, and it’s also fascinating to note what an important part of music history Richard, Tom and Patty play. The Patty Smith Band formed and jammed at CBGB’s too and was part of the landscape that soon became known as the punk era.

The cast of characters involved in CBGB’s propulsion to legendary status includes many individuals who weren’t in a band. Journalist Leggs Mcneil, who wrote Please Kill Me: The Uncensored Oral History of Punk“ and was the founder of Punk magazine, played a big part in keenly documenting the CBGB’s scene. In fact, Legg’s is credited as the first person to use the term “punk rock” to describe the wide array of bands that graced the bar’s halls.

Another “non-musician” historian who contributed to the CBGB’s mystique is Roberta Bayley, a New York City photographer. Roberta dated Richard Hell and worked the door at CBGB’s in the 70’s. (There’s a great gig!) In addition, she began to photograph all the bands that crossed the stage and has some keen insights on the comings and goings of all the regulars. CBGB’s was just a local pub at first, and a place where all walks of life hung out. Filmmaker Jim Jarmusch (Permanent Vacation and other cult favorites) and Danny Fields, the manager for The Stooges and The Ramones offer their informative and “worth every penny” two-cents to the mix. I just wonder if they knew back then how important the nightly activities at CBGB’s would become to the music world?

Amos Poe, another New York City moviemaker, filmed a great number of the bands that set foot in CBGB’s in the early 70’s, “just because he could”. I assume much his invaluable footage is featured in The House of the Rising Punk. Since this took place before we all had cell phone cameras, I for one am grateful someone thought to document what is now considered a classic time in punk history.

More great clips of all the fun and mayam include early recordings of Blondie (fun fact-Debbie Harry used to drive people home in her Mustang), and some fantastic footage of Iggy Pop as well as The Ramones. There’s a great bit on the The New York Dolls, one of the first bands to wear lipstick, eyeliner and bouffant hairdo’s; opening up the door for hairbands of the future.

It’s hard to pick a favorite moment, I was so enthralled with it all, but a great quote about the Velvet Underground is at the top- ”only 2000 people bought a Velvet Underground album, but every one of those people formed a band” Indeed! House gets a little murky at the end- with an appearance by The Sex Pistols, (and many those interviewed say the Brits stole punk from New York) and a rather abrupt jump to the 90’s. But none of it is enough to ruin the rapture I felt after the closing credits.

I loved the cross section of artists, musicians, writers and filmmakers who contributed to this lovingly made documentary. Even if you aren’t a fan of the music or the era, at a lean 60 minutes, The House of the Rising Punk is a must watch for any music enthusiast. This intelligent film will educate and entertain for years to come.

MuzikReviews.com Staff-Susan Evani

January 26, 2009

Tiffany Carlson - Fall

For her second album Fall, Portland artist Tiffany Carlson returns to what she did well on her debut album Long Way Back. Carlson still has a high quality country-folk sound, and she wisely sticks with producer and co-songwriter of Long Way Back Jim Walker on Fall. While Carlson proved she could deliver up-tempo pop-country on Long Way Back with songs like “County Line,” Fall proves she can deliver a darker, more ballad-like sound equally well.

Fall relies on Carlson’s polished vocals and pleasing acoustic guitar riffs heavily. For fans of stripped-down songwriting, the minimal instrumentation of the album will definitely be a plus.

While the album opens with the light, pop-country sound of the title-track “Fall,” it quickly progresses to a more emotional, darker acoustic sound. However, “Fall” still shows Carlson’s pop-side well with great slide guitar riffs and well-placed electric guitar.

The album’s next song “Swept Away” shows the sound more typical of Fall. Here, slow, weeping country melodies build a layered sound around Carlson’s voice. The sound fits the lonely quality of the vocals for “Swept Away.”

Carlson also makes great use of complimenting arrangements on Fall. The duel guitar parts of songs like “Home” and “Like A Crown” are beautifully balanced. Likewise, “Anna Lee” shows how slide-guitar melodies can really make an acoustic rhythm shine.

Since the songs on Fall may not be as quickly paced as your typical pop-country album, it really forces Carlson to have intriguing melodies. Carlson definitely rises to the challenge on “Angels Lie,” where guitar, piano and string melodies are all used well.

However, because of the album’s pace the songs that aren’t as powerful as they need to be really seem to drag. “Happiness” and “Wasted Words” could both use a more diverse sound to move them along.

Despite its shortcomings, Fall is a strong independent release. Carlson’s great vocals and smart understanding of country melodies should guarantee her future success.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 26, 2009

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Spanish Blue - Demon Disco

Rocky, Will Smith, the Broad Street Bullies, the Liberty Bell, the most recent World Series champions, and cheese-steaks call Philadelphia home. With Demon Disco, Spanish Blue looks to add itself to that list of important Philadelphians.

Their style is a fusion of hip-hop and funk reminiscent of The Roots, The Beastie Boys, and TV On The Radio. From the start, with “Wrought Iron,” the band lays it on thick with wah-saturated guitar and baritone sax giving way to the whine of a Hammond organ. Fast moving, and introduction-free, this is a good opener.

“Demon Disco,” the album’s second track is the winner of the lot. Starting with an organ part that seems to give a nod to the Beastie Boys, and horn parts with such an Afro-Pop sensibility that they could pass for Fela Kuti. The hook and groove easily make this the most danceable, and infectious tune on the album.

The album takes a bit of a turn at the halfway point with “Homecoming.” This song is less hip-hop and more like Sublime with it’s guitar-driven groove. This is the most reflective, if that word can be used here, and melodic work of the album.

The second half continues much like the first. “Executive Order” with it’s introduction being a sort of lazy homage to John Bonham’s introduction to “When the Levee Breaks,” does move on and into a good song despite it’s confused beginnings.

This is mostly a fun album to listen to. Good for a party, as it provides a pretty consistent groove with hardly an interruption in tempo. On it’s own it can be tedious at worst, and as is the case with the title track, slamming at it’s best. The merging of hip-hop with its funk roots is always a welcome addition to musical the landscape as it provides lyrical flow to excellent dance grooves.

While this work is far from production perfection, and the songs aren’t all winners Spanish Blue does get on base without hitting the ball out of the park. Hopefully it’s enough to keep their audience interested and awaiting their next effort.

Noah Small – MuzikReviews.com Staff

January 25, 2009

Cannata - My Back Pages Volume 1

Let me first say right out the gate that I have become a big fan of Jeff Cannata, who he is as a person and all of the musical projects I have heard to date. I do have to put those feelings aside now and be the critic.

When I first got My Back Pages Volume 1 and watched the video My Back Pages, I was immediately mesmerized by the video, the music, and the incredible artwork of the CD package in its entirety. Some interesting things about the CD and booklet were the pictures…the one of the crazy van with all the ornaments and what not stuck to it is priceless. I asked Jeff if it was for real and indeed, it is, the colorful hippie van drives up and down Highway 1 in California and a picture of the old hippie complete with his pot pipe are on the back of the CD booklet. The music you will hear on this CD harkens back to the flower power era and the culture around it.

Ok so we got off to a good start now what about the fact that it’s yet another cover album? I know you are getting ready to puke right? Well just hold it a minute, this album is nothing like you have ever heard before, really.

It was a difficult to task for Cannata to choose these songs as every one of these artists and many more influenced him, this is why it is Volume 1 because the door was left open for another volume to come. The artist wants to give credit where it is due which is honorable and understandable.

My Back Pages Volume 1 is an excellent album and the bonus track Life: 101 may very well be the best bonus track I have ever heard (it is also on his previous release Mysterium Magnum). I get chills listening to it and absolutely love it; it should become an anthem for the ages that everyone is hearing on the radio and TV.

There are 14 tracks on this CD, everyone a standalone masterpiece and given new life and meaning by Cannata. This is very significant, as it normally does not turn out that way on cover or tribute albums. Keep in mind this man is multi-instrumental genius and producer so there is no flack here, its all straight up musicianship and creativity at its best even if the songs are older and have a long lineage of artists behind it. Actually, that is whole point here, to pay tribute to those people that made the music.

The best examples of covering a song closest to what the creator intended has to be the two Jethro Tull tracks, which come at you back-to-back, “Mother Goose” and “My Sunday Feeling.” “Eight Miles High” and “On The Turning Away” are especially excellent as well. I also have to give Jeff the nod for his cover of Bowie’s “Space Oddity” complete with the English accent in certain places during the song is a nice touch. I think one last important note to make is all the superb assistance Jeff received in creating this recording that is why I made a special effort to list the credits below.

So there you have it an album that has everything a music fan could possibly ask for. Don’t waste another minute and grab this CD!

Pick-Week 01/11/09

Cannata "My Back Pages"

Keith “MuzikMan” Hannaleck

January 25, 2007

Credits:

JEFF CANNATA, drums, bass, guitar, mellotron, electric sitar, vocals.

ROBERT GIANNOTTI, acoustic & electric guitar solos, sitar, flute.

DAVID COE, 12 string Rickenbacker, acoustic guitar, and lead guitar. JAY ROWE, electric piano solo on Fresh Garbage.

JEFF BATTER, Hammond organ, " On The Turning Away"

GEORGE MANUKAS, acoustic guitar on "Embryonic Journey"

SOLIN, guest lead vocal on "Norwegian Wood"

GREG TRABANDT, drums on Life: 101

CHUCK BECKMAN, lead guitar solo on " Life: 101 "

Negus - Dare to Dream

Steve Negus, Canadian and former drummer for Saga, is clearly suffering from self-esteem issues. While still with his former group he had an entire album’s worth of song ideas rejected. He packed up his kit, formed a new band with eleven other musicians, and named the group after himself. These alone aren’t signs that drummer/songwriter Negus is hurting inside, but the 1:43 long track featuring only drums titled “I Rest My Case” sure makes it seem like Steve is feeling more than a little disrespected.

Like Saga, Negus is a progressive rock band. The strange thing about progressive rock is that a lot of it sounds dated, as though it isn’t progressing. Negus, the band, suffers from this problem, though not always. Songs like “No Heaven, No Hell” and “Lust” are prime examples of this. The wailing vocals, the bombastic drumming and the searing guitar can make them sound like 80s sound track castoffs. But Steve Negus has sold over 8 million albums, so he must be doing something right.

Dare to Dream, at its best, is pretty decent. Normally there is something making the songs overdone or over the top. The vocals, done by Al Langdale, are better on songs such as “Satellites,” easily the best song, and “Body and Soul” when not straining for the upper register. Langdale’s voice is great when he isn’t trying to belt out the song, but the lyrics to “Body and Soul,” as well as others, are a little silly and detract from the singing. It opens, “Hey turn up the moonlight / The road winds on / This night still lingers / Day will break to sunrise / Illuminating the far horizon.” This displays a lack of understanding how the heavenly bodies work. Moonlight can’t be increased upon request and sunrise is daybreak. “Lust” is another example of perplexing lyricism. Langdale sings “Lust the master, lust the slave / Lust the sinner, lust the saint.” It is unclear whether this is an imperative or if Lust is being called a master, slave, sinner and saint. Let this be a lesson to all aspiring songwriters and use sentence fragments wisely.

Other times it’s the guitar playing that intrigues only to be undercut by questionably harmonized choruses or Knight Rider-esque keyboards. The acoustic guitars on the album are done well and only make the songs featuring them better. On the harder songs the electric guitars are generally good but sometimes do veer off too far into the stratosphere, bordering on cheese, but that is infrequent enough to be overlooked.

So, what about the drumming? There is, after all, an entire song dedicated to it. It’s ok. It’s never the worst part of a song. Steve always provides a good foundation. He can’t be faulted for being reliable, but it also means never being impressive.

Unfortunately, only the latter part of that statement is true about Dare to Dream. At its best it’s mediocre, and if all of the songs were at that level it would be an acceptable album, but they don’t. Because of this Dare to Dream wavers between listenable and a struggle to listen to.

Dennis Mersmann-MuzikReviews.com Staff

January 24, 2008

Monta at Odds - Gringo

Monta at Odds is a Kansas City based group whose myspace page describes their music as electroacoustic, down-tempo. If you’re like me and had to look up what those terms mean (it means “chill out music”) While Monta at Odds’ music is pretty chilled out it also pulls from a diverse mix of styles making much more than that. But if you need something to pique your interest, then let it be known that Monta at Odds uses a theremin. And who doesn’t like theremins? The un-chill, that’s who.

Gringo, Monta’s second album, sounds a bit like electronic lounge music, lazily hip like a Blaxsploitation movie soundtrack. The electric piano and drums, when featured, are easily the best parts of the music. They add direction and swagger to the sounds that are played over them.

Other strange but fun noises are mixed in to good effect. “A Little Chance is Left” uses sounds reminiscent of 50s sci-fi sound effects over jazz drumming and piano. Another track has an 8-bit video game quality to it. These quirky noises are endearing to a point. When they begin to make up entire tracks, things get less exciting.

Gringo sags in the middle when the songs become too sparse, which saps the momentum. “Take a Chance,” “Warbler,” and the previously mentioned “A Little Chance is Left” open the album nicely, displaying Monta’s ability to manipulate music and effects. This doesn’t make subsequent tracks featuring sporadic sound, like “Faith” and “Caught Mid-step,” bad, but they are skippable in comparison. The songs like “Take a Chance,” “Brief as Can Be,” and “Well I’ve Done My Best” are good because they have the drums and piano anchoring them the down. Without them the music becomes so-so in a meandering

As a whole Gringois an interesting listen as well as very enjoyable. There are parts that sound less musical than others, and then Gringo becomes more background noise other than something you’re actively listening to. While the entire album is worth hearing, if you’re like me, repeat listenings will reveal the highlights that you can’t wait to hear at the expense of the other songs. Which would indicate that I’m not as chill as I once thought.

Dennis Mersmann MuzikReviews.com staff writer

January 22, 2008

The Grumpy - Throes of Contemplation

The Grumpy.

The answer is yes – their musical endeavors do side with the grumpy shades of purple, black and gray their cover art exhibits.

The Sacramento trio’s Throes of Contemplation EP is their 2008 musical offering to the listening public and exists in the form of six studio tracks that not only exhibit influences on their sleeves, but also seek to harness and combine those influences to achieve a new blend of sound. “Change” pours the EP’s foundation in the form of a thick rhythm guitar riff that momentarily mimics the attitude found on Led Zeppelin’s Physical Graffiti, with a bit of extra crunch. Providing interesting melodic chorus motives, vocalist/guitarist Cameron West touches on tone and phrasing akin to Billie Joe Armstrong (Green Day); Jed Brooks provides energetic rhythmic accompaniment that, at times, loses track of a drummer’s primary responsibility – keeping the time and holding together a pocket – something that is mandatory in this vein of music.

Following “Tastic” (a rather nondescript track), the favorite track of the EP ensues. “Under the Light” features a light acoustic guitar introduction, reminiscent of Incubus’ “Drive,” with a heavy dose of Scott Weiland vocals during his tenure with Stone Temple Pilots (Core, to be specific); a backing string arrangement and more relaxed pocket from the rhythm section adds texture and depth to the track. As an added bonus, listeners are treated to West’s lead guitar acumen taking on an Eddie Van Halen-influenced riff from Michael Jackson’s 1987 single, “Bad.” – nicely played Mr. West.

A memorable guitar riff kicks off “Walk,” as the band begins to settle in and hone their sound and pocket a bit more. As found in the already noted tracks, lead guitar intonation issues are a constant on the EP and can be heard in the solo that concludes “Walk”; with all the advances of digital studio recording, this should not slip through the cracks – especially in a lead guitar solo. “Fuzz” checks in at the fifth track spot and despite passing without much avail, the likes of Radiohead’s “Optimistic” can be heard in the introduction; the band touches on a nice sonic dynamic for a brief moment, before continuing onto the final track, “Misunderstood,” which folds in a gentle piano part sidesaddle to the acoustic guitar track. Throes of Contemplation concludes with a descending piano line that leaves listeners wondering if just then, the band might’ve found their niche.

It seems that a lot of bases can be collectively covered by the members of The Grumpy and that they possess a great deal of talent, drive, and passion for their music; thus far, their success seems to hinge on their live show performances – they’ve played on quite a couple of professional basketball teams’ courts as featured musical entertainment. However, Throes of Contemplation does not seem on par with the live show performances that The Grumpy offer audiences (if listeners can find the music available online, that is, for comparison). While it’s not their first recording effort, it shouldn’t be their last, and perhaps as they compile a couple more writing notches on their belt, the Grumpy could take the steps necessary to become a contender in the musical marketplace.

Matt Jaworski – Staff Writer, Muzikreviews.com

January 25, 2009

Duffy - Rockferry

When Welsh singer Aimee Duffy was 11, she was thrown out of her school choir for having a voice that didn’t fit in with the rest of the group. She certainly has a unique voice, that’s for sure. Her debut album, Rockferry, includes a variety of genres such as pop, Motown, soul, blues, lounge, and even some rock. All in all, it’s like a 1960s album produced in 2008.

Duffy’s voice is hard to describe unless you’ve heard it. It is mature, scratchy, and soothing at the same time. She has “cat-like” traits to her voice, sometimes shrill, sometimes soft purring. While she has similar qualities in her voice as the “other” Amy, regardless of personal lives, Duffy’s music comes off as more innocent and pure than that of Winehouse.

The first single, “Mercy” is a very upbeat, catchy tune that begs her lover to stop playing games and release her. “Rockferry” and “Warwick Avenue” are slower numbers that, along with some other tracks, empower women to not put up with any crap from their men. They give a message such as, “You’re going to treat me like that? I’ll show you. I’ll leave,” but are still saddened by the experience.

“Serious” could be sung by Duffy on The Ed Sullivan Show with backup singers sashaying to the beat. “Distant Dreamer,” with its cool orchestral ending, tries to be very uplifting and powerful, but the lyrics fall short.

I'm wondering about my destiny.
I'm thinking about,
all the things,
I'd like to do in my life.
I'm a dreamer,
a distant dreamer

Overall, Rockferry seems like a gallant effort. Duffy uses her unique and powerful vocal chords to express some tough emotions. The presence of a broken heart is particularly strong. However, the album comes off as a little too manufactured, and her single “Mercy” is perhaps the catchiest tune on the CD. Hopefully on her next release, we will get to see a little more of this talented 24 year-old’s personality.

Christen LaFond, MuzikReviews.com Staff

January 25, 2009

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Luba Mason - Krazy Love

Barbara Striesand came to mind more than once while listening to Luba Mason on her new decidedly adult contemporary jazz flavored new release Krazy Love. Drawing comparison to a long-standing talent like Ms. Striesand could never hurt one’s career. Everyone likes to maintain their own identity but comparisons are inevitable mainly if it’s pleasantly obvious and in this case that factor applies and works to the singer’s strong points and the presentation value of this album.

Husband Ruben Blades appears as a guest vocalist on the Latino track “E Com Esse Que Eu Vou,” which I had a hard time spelling never mind saying. It works well and they sound made for each other as the give and take on the track. Regardless of any language barriers there were for my ears, this was an enjoyable track just the same and very well done. The next track Luba goes it alone on “Olhos nos Olhos” and proves that she has what it takes to jump easily back and forth with different styles, languages, and musical genres. This is the juncture that her many talents fuse on Krazy Love.

The musicianship and production on this album is very good as well. The band is Renato Neto (piano and keys), Jimmy Haslip (bass) who has built quite a reputation for himself as a bass player over the years, Cassio Duarte (percussion), Marco Costa (drums) and Sandro Albert (guitar), who is exceptionally talented and provides some nice smooth tones and moods to support Luba’s vocals. Some distinguished guests besides Blades are the legendary Hubert Laws (flute on “My House”), Andy Martin (trombone) and Frank Marocco (accordion). It is no wonder this recording sounds so polished and readymade for any jazz station’s playlist and it crosses over to Latin-Jazz quite nicely as well.

Luba Mason should be a name that you will hear more often over the next few years. It is always a good introduction to a jazz artist to do some favorable well-known covers, especially if they are performed with heart and soul. The next time out I would love to hear some more improvisational work with the music and original songs from Ms. Mason and I would anticipate that being something very special indeed. Until then there is plenty to enjoy on this CD.

Keith “MuzikMan” Hannaleck

January 25, 2009

Oxford Collapse - Bits

“Do you like football?” former President Gerald Ford once asked Homer on The Simpsons. “Do you like nachos? Well, why don't you come over and watch the game and we'll have nachos. And then some beer.” That was a lifetime ago, when the long-running animated show was still quick, cutting, and inspired. And, believe it or not, the snippet is a nice segue into Oxford Collapse’s fourth studio album, Bits, a collection of careening, curve-hugging ditties that rarely looks back on the prior journey.

If albums could speak, Bits would probably have a bit of Ford mimicry for its listeners, asking “Do you like rock music? Well then why don’t you come over and we’ll listen to some rock music.” Turns out it’s just that simple: full of straightforward execution and roughneck joy, Bits’ well-intentioned mindlessness is a refreshing gale in a genre known for its top-heavy intellectualism.

Irreverent to modern, beat-driven Indie rock and the album’s own rural Mexican imagery, Oxford Collapse could easily be likened to Green Day before politics and commercialism ate their souls. Make no mistake: this is impertinent, sloppy, flippant pop rock, complete with off-tune, barely-audible harmonies and guitars akin to an overplayed, overworked music box. Compositions are held together by the barest of threads, threatening to fall apart in the very next beat and go tumbling off a cliff. It’s a testament to Bits’ namesake – an improvisational stagger likened to scarcely-organized chaos – and a cartoon-fight-cloud disarray led admirably by Michael Pace, whose own vocal discipline seems to have been traded for a spittoon rasp.

If that mouthful sounds off-putting – well, that’s because it is. But it also works incredibly well on a musical level, lending songs an organic, firecracker quality somewhat lost in today’s urban kitsch. Furthermore, the unpredictable gait allows the Collapse more freedom than listeners will initially allow. See, for instance, the twisted quartet piece that is “A Wedding,” which ditches guitars and percussion for jarring vocals and harsh chamber traditions. Like the soundtrack to some alternative marriage ceremony, the track is out of place and then not again, owing itself to the same kind of bombast found in Bits’ more formulaic offerings.

Still, the Collapse are strongest when channeling the favorite methods of their forbearers. “The Birthday Wars” might have been recorded in a bedroom twenty years ago, conjuring distorted reverb like Sonic Youth devotees; “For the Winter Coats” is the closest thing to off-the-rails punk without devolving into amateurish wall-noise. Standout track “John Blood” is perhaps more tame yet infinitely more tactful, its bowling-pin drums and willowy guitars the perfect foil for lines like “This ain’t Dallas, this is Nashville/Our rules are different here.”

Clearly, Oxford Collapse have cut their music from the cloth with homemade razors, owing nothing to slick production or glossy songwriting. Like a drunken live show gone wrong, Bits is happy to fly right off the embankment and cause a ten-car pileup, inebriated smile gleaming all the way. Perhaps Gerald Ford is still an appropriate metaphor – only in this case, the trip and fall is no accident.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 24, 2009

Incognito - More Tales Remixed

As you might have guessed from the title, More Tales Remixed is a new take on Incognito’s 2008 album Tales From The Beach. On the remix, the British funk band takes the sweet horn melodies of Tales From The Beach and unleashes a rampage of DJ’s to do their work. The overall sound the album ends up having is a decent electronica meets funk. There’s a good chance that even if you’ve never heard the original album you’ll find a few tracks to enjoy on the remix.

More Tales Remixed opens with Dimitri & DJ Meme’s version of “Step Aside.” The two DJs do a good job of preserving the crisp horn melodies. You might recognize some Earth, Wind & Fire influence in Incognito’s sound, which comes as no surprise since the band was founded in the early ‘80’s.

Dimitri & DJ Meme add infectious disco beats to the song. With the help of the remix, “Step Aside” becomes a gleaming pop song.

The best remixes on the album are the ones that maintain a large portion of Incognito’s funk sound. Mark De Clive-Lowe proves that many of the original horn melodies of the song can be maintained and the remix can still be incredibly unique with “Feel The Pressure.” Here, original funky horn lines are taken and distorted to create an awesome effect. Mark De Clive-Lowe also keeps a driving dance beat moving throughout the song, resulting in a pleasing remix.

Next, Ski Oakenfull even proves you can create a totally new song around the original vocal melody with “I’ve Been Waiting.” Much like “Step Aside,” the track has a polished disco beat added in. However, the song’s original vocal melody meshes nicely with its new beat. “I’ve Been Waiting” may remind you of an early Michael Jackson song.

Later, DJ Day has success manipulating the funky sound of “I Come Alive (Rimshots And Basses).” Physics’ remix of “N.O.T” is strong, making sure to keep plenty of Incognito’s orginal sound present.

While More Tales Remixed has some great additions to the original album, a few of the DJs become a little ambitious and remove to much of Incognito from the song. For Instance, Tortured Soul’s dark beats and programming on “Love Joy Understanding” clash strangely with the song’s positive message. Eventually the beats become boring without enough Incognito.

Some of the tracks on More Tales Remixed may drag, but the majority take Incognito’s funk sound and build on it well. Electronica club kids and funk fans will both enjoy the CD.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 22, 2009

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Boggie - Seeing Angels

Seeing Angels is the third album from NYC singer-songwriter Boggie. The CD sounds like a cross of soul, jazz and pop. Unfortunately for Boggie, she does all three genres equally mediocre. While Seeing Angels is never truly unlistenable, it never becomes that exciting either.

Most of Boggie’s songs have a simple, minimal quality to them. The tracks on Seeing Angels are largely driven by keyboard melodies and Boggie’s vocals. However, many of the melodies are so bland the album begins to drag severely. “Someday, Somehow” has a nearly intolerable easy-listening sound, especially with the sickly smooth saxophone in the background. “Thought About It” also has the same boring quality.

Boggie has more success later on in Seeing Angels with the songs that have a more direct soul sound. “Cheesecake Blues” has a nice, old-school soul keyboard line. Boggie also makes decent use of vocal harmonies on the song. “Winter Blues” uses the old-school soul sound, creating another decent song.

Ultimately, these songs would never qualify as “have to hear.” They never do enough to really draw you in and make you want to listen again.

At other points on Seeing Angels, Boggie uses a pop-ballad sound not unfamiliar to singer-songwriters. The album’s title-track “Seeing Angels” has an interesting pop melody that stands out on the CD, thanks to some well-timed distorted guitar. However, Boggie’s vocals aren’t powerful enough to make the pop sound truly work for her. She simply doesn’t have the vocal strength of an artist like Sheryl Crow. “Summer Blues” also has a good pop melody, but again I’m left wanting more power out of the vocals.

Seeing Angels has a few powerful sections. Boggie definitely has skill as a musician, but she needs more songwriting experience to create a more interesting sound. None of the songs are terrible, but there are no great tracks either.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 21, 2009

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Evangelicals - The Evening Descends

Usually when beginning a review, it’s possible (and prudent) to lay down some historical context before segueing into the specific topic, be it a similar band, a musical movement, or some other kind of pop culture bon mot. There are a few cases, however, when doing so would be the literary equivalent of a superhuman feat, akin to lifting a car bare-handed. This is one of those times; it’s a trial of Job-like proportions to even begin to describe Evangelicals and their sophomore album The Evening Descends, a work of broken narratives, Indie hipness, and Plan 9 From Outer Space atmospherics. Strike that – the more appropriate film metaphor would be the old silent classic The Cabinet of Dr. Caligari, only this time the mad experiment goes right: Descends possesses enough musical tact and eerie overlay to stand apart from its sideshow exhaust.

Indeed, beneath the freakish production resides a remarkably lucid heart, a type of off-kilter musicianship that’s no less real than its stripped-down counterparts. This is Indie music for the concept crowd, without all the usual faux-obfuscation (ahem, Radiohead.) And as it’s built much like a horror film (how else to explain the scattered sound of splattering organs and popcorn-munching?), Descends is aided infinitely by frontman Josh Jones’ panicked squawk. The resultant sonic dread is intimate and palpable, with Evangelicals having eschewed the thinly-veiled types of anger and fear in many other neo-rock entries. It serves them well.

Of course, the offshoot of all this is a near-unpredictable quality that is, listening-wise, a bit unnerving. What else to make of lyrics describing hellish possessions, lumbering monsters, and horrific car crashes? The title-track is evidence enough: writhing and squirming from rhythm to rhythm, “The Evening Descends” is uncomfortable, awkward, and disjointed, as if four or five different songs (recorded in different studios and different decades) have been mashed together end-to-end. Its near-nonsensical ecstasy is matched only by “Skeleton Man,” possibly Descends’ best track: a left-field ballad that, slowly but surely, ends in overdriven insanity. As the percussion chugs, Jones laughs hysterically and wails “Someone loves you very much/You’re fucked!”, coming off like a musically-inclined Patrick Bateman.

“Party Crashin’” is a semi-vignette of the aforementioned car accident, and another standout entry. Suitable as a soundtrack piece for Jacob’s Ladder, the song is as close to a poppy opus that the Evangelicals will ever get, albeit with their suitable brand of B-movie melodrama. Thankfully, the goofy antics never really serve to distract (or substitute) for the musical meat n’ potatoes. Even in the ham-heavy “Bellawood,” Jones and crew keep the driving, delirious guitars at the forefront while peppering the sides with their Stoker-inspired atmospherics.

The Evening Descends is certainly strange stuff, and made all the more odd when considering the Evangelicals’ Oklahoma breeding. Yet that alone is perfunctory, as there’s often a genuine, artistic thrust teeming beneath the horror ambiance. Rather than let shtick override their musicianship, the band has succeeded in giving a ghastly new life to the Indie genre.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 20, 2009

Japhlet Bire Attias - JBA

Minnesota’s Japhlet Bire Attias definitely presents the listener with a unique sound on his debut full-length JBA. For one, Attias plays a 10-string Chapman Stick, an instrument that’s a hybrid of guitar, bass and sitar played by tapping. JBA has a fascinating instrumental progressive jazz sound that fans of the genre will enjoy. The unique sounds Attias is able to make with his instrument will also be entertaining to other music fans, in digestible quantities.

It is undeniable that Attias’ unique instrument allows him to achieve an amazing range of sound. “An Iron Fist In a Velvet Glove” shows this range well. It is truly remarkable to hear Attias flow seamlessly between deep, rhythmic bass grooves and high-pitched, penetrating jazz melodies- all on one instrument.

JBA also shows Attias’ mastery of his strange instrument. The solos on “Isolation” are as good as any played on a guitar, perhaps even a little bit better. Likewise, the slow melody Attias establishes in “Cobblestone Stairs” is incredible.

JBA has a surprisingly full sound for an album featuring mostly one man on one instrument. Attias gets help on drums on a few of the tracks, but he also uses clever synth programming to compliment the range of the Stick. “Hegemonic Concepts of Citizenship” uses this sound to be one of the best deeper cuts on the album.

Along with synth sounds, Attias also uses more unique instrumentation to his advantage on JBA. The brilliant bass clarinet playing of guest Doug Little on “What Are You Doing The Rest Of Your Life?” helps the track become memorable. Meanwhile, the Latin sound created with congas on “Senor Mouse” also shows the full sound JBA has.

While only die-hard jazz fans will make it all the way to the album’s late tracks like “Transition” and “Islands” these songs really show all the elements of Attias’ sound best.

If you aren’t into jazz, I’d still recommend checking out JBA to hear some truly unique sounds.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 20, 2009

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Desert Radio - Asleep At The Wheel

The desert with its sandy monotony and wide-open expanse has long provided inspiration for songwriters. Take the late Gram Parsons, whose manager stole his corpse from a morgue so that the singer’s last wish–to be cremated on a rock in California’s Joshua Tree National Park–could be granted. Or U2, who named one of the great albums of all time for the desert dwelling Joshua Tree.

Now, the province of British Columbia gives us a straight-up shot of rock with Desert Radio’s Asleep At The Wheel. Loud and anthemic from the start, the band draws on American rock influences like Steve Earle, Tom Petty, and Bruce Springsteen.

The high-energy, up-tempo mood of the album is set by the first track “February Day.” The opener foreshadows what’s to come with thick guitars and a hard, driving groove. Leave it to some Canadians to write about the month of February, as the song delivers a solid melody and a catchy hook.

“Be There” picks up where the first track left off, with another memorable hook. The album’s third and title track “Asleep At The Wheel” is a sort of modern north-of-the-border take on the power ballad.

The name Desert Radio is appropriate, as the listener could easily crank the volume and cruise across west Texas with a certain sonic seamlessness, a nice compliment to the relentless landscape of mesquite, limestone and sand whizzing by. The influence of Texas rockers ZZ Top can be heard on “Redwood Tree” with a solid guitar driven tune that’s as old school rock ‘n roll as it gets.

Another highlight is the album’s penultimate track “Wife.” On display here is a break-neck approach to a rock song that’s not often heard anymore outside of the death metal world. The tempo and energy maintain without slipping into the dynamic-free thrash-fest typical of many bands attempting the same level of musical intensity. Most importantly the hook isn’t left behind.

“Juarez,” the closing track is a departure from the rest of the album with its slow tempo and its attempts to breathe more space into the structure of the song. While there are some nice ideas on display here, it falls short as it relies heavily on the same drum and guitar sounds that help the other songs work. The song itself could be very good if only the band would just let it be. Regrettably, this song is revealing in that it shows Desert Radio to be something of a one trick pony, if the previous eleven tracks weren’t evidence enough. “Juarez” comes off as an attempt to finally take a swim in the deep end after spending the entire day only waist-deep. Unfortunately, the need for floaties remains.

This band’s strength is in its melody and hook oriented approach to writing, as each track delivers on both fronts. By the same token, the band’s weakness is that they seem to be playing the same song over and over. Almost all of the tracks are structurally and sonically the same. With just two exceptions it’s a bit like listening to forty minutes of the same song, albeit not a bad one.

Noah Small–MuzikReviews.com Staff

January 22, 2009

Cut Copy - In Ghost Colours

It’s safe to say that the neo-80’s revival isn’t fresh anymore, fully exhausted by a spate of Cure/New Order hybrids and dead-horse-beater VH1’s “I Love the 80’s” memes. One could argue the movement was never sincere in the first place, but rather a knock-off of more creative forces by clone amateurs. That notion was dispelled a bit by M83’s Hughes-dedicated opus Saturdays = Youth, which was less parodist in its New Wave stargazing. Unabashedly 80’s, the album made great pains to remain about as authentically retro kitsch as any Daft Punk work.

In that vein (but decidedly different) is Cut Copy’s In Ghost Colours, the Melbourne trio’s second release and a brazen paint-stroke of throwback electronica. Unquestionably more fun and bouncy than Saturdays = Youth, Colours is a beeping, writhing dedication to the neon glow of a bygone era.

Cut Copy’s near-outdated sound is bolstered by the effeminate cool of frontman and former DJ Dan Whitford, who metrosexualized, ice queen-esque voice is a perfect fit for Colours’ synth aura. Despite similarities to the oft-copied but never-matched Robert Smith, Whitford’s vocals are much more robotic and muscular, detached even from the more emotional screeds. That feature contributes to the disconnected, dreamy manner in which Colours unfolds, a kind of Phillip Glass-meets-Tears For Fears pop journey.

Yet despite the world-weary timbre of Whitford’s voice, the album never becomes jaded. Opening track “Feel The Love” ripples with keyboard buzzing and synth flutes, overlaid with intricate harmonies of both natural and artificial nature. In addition to the massive superimposition of a dozen different electronic instruments, the elaborate vocal arrangements appear to be one of Cut Copy’s trademarks. Standout “Out There On The Ice” is chunks of Whitford’s own instrument amid other swirling concoctions, another poppy number inevitably driven by phasing synth percussion. “Lights & Music” is the same if not more club-centric, with “Hearts On Fire” taking the whole concept to more epic, Daft Punk-tinged levels.

Still, Cut Copy manages to change things up from time to time – the back-to-back “Unforgettable Season” and “Midnight Runner” are more standard to straight-up Indie rock, albeit with the dance-funk embellishments Colours hangs it hat on. Theirs (and the album’s) fly-by nature are derailed only by the inclusion of atmospheric snippets that are usually more characteristic of bloated, skit-loving hip-hop albums. Tracks like “We Fight For Diamonds,” “Voices in Quartz,” and “Visions,” while interesting, serve only to pad an already-heavy atmospheric drip.

Yet that’s little concern for an album that succeeds on such a cerebral level – and one that thrives in removing any shred of cynicism from an increasingly-commercial trend. As a result, In Ghost Colours (and, to a larger extent, Cut Copy) ignores the more vapid marketability of fashion-setting in favor of good ol’ nostalgia goggles. Whether that results in meaningful music seems less important than the fact that it’s excellent listening.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 19, 2009

Janus - Red Right Return

Video for “If I Were You”

FREE DOWNLOAD OF “If I Were You”

Janus learned their lessons well in the art of playing melodic rock from the ancestors of the genre such as Def Leppard. The thing about this band is their strong ability to combine powerful chunky metal chords with a backbone of melodic rock. The deadly and lethal combination that takes Janus to where they want to go on Red Right Return will bring many listeners along for the ride.

In 10 tracks, you get energy at level +10 and it does not let up. This is great music if you want to feel all pumped up there is no doubt about that. David Scotney puts out some vocals that find equal ground with the music pounding away behind him. Thanks to the pulsating thumping beats provided by Johnny Salazar (percussion) and Alan Quitman (bass) everyone else gets to do their thing with pleasure. Mike Tyrnaski peels off some heavy-duty string bending that drives the Janus machine along on cruise control.

Perhaps the most versatility and talent is evident in ever changing songs like “Skin Deep,” which flirts with being a ballad at the opening then gradually builds into a crashing crescendo of guitars, bass and drums, which is more typical of the Janus musical map like you hear on “Eyesore”. All the songs prior to that are good but have a tendency to lack a lot of variation and give you pretty much the same hard driving rhythms and chords that are patterned after the track you just heard, which is typical of this genre actually. Although this is the case, I certainly cannot fault the band for lack of consistency and probably giving their fans exactly what they want. Many bands do the same thing with great success so it is not a failure by any means.

From “Skin Deep” forward is where this listener gained more appreciation for the overall talent and capabilities of Janus and the realization that I could easily enjoy the sound they have to offer from start to finish once I realized what they are setting out to do here. A lot continues to change in every track from 6-10. The variations and transitions are excellent and totally put to bed my previous observations. I think it’s quite brilliant how they present this CD and the more I hear it the more I like it and my confidence in them grows.

The artwork and packaging is eye catching and very pleasing and once you open up the tri-fold cardboard gatefold sleeves you get all the lyrics to sing along too, which you can actually read by the way, and the CD slides into one of sleeves just like the old vinyl LPs. You have to love it. Just as an aside, you will not find any pictures of the band, just the cartoon artwork of their images so you will have to catch them live to see what they really look like…yet another stroke of brilliance in presentation and marketing. This band has the right idea and will go far if they keep on the right track, with their sharp skills in all aspects of their music and presentation.

Keith “MuzikMan” Hannaleck

January 20, 2009

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The Beatles - Composing The Beatles Songbook: Lennon and McCartney (1966-1970)

Running Time: 112 minutes plus bonus material

Composing The Beatles Songbook: Lennon and McCartney 1966-1970 provides a refreshing, different spin on the usual Beatles documentary. Instead of generally speaking of The Beatles' lives or pathway to and through success, the film covers the collaborations of Paul McCartney and John Lennon and dissects their songs.

While discussing the songwriting that made the most successful band in the world, the film simultaneously encompasses their lives, but not enough to make it the sole topic. We see interviews with band members' friends, writers, authors, and broadcasters who are more than qualified to share their views of the musical compositions.

The panel members discuss how McCartney made songs that were more attuned to the pop genre while Lennon wrote in a different fashion, as if he had a chip on his shoulder. While McCartney wrote more happy songs, he was definitely not stuck in a niche. His loud, crazy, Charles Manson anthem, “Helter Skelter” was penned to rival the supposed loudest album at the time from The Who. By the same token, Lennon was also very capable of writing ballads, such as “Julia” and “Goodnight.”

Interviews make up the majority of the documentary, but they are broken up nicely with songs, video clips, pictures, and various other images. One of those instances occurred during the playing of “Tomorrow Never Knows.” An analysis of the song expounds upon its psychedelic nature. So instead of showing pictures of The Beatles, a progression of images reminiscent of the ones on Windows Media Player pops up and spins the watcher into a whirlwind of dizzying vexation.

Lennon's comment of how The Beatles at their peak were more popular than Jesus was received with mixed emotions; some burned Beatles albums, others thought of it as nothing. John's friend touches upon this topic and a clip of Lennon speaking of it is played.

Examining the elements of Beatles songwriting and their songs proves to be very entertaining. The quality of sound can be a little less than satisfying during some dialogue, but for the most part is sufficient. Some song facts are revealed that even a Beatles enthusiast might not know such as the fact that Paul dabbled in experimental music quite a bit also, it wasn’t just John and Yoko Ono.

A very important aspect of this DVD is that it continues to follow the path it set out on. Throughout, it continues to cover where the Beatles songs came from, how the duo collaborated and the effects they had on each other along the way.

A friend of the band talks on how the guys had such different temperaments, it would’ve been ‘against nature’ to keep them forced together. Abbey Road was their final album, and they knew it would be their last together as a group.

The last image on the screen is of McCartney and Lennon who, as a panel member tells us, are the two “greatest songwriters we’ve ever seen” in the background as the credits roll. Melancholy music plays to coincide with how you will feel as the realization that The Beatles as a band are truly over, and so is the documentary.

But not to worry; There is another documentary in the series. Composing The Beatles Songbook (1957-1965). If you enjoy this film, you may want to check it out. I know I certainly will be.

Extras: Fun, but hard to compete with the main feature, which is so very interesting as a whole.

Christen LaFond, MuzikReviews.com Staff

January 19, 2009

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The Kris Norris Projekt - Icons of the Illogical

Saturated with fuzz-packed, distorted electric guitars and an onslaught of double bass drum thrusts, the Kris Norris Projekt’s freshly completed Icons of the Illogical is an over-the-top throwback to the metal/progressive rock era.

A jack of all trades on the album, guitarist Kris Norris demonstrates his ability to navigate the fingerboard of the guitar with ease. Formerly the lead guitarist for Dark Hour, Norris allows listeners a taste of his chops and rhythmic pumping throughout the course of the LP; while his technical ability is undeniable, his tastefulness seems at times to take him over the fence and into the land of overplaying – think HEAVY Metallica, meets Children of Bodom, featuring Yngwie Malmsteen. “The Law of Falling Bodies” sets the foundation for the album with layered guitars and an introduction to drummer Dave Gibson’s right and left foot; a more delicate track on the album. As “Everything Expires” launches, it is evident that the tonal bar of the album has been raised and will not return to the initial ribbing of track one (note the Nintendo-like background figures after the 1:57 minute marker).

On the whole, Mr. Norris sets his compositions in 4/4 time, excluding “Lament, Requiem, Threnody,” which features a tasteful pocketful of 6/8 and a much-needed breath in the form of an acoustic guitar break. “Ghostly Shell Removal” finally consents to a vocal feature from Randy Blythe of Lamb of God; while the vocal performance is aggressive and fitting of the tune, understanding the lyrics or folding in a hint of melody would make for a nice contribution. “Wound of Amfortas” is a well-placed gasp of fresh air for the ears with its Danny Elfman-esque chord changes and samples ala his arrangements for the motion picture “Batman.”

“Palindrome” lives up to its title with a well-deserved contrast in tonal soundscapes while featuring an adequately selected tempo and comfortable pocket – a pleasant example of the band’s ability to navigate ambiance transitions while maintaining progressive flow. “Remaining Foolish” screams away featuring a second vocal performance from Randy Blythe – by far the heaviest cut of the album. Mr. Norris brings the album to a timely close via a recurring piano theme surrounding a hard-edged sendoff in “Servants of Sadness,” closing the door to Icons of the Illogical.

Kris Norris is a talented guitarist, multi-instrumentalist, and covers some noteworthy conceptual ground; bassist Dave Fugman and Mr. Gibson keep up with his tempo markings, stops, and stamina quite well. While Icons has much to admire in terms of technical musical ability, it borders on lacking tastefulness and variety; aside from a few lighter acoustic guitar breaks and an innocent piano motif, the album lacks a memorable track worthy of getting stuck in ones mind. Despite having a rather large number of tracks to offer, it is difficult to warrant shelling out $17.98 for the physical CD (or any album for that matter) through Magna Carta’s site when it is offered through Amazon beginning at $13.16 and via iTunes download for $9.99. To his credit, this is Mr. Norris’ first marathon with his new Projekt and a second (perhaps even a third album) could be something very worthy of the praise he deserves and further revealing the conspiratorial investigations he conducts.

Matt Jaworski – Staff Writer, Muzikreviews.com

January 17, 2009

Various - Bottle Rocket Short Film Soundtrack

Wes Anderson has staked a career on quirky humor told quirkily. Director of such left-field favorites as Rushmore, The Royal Tenenbaums, The Life Aquatic, and The Darjeeling Limited, Anderson first made a name for himself with the short film Bottle Rocket, a 1992 release which was later given feature treatment in 1996 and featured the cinematic debut of the Wilson brothers.

Nearly two decades later, Anderson fans can finally sink their teeth into the earlier version’s soundtrack, a decidedly un-eclectic mix of swing and jazz standards. Yet despite offering the warm echo of a bygone error, the music featured here is best left to background filler and cool cat diehards. Practically comatose and uneventful in its own right, it’s a wonder there was a separate release at all.

Despite its commercial failure, Bottle Rocket helped launch Anderson’s sundry livelihood, and includes all the usual elements he’s come to be famous for, especially the use of dry comedy. Unfortunately, Bottle Rocket’s soundtrack isn’t nearly as interesting – or even as subtle. Who knew legends like Artie Shaw and John Coltrane could sound so uninspired and dull? The usual choosy musical nature that has become Anderson’s penchant is muddled and amateur here, with a laundry list of eight songs that wander through countless monotone fits. Almost mindless, in a way, the collection wastes the goodness of lo-fi on less-than-memorable yawners, and has a difficult time establishing its own ground apart from scene-setting duties.

Artie Shaw’s “The Chant” opens the album with the kind of romp usually associated with war-years big band, but loses itself before the journey is halfway done. That seems a reoccurring condition of the entire set, perhaps no better exemplified than by Sonny Rollins’ eight-minute meandering roundabouter “Old Devil Moon.” Never has classic jazz been so self-indulgent, so random, and so in need of an axe-wielding editor. Recorded live, the saxophone rambles on worse than Grandpa Simpson, until it finally dies out amid the relieved applause of a presumably-exhausted audience.

The rest is decidedly more pleasant but no more banal: Chet Baker and Art Pepper’s “The Route” is snazzy but formless, with even its redeeming honky-tonk piano overlooked for the usual sax line. The Vince Guaraldi Trio’s “Skating” is urban in its Charlie Brown charm, but still forgettable; Horace Silver’s “Nothing But Soul” is a virtuoso drum entry that never rises above its inherent technical proficiency, lacking the emotional resonance for which swing is so famous.

Appropriately, Bottle Rocket’s soundtrack is much akin to Anderson himself – fans will be fans, detractors will be detractors, and no amount of critical acclaim or scorn will convince either of the opposing view. Listeners who don’t consider themselves diehard jazz enthusiasts should stay clear of this album for fear that it may ruin the reputation of the film it’s attached to.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 17, 2009

Various - Sting Jamaica 2003 (DVD)

Most will agree that reggae has come a long way since the days of Peter Tosh, Bob Marley, and Toots and the Maytals. The evolution of this unique musical dialect is plain to see during the near three hours of performances on this DVD.

Despite the title, Sting the Police frontman and solo artists are in no way involved with this project. However, there are no less than seventeen headlining artists are. They run the gamut of modern reggae from the hip-hop influenced sonic assault of Assassin, to the more melodic and traditional Sanchez.

Highlights include the energetic Junior Kelly with “Black Am I,” and a very tight set from Sanchez ending with the spiritual “Amazing Grace.” Anthony B. shows flashes of reggae days gone by with “Thiefing Church Liar Pastor.”

What sticks is the sheer volume of this concert. There is just shy of three hours worth of stuff here, with seemingly very little thought put into editing. You need to be a reggae die-hard to sit through the whole thing, as many of the artists spend most of their time yelling to the crowd in a heavily accented patois.

The production quality is low at best. While it is shot with multiple cameras, it doesn’t lose that sort of community access cable vibe. Many shots are unsteady, and the picture quality is just north of what you’d get out of a pair of rabbit ears. Couple that with very low sound quality, and you have a less than stellar concert video.

The concert closes with an increasingly restless crowd and an onstage brawl between rival artists. This is probably not what Bob Marley had in mind for the genre he made an international success. The equally voluminous bonus disc contains plenty of press about the brawl and subsequent police investigations and arrests, that’s if you have another three hours of your life to give to this.

Reggae enthusiasts will be able to enjoy a lot of the performances here so long as the low quality of the video and audio can be overlooked. Others will find themselves reaching for the remote.

Noah Small – MuzikReviews.com Staff

January 16, 2009

The Steps - The Steps

I’m baffled how Austin, Texas based The Steps ended up on a Japanese record label. Ultimately, it doesn’t matter what country the band’s CD is being shipped from- it’s good rock and roll. The self-titled album is a pumping combination of classic rock and modern alternative rock. The Steps don’t play complicated rock, but their straight-forward sound is refreshing.

Throughout the album, The Steps rely on successful mimics of classic rock bands. “Pull The Cord” has the guitar hooks of a Rolling Stones song. “Dagger” has the fuzzy, driving bass of Motorhead. Songs like “Cold Floors” and “Outlaw” have moments of AC/DC in them. The varied influences of The Steps really show on this album, creating a sound that’s as diverse as it is fun.

While The Steps definitely draw from classic rock, the band also adds its own elements of modern alternative rock to the album, resulting in a cool new-meets-old sound. “Loose Mind” uses the simple, but appealing melodies and rhythms of bands like The White Stripes. The song also has a guitar solo that shows shades of Hendrix.

Likewise, “Washed Up” is a stripped down garage rock song mostly using repetitive riffs. However, the same song exits with more impressive classic-sounding guitar work.

Another strong point of the album is the way that The Steps occasionally adopt a country-rock sound appropriate of their hometown. “Way Down The Line” has a great sing-along quality to go along with it’s quick, country guitar rhythms. “Miss High Heels” also has a ZZ Top influence that makes an undeniably fun rock song.

The Steps have no shortage of great rock songs on the self-titled album. The closing track, “Give It Up,” will end up on constant rotation on your Playlist. The only real problem with the album is the tendency for the songs to contain some repetitive elements. However, with strong efforts like this, The Steps won’t be on a Japanese label for long.

MuzikReviews.com Assistant Editor-Chris Homer

January 16, 2009

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Sansebastian Productions - Adventures in Westgarth-The Toyland Sessions

Adventures In Westgarth-The Toyland Sessions from Sansebastian Productions is an exciting, collaborative album on which Sebastian Lorefice and Peter Sinis showcase their cohesive musical talent. The description of Lorefice’s approach on his website successfully summarizes this album, “The whole idea is to be self-sufficient and to combine the best of technology and live music.” This album incorporates electronic buzz, smooth jazz, and a pop feel that display Lorefice’s wide-ranging background in many genres of music.

Lorefice and Sinis combine their writing and arranging talents throughout this album. The opening track, Makin It Real, provides an intriguing electronic instrumental introduction, and then the charming vocal talent of Brandon Burns, an Australian Idol finalist, is layered on, resulting in a modern, smooth, and catchy song. Other tracks such as Timeless and Somebody Please Send Me Somebody are slower and more ballad-esque, however they still effortlessly merge Lorefice’s keyboard ability and arranging talent with fresh vocals and lyrical depth.

With ease, this album could find a place in a home stereo, in a car for daily listening, or on the radio. Adventures in Westgarth-The Toyland Sessions has an individual sound that appeals to a wide variety of audiences and will remain in the minds of its listeners as a favorite.

Marina Lane-Muzikreviews.com Staff

January 13^,2009

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Various - Desperately Seeking Paul McCartney

The title of Desperately Seeking Paul McCartney intrigued and sparked my interest immediately. I like Paul McCartney and the Beatles, I enjoyed Desperately Seeking Susan, so I figured; this should be golden.

The DVD starts with quick clips of the Beatles, Bob Hope, and a beautiful young Ruth Anson; the dubious star of the show. In 1965, Ruth was a television reporter in California who interviewed popular celebrities and politicians of the time. She spent a few years at ABC and several at NBC, plus she was nominated for an Emmy. In the beginning of the documentary, she seems to be on her game.

Present day - we see young Ruth has grown up, and she’s proposing an idea to a group of men that seem rather unscrupulous. They turn out to be some unknown directors and screenwriters holding an open-call pitch panel. Her idea is this: Paul McCartney “proposed” to her in an interview 40 years ago, and she’s been looking for “closure” over the incident ever since. Ruth wants to find Paul and ask him if he was really serious about marrying her. The impact of the event on her life is immediately evident. She carries around a framed picture of the moment like a talisman. Kind of odd, but not as creepy as the photo album she made where she glued a cutouts of her head on top of other people’s heads; to make it look like she’s in the pictures next to Paul. Yikes!

She tickles the fancy of Marc Cushman, a writer and wannabe director. Ruth states she owns the footage of the event, and has contacts that can help her find Sir Paul. It turns out that’s not true and so begins the magical mystery tour.

I thought at first Marc Cushman was known and respected in the movie industry. I later realized he just reminded me of someone else. He’s written a handful of TV show episodes, (like Star Trek) and he’s a bit of a douche bag. I think he was trying to be tongue-in-cheek but I just didn’t get his shtick.

It’s the Star Trek credits that persuade Ryan James, a recent USC film school grad, to take on the role of 2^nd Unit director. Ryan will do whatever it takes to reach his directorial aspirations. He goggles Marc Cushman after getting a call from a friend of a friend and “thinks the guy’s legit because he’d done some Star Trek episodes”, which goes to show it doesn’t take much to impress these days.

As the saga of Desperately continues, Marc thinks Ruth should go back and do follow-up interviews with people she chatted up back in the ‘60s, as a way to add drama to the run-up to talking with Paul McCartney. The sad reality is most of the people have passed. It’s been over 40 years, but at first Ruth seems shocked over the deaths. Her shaky credibility begins to sink further as she tries to sneak into buildings with no luck, and drives around town following a Hollywood map “to the star’s” she bought on the street. Ruth’s family and friends are less than thrilled about this project. She’s a bit of a loose cannon too, brimming with confidence in one scene and ditzy as a doorknob in another.

Ruth slips farther into “la la” land lunching with a man who plays Paul in a Beatles tribute band. For some reason, Ruth thinks he might know where the real Paul McCartney is. The scene is not funny but I think it’s trying to be. Tribute bands are a bit depressing, living off the coattails of someone else’s greatness. Jeff, who plays Paul in the group “Ticket to Ride”, seems like a nice guy who’s genuinely befuddled by nutty Ruth. He later agrees to write and record a song for her based on a letter she wrote Paul, which really seems to cheer her up.

Is Ruth in on the plan all along? We’re so skeptical in this age of full throttle “reality” television. She’s still got some of the wide-eyed, innocent kid in her and she speaks in wispy flower-child sort of way. She’s living in the past and can’t seem to get past this incident.

Marc the director is smarmy, and his huge ego can’ t take the fact that this project isn’t going the way he wants it. Members of his crew quit because they don’t like the dead ends and Marc’s cruel treatment of Ruth. He sets her up with a shrink, devises an “intervention” with her friends and family and forces her to try and sneak her way into the Grammy’s instead of procuring press credentials. It’s here that Ron Jeremy-yes THAT Ron Jeremy, makes an appearance casting a tawdry spell on the whole thing.

Desperately Seeking Paul McCartney won the “Best Audience Award” at the 2008 “Mockfest Film Festival” in Hollywood-but I don’t see how that could be. I found it dull, excruciating, and just plain long and drawn out. In full disclosure, I’m not much of a reality TV person at all, so that could be part of it. Plus, I was hoping to see (Spoiler Alert!!) the “money shot”.

I could sum up Desperately Seeking Paul McCartney in four words…good idea, bad execution. It’s a SNL skit that seems funny at first but goes on and on with no end in sight.

MuzikReviews.com Staff-Susan Evani

January 16, 2009

Annuals - Such Fun

Indie music has always likened itself to art more than merchandise. So, perhaps it’s appropriate that a “mixed media” trend has reared its head of late – an eclectic approach to rock that has gained popularity over the past year. I’m talking, of course, about critical darlings such as Arcade Fire, Department of Eagles, and TV On The Radio, whose recording habits seem more apt for a Pollack session rather than the studio.

To that growing list we can add the Annuals: equal parts alternative, folk, ethnic, Broadway, and sideshow, the North Carolina-based sextet revels in the mosaic that is their sophomore album, Such Fun. Yet this second effort is more than the sum of its multilayered parts, a strong-armed display of both clever songwriting and intricate musicianship.

Much of Fun’s success is due to the wide-eyed innocence displayed by frontman Adam Baker, who often turns from rock screeds to Andrew Lloyd Webber-like accompaniments with relative ease. The result is an eclectic mash-up that evokes both an American musical century and a larger world scene – ragtime meeting Vaudeville meeting post-punk meeting neo-folk and a dozen other genre-bending labels. It’s a natural step from the hard/soft dynamics of debut Be He Me, where standout track “Brother” flexed the band’s penchant for mixing sensitivity, chaos, and ambience. As such, Such Fun retains the favored element of weird, that kind of nightmarish quality that made Department of Eagles’ In Ear Park such an interesting listen.

Yet the album starts dubiously – to the Ben Folds-ish piano trickling of “Confessor,” a poppy number that sheds the radio-friendly stutter as it progresses. Luckily, it’s simply a warm-up for the rest: “Springtime” pops in like an excluded number from Once Upon a Time in America, its off-kilter piano teeming with an old-world quality, its march accompanied by the crying of guitars and strings. Punctuated at the half-way mark by a recognizable drumline, it is perhaps a spiritual successor to “Brother,” complete with Baker’s desperate wail.

That blender effect is in full effect in other places, too: “Down The Mountain” and “Always Do” are unapologetic in their corn-husking timbres, compacting the better aspects of modern bluegrass and Indie noise into three-minute slices. The latter, especially, is an evolving beast: shamelessly countrified at its start, the song churns into a angst-ridden rock opus by halftime, and then reverts back to easier tempos at its conclusion.

Grand stuff handled with an even hand, for sure, and no more evident than on “Hardwood Floor,” the album’s best track. Jumping off like a ramshackle acoustic n’ piano medley, Baker’s quaint confessions accompany the song from its humble beginnings and into grander arenas: lamenting strings, African-inspired harmony calls, and something resembling a skipping island beat. Once again, one of Such Fun’s songs have gone from half-covered to brilliant shine, and Annuals have handled it with the expertise of a much older, wiser band. It’s one of the few times that ambition has resulted in excellence rather than overinflated hubris.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 16, 2009

Spirit - California Blues Redux

Randy California gave the ultimate sacrifice, his own life to save another. In 1997 Randy and his son went body surfing and ran into an uncooperative ocean. Randy saved his son from certain death but paid the price with his own life. This is unfortunate but as with any artist that leaves behind a legacy and unfinished work, his legend continues to live on and grow with the passing of time.

Audio Fidelity and their focused reissue program has released a real gem called California Blues Redux. This was the newest Spirit release in 1996 simply titled California Blues prior to Randy’s untimely passing.

Mick Skidmore worked on un-producing the source tapes by editing, remixing, and finally remastering all the tracks and now we have a finished product to enjoy. This is a great album. I never heard the original version so there is nothing for me to draw comparisons. I do know this is a fine recording and stylistically it reflects what differentiated Spirit from everyone else. Randy California was a good vocalist and a superb guitar player, one of the very best of his day and certainly, he would have continued to develop had he lived. His vocals were similar to that of Steve Miller and coincidentally the music was reflective as well, with a heavy emphasis on the blues. The bonus tracks and live bonus disc illustrate this nicely, particularly with simplistic solos like the closer on the first disc “Kind And Gentle Life” where Randy plays some great acoustic slide and a smokin’ live version of “Red House” (disc 2), complete with screaming ear piercing solos, gobs of blues driven rock, and psychedelic runs.

The extensive liner notes by Mick Skidmore tell the story quite well with interesting details of the original sessions and his process in bringing this track-by-track redux version to life. I must say he did an excellent job, it sounds like a new release to these ears.

Standouts on the studio disc include the title track, which features Rachel Andes, daughter of guitar player and member of Spirit Matt Andes. Rachel was only 15 years old at the time but sported an incredibly gifted set of pipes that Randy loved. Her sweet sounds are found interlaced throughout this classic session. The cover of “Crossroads” is exceptional; they really make it their own, sounding unlike a version by Cream or Clapton for instance, making everything they did, original or a cover, very distinctive and unique. “Sugar Mama” is a real treat; a blues burner that features Randy’s all-star cast, this time with Doors guitarist Robbie Krieger. This track is special because you get the best of both worlds - Randy in one channel and Robbie in the other. The track burns with the passion and fire of the blues.

These are but a few highlights of a set that is packed with great music. In total, you get 28 tracks on the two discs. California Blues Redux is a brilliant celebration of the work and influence of Randy California and the uniqueness of his band Spirit. This one is real keeper so do not miss it!

Keith “MuzikMan” Hannaleck

January 15, 2009

The Traditionist - Season to Season

The Traditionist is the one-man project of talented indie songwriter Joey Barro of L.A.’s The Antiques. Season to Season is the debut album of The Traditionist and showcases Barro’s special brand of psychedelic indie folk rock. Season to Season plays like a stripped down Antiques’ album that will be enjoyed by Barro’s old and new fans alike.

The album opens with “Shallow Winter’s Moon,” a beautifully composed ballad of simple distorted guitar melodies. Barro’s vocals move hauntingly around this laid-back folk-rock song. “Shallow Winter’s Moon” makes a powerful opening statement for Season To Season.

From the delicate opening song, Barro progresses to the light-hearted pop-rock track “A Sleep Be Told.” Barro composes another great song using minimal instrumentation, relying on complimenting guitar and piano melodies. “A Sleep Be Told” has a pleasing psychedelic-age Beatles sound, complete with a fuzzed-out guitar solo that speaks to Barro’s songwriting ability.

At other points on Season To Season, Barro relies heavily on his voice and guitar. “Driftwood Doll” as well as the duet “To The Parlor” are shining examples of the powerful sound a talented folk songwriter can achieve.

Barro also handles piano driven songs equally well on Season To Season. The steady piano melody and stirring background vocals of “No Self Portrait” prove this point. The song is also one of the darkest on the album, creating a nice contrast from the surrounding songs.

Throughout Season to Season, Barro proves hard to place in one genre. Songs like “My Train” and “Satchel Paige” have a definite country sound. Meanwhile, “Make Believe Tree” has a sound you might associate with The Postal Service. Appropriately, Season to Season finishes with “I Know My Ocean,” a blazing folk-rock song with memorable melodies and harmonica solos that would make Bob Dylan proud. No matter what the style, Barro seems to be able to write a fantastic song.

Season to Season establishes The Traditionist- Joey Barro- as one incredible songwriter. Indie rockers need to own this album.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 14, 2009

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Those Dancing Days - In Our Space Hero Suits

We’ve come a long way since the term “all girl band” equated to corporate pop empresses the Spice Girls (or one of their many knock-offs.) In truth, however, it’s been difficult for musical femme fatales to ever garner serious consideration if they’re not purring to some radio-friendly beat: Heart, arguably the greatest female rock band ever, could never escape the “girl version of Led Zeppelin” tag.

With that brief history lesson laid, we come to Those Dancing Days, the all-girl Swedish quintet who evoke the over-compressed squashed sound of the Strokes and other early millennial critical favorites. Thankfully, there is little gimmick on In Our Space Hero Suits, their full-length debut album – no hipster art-scene posturing, no oversexed antics, and no (forgive me) “girl power.”

Instead, Space Hero is a chronicle of so-so music elevated into the highest echelon by lead singer Linnea Jönsson’s compelling narrative. This is one of those cases in rock where serviceable musicianship is exalted by the talents of a highly-charismatic frontman – er, frontwoman. Jönsson’s voice is an animal unto itself: velvety, smoky, sloppy, and half-asleep, it provides a too-cool-for-its-own-good bluesy quality oft overshadowing Space Hero’s simple tracks. As a result, Those Dancing Days isn’t about “women”, per se – it’s about one woman, whose personal details and wonderful instrument drive forward an entire album.

Musically, things are airy, quick, and Indie-appropriate – lunchbox drums, the jangle of not-quite-clean guitars, filthy organs, and plenty of atmosphere. From opening track “Falling in Fall,” it’s clear these simple ditties are nothing more than canvasses for Jönsson’s sonic autobiography. In other words, melodies are forgettable without that smoky, regretful croon; rhythms and beats exist only as ironic counterpoints, falling around like gleeful blips. On second glance, this seems the best course of action so as not to cramp Jönsson’s sizzling style, as her laissez-faire voice works best when allowed to wander beneath the music.

While all of Space Hero is pleasant fare, Those Dancing Days hit sonic gold twice: on the poignantly-yearning “Hitten” and the more fun-loving, self-monikered “Those Dancing Days.” The former is loose and remorsefully cool, a near-screaming, right-eared synth battling Jönsson with its own cadre of mournful notes. Nothing else is really needed beyond the chorus’ harmonic flourishes: Jönsson does her best Sisyphus impression and carries the track uphill by force of will. “Those Dancing Days” doesn’t need as much help; crunchy and exuberant, its guitars ring like bells and its organs dance like ballpark audio. The girls can get no cooler than this.

In the end, Those Dancing Days are tied to Jönsson much as the Sugarcubes were eternally bound to a young Bjork, existing more as avenue than collaboration. That makes In Our Space Hero Suits a singular journey; yet, in the hands of Jönsson, a much more fascinating one.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 14, 2009

Zerobridge - Havre de Grace

Zerobridge was started by two brothers, Mubashir "Din" Mohi-ud-Din and Mohsin "Mo" Mohi-ud-Din, who are the singer/guitarist and drummer respectively. Greg Eckleman and Jay Barclay were added on bass and guitar to round out the lineup. Zerobridge has released its second indepented EP titled Havre de Grace which contains five of the best songs to ever scoot across your ears. Why do they scoot? Because my goodness these are some toe-tapping, dance-tastic songs. Havere de Grace is filled with hooky, guitar driven rock similar to Franz Ferdinand, the Killers and a little Nada Surf.

While all five of the songs are wonderful and just plain fun to listen to, that isn’t all they have to offer. Havre de Grace also has intelligent lyrics to compliment the superb music. “The Shake” is a stand out example with its combination of slow building crescendo, criticism of religious extremism and the call to “just get on the dance floor.” I have a predilection for songs that command me to shake it, but this one is especially good.

Even when the lyrics lean more towards melancholy the music maintains the uplifting sound that carries throughout the EP. You might think that one upbeat song after another would be unappealing and a few slower or softer tunes should be thrown in to mix up the pace, but that’s not the case with Zerobridge. It’s difficult to imagine someone listening to Havre de Grace as background music because the songs are too good. They force you to pay attention to them, which is exactly what they and Zerobridge deserve from anyone who enjoys good rock n roll.

Dennis Mersmann-MuzikReviews.com Staff

January 13, 2008

Dead Copycats - Dead Copycats

The Dead Copycats…the name alone provokes introspection and perhaps a few assumptions. What I get from it is that the band is trying to convey the fact that the idea of being an act that is copying someone else is dead in their estimation. With the exception of doing a fine job of covering the Led Zeppelin track “Since I’ve Been Loving You”, they live up to their name in my assessment, if in fact the interpretation fits. Either way it does not matter, I like this band.

On their self-titled debut Jessica Braun (vocals), Will Rossano (guitar), Angela Webster (drums), and Jay Foote (bass) put together a forceful and emotive statement on their debut.

Jessica is dripping with sexy overtones and feeling on every song (note “Alone” and “Pleading” for instance) while the band behind her takes the nod and supports her at every twist and turn that the lyrics have to offer. Rossano plays some very quick snappy runs on his six-string, nothing complicated mind you, it is simple straight ahead no crap rock ‘n’ roll that suits the vocalist just fine thank you. Webster and Foote follow that lead on the bottom end producing a solid framework to build everything on. It all comes together quite nicely for these Dead Copycats and their exciting rock music. It is not mainstream music by any stretch of the imagination, call it what you will, indie rock, alternative rock, whatever, I found it unsullied and appealing.

Now how about that cover? What can I say? ummm…very colorful and not too sure what it is supposed to mean but ‘nuff said, I guess the band can answer that question so defer any inquiries to them por favor.

Bands like the Dead Copycats offer listeners an alternative to major label glossy pin ups and American Idol like rubbish. This listener appreciates that kind of relief. They are in the U.S. and right in NYC and they have it going on if you like to rock! This is the kind of talent that audiences wanting to hear the latest indie bands will snap up like candy off the shelf. Check them out.

Keith “MuzikMan” Hannaleck

January 14, 2009

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The first thing you’ll hear when the track starts spinning is a clean vocal semi-solo followed by the deep, rough march of the band. The Dead Copycats know how to rock.

Throughout the album bar a few songs, the band adversely contrasts their singer Jessica Braun. This becomes most clear in the postlude of Fork in the Road (track five) whose fast paced, beat heavy rhythm is paired with a soft, affectionate vocal solo. Jessica’s voice, although energized is way too precise; too clean when pit against the raw rock sound the band tends to embrace. I say tend because although short (29:26) this album lacks a consistent sound. They oscillate between a harder alternative tone and more traditional rock with a little bit of blues stuck in the pot. I appreciate the variance but it just doesn’t seem to work for this group. They may have taken themselves out of their own realm in playing a wide spectrum, which leaves them a couple notches behind kicking ass.

The Dead Copycats softer tracks were the ones I enjoyed the most. It was here the band came together. The guitar solo’s emotion was right in line with the song’s spirit and it was pleasant to listen to.

The Dead Copycats are on my watch list. I can see a lot of good peculiarities that need to be more explicit and give this band the unique modern sound with clear rock and blues roots it capable of. Until then, I can’t say I would recommend this album off-hand to a friend. They have my attention though, and I am curious. These guys are touring New England in the spring of 2009 and I will definitely check out a show and see what they can do live. I have a suspicion that a lot of the band’s insecurity may come from inexperience in the studio. It wouldn’t be the first time a studio album didn’t live up to a band’s live show.

Brad Crescendo-MuzikReviews.com Contributor

January 18, 2009

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Boys Like Girls - Read Between The Lines (DVD)

Boys Like Girls’ DVD Read Between The Lines is full of what you’d expect from the pop-punk outfit- catchy songs, high-energy performances and tons of teenage girl fans. You get to see the band mobbed by said fans in the very first chapter “Turn It Up.”

The DVD definitely features some strong performances from the band, but ultimately you’re forced to ask yourself how much you actually care about all the content that’s between them.

After the strong, album quality performance of “Five Minutes To Midnight” the DVD dives into the history of the band’s formation. It’s not a totally boring story, but we aren’t exactly talking about The Beatles. It really just seems like an overblown effort from a band that’s only recently gained success, and one that has very few fans over nineteen.

Still, Boys Like Girls delivers catchy performances of “Hero/Heroine” and “On Top Of The World” between more biographical content. Here, you can see the band talk about the importance of MySpace to their success, a vaguely interesting section of the DVD. However, you also get horrid interviews from teenage MySpace contest winners. Each band member gets one of these dull interviews, as well as a chapter of the DVD devoted to them. This is probably great stuff for a seventeen year old girl that’s a huge fan, but not for a curious listener.

Also on the list of things I don’t care about seeing: tour pit-stops on the side of a canyon, bowling, and drunken antics.

Boys Like Girls keeps from totally destroying itself on Read Between The Lines with more great live performances like “Dance Hall Drug” and “The Great Escape.” The real problem is that the live recordings are to far apart on the DVD. Boring rock stars make a boring documentary.

Luckily, Read Between The Lines has a performance only feature that allows you to skip all that excess content. If you’re a huge fan, I suppose you might actually want all those exhausting chapters. Otherwise, I’d skip it.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 13, 2009

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The Dali Dimension - Decoding the Mind of a Genius (DVD)

Running Time: 75 minutes including bonus material

If you’ve ever associated the words crazy, weird, or just plain strange with Salvador Dali, you’re not alone. The opening image of The Dali Dimension shows the famous painter throwing paint-filled eggs at a canvas while standing in a huge egg-shaped structure. However, this documentary proves that Dali was not only far from a crazy person; he bordered more along the lines of an eccentric genius.

The Dali Dimension contains interviews with scientists, writers, art historians and painters, just to name a few. The interviews are in few minute increments so they aren’t overwhelming, showing the name and title of the person making the whole thing very organized and easy to follow. When holograms, hyper cubes, or other hard to imagine images were spoken of, diagrams were shown so that the audience could grasp the concept better.

Dali, feeling more at home with scientists than anyone, seems more of a scientist that paints rather than a painter who studies science. Freud and Einstein influenced a young Dali. Dali even once said, “Freud is my father.” Grainy footage is shown of Dali explaining that at one point when he met Freud, Dali wanted him to read his scientific thesis and Freud just wanted to look at his paintings.

When Dali’s paintings are shown, the time is just long enough to contemplate their meaning without being too long. The colors are vivid, and very clear. The topic of his famous ‘soft watches’ is touched upon. Where did the idea come from? The answer may surprise you, as they were certainly not a byproduct of a dream or vision in Dali’s mind.

The word surrealism is synonymous with the painter. His double images may have thought to be from paranoia, but the video shows where his ideas for paintings really come from: readings, science, quantum mechanics, and the like.

Though fascinating, Dali does not come across as a particularly humble being. He says in broken English, “Every one of my paintings...everybody laughs at the moment of look for the first time. But almost after 12 years every scientific people recognize that every one of these paintings is one real prophecy.”

In 1939 at the World’s Fair show, surrealists accused Dali of being too much of showman and subsequently shunned him from their movement. After that, Dali turned his interest to nuclear physics and the discovery of the structure of DNA (James Watson, co-founder of the structure of DNA wanted Dali to illustrate his book) which showed in his artwork thereafter. Referring to the study of things, he says, “Everything is too specialized.” His art tries to bring art, science, math, and religion together in one place.

Salvador Dali did not believe in the ‘death of Dali’; he admittedly was frightened of death. The DVD ends abruptly with Dali thanking the people of the scientific congress from a TV at his bedside.

The extras on the DVD are just as interesting as the main feature. There are six to choose from. Three of them are of people who interacted with Dali, including a painter who created a holograph with him. The other three segments discuss things like the golden mean and antimatter.

The documentary is very informative. Vibrant colors, accurate descriptions, footage of Dali, and the ease at which the audience can follow make watching it an enjoyable experience. The music is mostly of violins, and the musicians are shown a few times, tying in the artistic themes.

Whether your love is art, science, personal documentaries, or just Salvador Dali himself, this DVD will fulfill each need with as much gusto the famous painter had for his work.

Christen LaFond, MuzikReviews.com Staff

January 12, 2009

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The Academy Is... - Fast Times at Barrington High

Saying the word “emo” is akin to screaming “Fire!” in a crowded gym – you’re likely to get a raucous, panicked reaction no matter what. Besides the fact that emo music has a dozen different labels – screamo, moe, scene, post-punk, whatever – its impact on the industry is undeniable, becoming the torchbearing genre of Hot Topic teenagers everywhere…and the bane of more discriminate audiences and critics (including this one.) From the blood-curdling, out-of-place howls of Hawthorne Heights’ “Nikki FM” to the updated brand molded by My Chemical Romance and Fall Out Boy, the stuff is still going strong nearly a decade after it crawled out from the ooze.

That brings us to The Academy Is…, who has all the makings of an emo outfit, yet surprises with a toned-down pop rock effort that rarely attempts to scale the heights of “concept album.” That effort is Fast Times at Barrington High, a plain entry that seems crafted from the All-American Rejects school of “slay ‘em with simplicity.” Luckily, its lack of alluring melodies is overcome by another scarcity: no eyeliner, no faux-military clothes, and no the-world-is-ending adolescent screeds from this Illinois-based quintet.

Instead, Barrington High remains surprisingly upbeat, thanks in part to production (Katz and Hollander of Gym Class Heroes fame) and the yeoman effort of lead singer William Beckett, who seems to prefer vocal purity to nasal yowls. The same can be said for the sonic side: with the exception of a few tracks, the album is short on Pro Tools tweaking and pinching, and as a result flies by at a natural, lightning-quick pace. With guitars pulling most of the muscle work (and usually on the light side, at that), Barrington High takes on a breezy, undemanding bearing that’s uncharacteristic of a neo-rock album. It’s a savvy move by Academy, whose music could be silly if taken too seriously by its makers.

And, despite a style that could have been spawned in a high school corridor, song are not so self-conscious so as to deny listeners fun. Opening track “About A Girl” is less syrupy than it implies, straddling a brisk line between sweet and rushing in its radio-perfect length. And, perhaps in following a trend started by M83’s Saturdays=Youth, Academy continues with its window-rolled-down, Hughes-flavored bubblegum gems: the nearly-identical “Summer Hair = Forever Young” and “His Girl Friday,” the punchy march of “The Test,” the up-and-down anthem refrains of “Coppertone,” and so on.

Still, The Academy Is… maintains some subtlety with pieces like “After The Last Midtown Show,” a saccharine, heart-on-its-sleeve prodder that establishes itself as Barrington High’s best track. As “Show” pumps, builds, and rotates along like some gentle steamboat, Beckett restrains the emotive tendencies. By the time the catcalls of “Paper Chase” arrive, listeners’ expectations will have been thoroughly violated: despite the Urban Outfitter gloss and teen comedy posturing, Fast Times at Barrington High is a dressed-up pop styling unapologetic in its pep. Much like the aforementioned Rejects, this is innocent punk at its best – brainless, irreverent, and charming.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 12, 2009

Six Red Carpets - Nightmares + Lullabies

Italian quartet Six Red Carpets shows how a band can make a successful album recording and producing it themselves with no help from a major label. The band’s debut Nightmares + Lullabies is a totally independent album with solid production. Musically, Six Red Carpets has a hard-hitting garage rock sound that falls somewhere between Nirvana and Interpol, with a bit of Ramones punk rock. Nightmares + Lullabies is a surprisingly eclectic rock album.

Six Red Carpets opens the album with “The Weaver Call,” an introduction track composed of light piano and string melodies. It’s a lot like listening to a wordless lullaby, and it establishes the album-long theme of balancing uplifting and dark melodies.

From the introduction, Six Red Carpets moves on to “Twenty Two and the Charm of Gravity.” The track is composed of a simple, droning guitar melody with a driving bass with dark synth melodies in the background.

Lyrically, the song has a Nirvana-like quality of disillusionment. Stephen Mills sings at the chorus, “Pull the Sun outside. Moon and Stars won’t hide. Keep the sun outside. Resist, once in your life.”

Despite the dark vocals of the chorus, “Twenty Two and the Charm of Gravity” features thoughtful, light melodies at this point, providing the enjoyable balance of light and dark melodies that Six Red Carpets does well throughout the album.

Many of the songs on Nightmare + Lullabies feature a simple guitar driven melody familiar to bands like Interpol. “Words Forgetting, Words Forgot” makes you comfortable with these often repetitive, dark melodies. The minimalist nature of Six Red Carpets really shines on the song and will be quickly appreciated by any rock fan.

Of course, Six Red Carpets always seems to slide into more complicated, thoughtful melodies before any of the songs can become monotonous. “Words Forgetting, Words Forgot” features a pleasing guitar solo at the end. Likewise, the droning verses of “Fall Asleep” give way to airy, strummed melodies at the chorus. The band really perfects this formula on “Here’s to the Nightmare” as well as “Angels’ Vanity.”

Later on Nightmares + Lullabies, Six Red Carpets shows more diversity with the powerful acoustic songs “Asphalt Song” and “The Dream of Billy Kite.”

Six Red Carpets makes very few mistakes with Nightmares + Lullabies. The spoken-word portion of “Fall Asleep” is a little absurd. The synth melodies of “Bring Me Noise” are equally overwhelming.

Overall, Nightmare + Lullabies stands out as an example of the great sound an independent band can create all on its own. Six Red Carpets’ mastery of minimalist melodies is appealing, as is the band’s ability to show great balance in their songs.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 12, 2008

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Manchester Orchestra - Let My Pride Be What's Left Behind

Sorry ladies and gents - Manchester Orchestra is not what most music critics refer to as a “proper” orchestra. Fortunately, the five members that comprise Manchester Orchestra do pay homage to the thick and sonic dynamic of the traditional orchestra while sweating out every last drop of energy on steamy stages across the US. Their recently released EPK, Let My Pride Be What’s Left Behind, invites listeners to not only sample aural wares, but to view their visual creativity as well.

Immediately upon popping in disc one, listeners are treated to a dreamy guitar riff and tender vocals from lead singer/guitarist Andy Hull in “I Can Feel A Hot One.” The vocals are delicately phrased in similar fashion to Isaac Slade (The Fray) and gently phrased ala Chris Martin (Coldplay) while allowing the track to float along in easy, unforced breaths (musicians note: this track is a fantastic example of the effective blend between simplicity and space). “I Was A Lid” follows in the second slot with moderately distorted guitars and mildly creative rhythmic figures, but lacks the appeal of a strong chorus. “Wolves At Night,” a live full-band performance that while somewhat intimate, is rather lengthy and nondescript. For a change of scenery, Andy Hull takes the solo spotlight for the final two tracks: “Badges and Badges” and “Sleeper 1972.” The first of the pair is the nearest listeners get to something upbeat and also features lyrics that are slightly evocative of Bob Dylan; the latter kicks off with the lyric: “When my dad died, the worms ate out both his eyes…” – listen on, but don’t get your hopes up. If only the remaining four EP audio tracks were as strong as the first…

Disc two of the EPK features a DVD containing a nicely-shot documentary that features the gentlemen of Manchester Orchestra getting tattoos in the back of the van and performing live at energy-driven (which cannot be belittled), well-attended shows; the group seems to have a nice rapport amongst themselves and a mutual respect for their fearless leader, Andy Hull. As an added bonus, viewers are offered three live solo performances from the stage of the Knitting Factory and three music videos (check out the stop-motion animation – they like it a lot and seem quite artistically creative).

Overall, Let My Pride Be What’s Left Behind is a very admirable EPK (especially for such a young band – their average age is nineteen); it features the band’s material, introduces their backgrounds, provides viewers with a visual of the band, and even features creative artwork, design, and packaging. However, what the EPK lacks is the most important point of an EPK – top-notch tunes that showcase the songwriting and band. On the whole, production outweighs solid, memorable material. While the outpouring of lyrics seems effortless to Mr. Hull, the depth of his lyrical content will overwhelm most audiences and keep them from relating to the songs. Despite the current shortcomings of Manchester Orchestra’s efforts, listeners should keep in mind that while these young gentlemen haven’t yet found their stride, they’re on the path to finding it.

Matt Jaworski – Muzikreviews.com Staff

January 11, 2009

Army Navy - Army Navy

A few weeks ago I reviewed reality show cast-offs Tres Bien, which (surprisingly) ended with me giving the 60’s-drenched hijinks of Meet Your Makers a semi-nod of approval. Seemingly by cosmic coincidence, into my lap now falls the self-titled debut of Army Navy, perhaps the greatest champions of throwback Brit pop since Oasis crashed onto the scene in the early 90’s.

There was a fertile home for this kind of shtick back then – fare that served as an alternative (no pun intended) to the angst-ridden art grunge of Nirvana, Soundgarden, Pearl Jam, The Smashing Pumpkins, and a dozen others. Yet despite its twice-baked retro kitsch, Army Navy’s brand manages to succeed: slice-ier and dice-ier than its predecessors, the album’s fast-paced and fuzzy gait leaves no time for “cutesy poo” atmospherics.

Such an introduction seems to preclude an origin in California, but that is exactly from whence Army Navy hails. Behind the mop-top authenticity and chipmunk Cockney is a backbone of American sunshine, a brand of once-edgy alternative rock that has taken its place with baseball and apple pie. Think early Foo Fighters – straight from their incubation as Nirvana’s cast-offs and Dave Grohl’s subsequent Grammy-collecting legacy – in a blender with Herman’s Hermits (complete with the Peter Noone caterwauls.)

Granted, it’s a strange combination, though lead singer Justin Kennedy (formerly of the band Pinwheel with Death Cab For Cutie’s Ben Gibbard) isn’t nearly as cartoony. Still, fly-by-night, less-than-serious jamming seems to be Army Navy’s inclination – one which they deliver incessantly with gusto.

How else to explain tracks like “Dark as Days,” with its rolling, pre-psychedelic guitar refrains and surging lollipop chorus? Or standout entry “Saints,” with its unapologetic bubblegum rhythm and dreamy crooning? Clearly, Army Navy is unrepentantly full-bore-ahead in mocking teenage pop dalliances, making short work of hormonal drama and adolescent romance. And while the bittersweet strains remain (“Slight of Hand,” for example), the band never takes itself too seriously.

Instead, it rather plow through a half-dozen warm songs with abandon, like the punchy joking-ness of “Snakes of Hawaii,” complete with double-time snare pumps, rippling strums, and bathroom-reverb vocals. The same pugnacious attitude is all over “Jail Is Fine” and “Pocket Boys,” both sunny tunes carrying serious doses of melancholic undercurrents. Such is the strength of Army Navy’s debut – despite the feeling that we’ve been here before, there’s an inherent charm that finds power in conjuring a golden age. It’s Superdrag for the new millennium, and not a moment too soon.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 10, 2009

Nick Hudson - The Elegy

An elegy is said to be a serious poem or mournful piece of music. During Greek and Roman times an elegy was characterized by the use of duplet phrasing. The first in a trilogy of records that explore death, immolation, and rebirth; English songwriter Nick Hudson offers up his take on this art form with The Elegy.

Recorded so as to “dissuade” the artist himself from taking his own life, this album features Hudson singing and playing guitar and little else. With no one else around, the work quickly falls into the trap of self-production. Introductions to songs run well over a minute most of the time, and the overall sound quality is poor. While the intention may well have been to record something rustic given the subject matter at hand, Hudson slips well past rustic to borderline amateurish, with fret noise, strange sounds that come off as accidental, and aimlessly placed sound-effects.

The first track, “The God Haemorrhage,” begins with a sort of half-moan, half-Gregorian chant-sounding introduction. Right away Hudson hits the listener with duplet phrasing, to each line is added the suffix/phrase, “All is made none.” If only this song was made none. The duplet concept is cute for a minute, but within the context of modern songwriting it comes across as boring and uncreative, especially after a half-dozen or so tracks.

The boredom grows deeper as the album moves on with its sonic monotony. “Bacchanalia” is a good three minutes of moaning and groaning, no joke. “Argentum” is an all-acoustic guitar number that hardly qualifies as a song. It’s more a riff than anything, and it goes on for over three minutes as well. Imagine someone playing the first bars of “Stairway to Heaven” over and over and you should get the picture of where this one sits on the dullness scale. It’s that sort of thing that makes this album a failure from the listener’s perspective; it is presumptuous and self-indulgent. At no point does Mr. Hudson give the listener a reason to keep listening, let alone shell out fifteen dollars.

Duplets continue, as does Hudson’s depression with “Under the Mill.” Nearly five minutes of rhyming, not the clever flow of the hip-hop kind mind you, is more of a whine done out of time to some lazy strumming. It is a lot to ask someone to keep listening to. The aptly named “Very Good For Someone Dead” is exactly that, but dreadful if you have a pulse.

The album ends like a train that never leaves the station, with bad guitar sounds and some heavy-handed reverb. If there’s a positive to be taken from this work, it’s that it may have indeed given Hudson an alternative to suicide. Perhaps his catharsis can be shared with others, who knows? At best, some may find solace here. At worst, this is a wet rag of an album, easily forgotten.

Noah Small-MuzikReviews.com Staff

January 8, 2009

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Jordan E. Spivack - My Provincetown

Jordan E. Spivack is an award-winning composer and lyricist. His sound is somewhat a hybrid-a mix of new age and smooth jazz. I didn’t know his background when I first started listening to My Provincetown, so I wasn’t swayed by his pedigree. Sometimes you expect more from an artist who’s picked up awards.

My Provincetown is at times soothing music for a stressed world. I was immediately mellowed by the first track, “Romance on Moonlit Bay”. Laced with a Latin tinge it oozes big city cool. The melodic arrangements are reminiscent of Lee Ritenour, a great jazz guitarist. I forgot for a few moments I was sitting on a bouncing plane surrounded by screaming infants.

“Café Blasé’ is not blasé at all. There's a fine line between a melodic tune and a busy mess and this crosses over to the wrong side. Things improve with “Pilgrim’s Monument”, a regal sounding song; like something you’d hear in a movie’s transitional scene. “Commercial Street” showcases Jordan’s exquisite piano chops. He tickles some nice ivories that slightly mimic Billy Joel or Vince Guaraldi of Peanuts music fame.

“Atlantic House “ at first sounds almost techno. An experiment in sound it fuses random beats and styles together in an uncommon way that actually sounds good after a few times. It’s almost “clubby” sounding. “Race Point” and “Portuguese Bakery” are very upbeat, energetic and lively. These will all get you moving on the treadmill.

A few of the songs like “Christmas Around the Cape” run a tad long, but overall Jordan E. Spivack is an excellent musician whose admiration of many genres and performers shines through. He makes great use of a variety of instruments and overall has produced a worthwhile accompaniment for your next dinner party. Anyone who enjoys an instrumental background while working or lounging will definitely be hitting repeat on My Provincetown.

MuzikReviews.com Staff-Susan Evani

January 8, 2009

French Kicks - Swimming

Some artists make their reputation on evolution, changing genres and styles like chameleons from release to release. Others stay the same, content to offer a familiar sound for the sake of an audience’s comfort. Then there are those like the French Kicks, whose molting art has been more deliberate than sudden: a slow tweak, a minuscule component altered, a rhythmic pivot.

The Kicks’ fourth full-length album Swimming follows in that same vein – perhaps more organic and less electronic than previous releases, the New York City quartet remains true to their downhearted penchant for spacey, urban sounds. The result is a likable guitar-n’-drum offering akin to something Peter Bjorn & John would produce, complete with faux-60’s pop harmonies.

That last detail succeeds in large part to drummer-cum-vocalist Nick Stumpf, one of the band’s founding members. With a voice that is equal parts mellow and dejected, Stumpf comes across as an American hybrid of Thom Yorke and Ringo Starr, alternating between gentle falsetto and goosey tenors without ever changing his tone. That strange combination works largely in part due to Swimming’s hollowed-out guitar sound, a whitewash of near-clean timbres and reverb floods. With a smattering of Philistine drumming in the mix, the album becomes a wet canvas – simple in the details but intricate as a whole. Hence, even when Swimming fails with the particulars, it still succeeds on aura and mood.

Opening track “Abandon” is a testament to such a phenomenon: a pedestrian electric pluck means nothing by itself, but takes on new life in tandem with booming drums and Stumpf’s despondent harmonies. Shuffling and palpitating, the song basks in a happy-go-lucky melancholy – seemingly a common frame of mind for the French Kicks. “Over the World” has a similar gait, with rich, underwater guitar tremolos complimenting the ascending vocal refrains; “New Man” is sensitive and sitar-like, vibrating quietly like an idling car.

At other times, the Kicks’ fondness for throwbacks is on full display: “Said So What” seems risen from the ashes of an early 60’s doo-wop, while “Sex Tourists” rings with the kind of analog piano and over-saturated bass of an older generation’s lost decade. Though those tendencies are pleasant (if predictable), at their worst moments the band’s habits smack of a less-annoying Strokes obsession – the kind of single-minded mania that will often turn a critical darling into a over-beaten, one-note pony.

Luckily, Swimming’s routine isn’t so overbearing or poseur. Its tracks are largely uncomplicated and easy, possessing a kind of hip-swinging, toe-tapping quality reminiscent of music’s golden age. At this point, what slow evolution the French Kicks undergo next remains a mystery, but if Swimming is any indication, it will undoubtedly be worth the wait.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 7, 2009

Vanja James - Vanja James

Vanja James could become the next big female singer/songwriter. Her self-released, self-titled debut album is a powerful composition of pop-rock and indie ballads that are instantly pleasing. James’ powerful vocals are backed beautifully by a diverse cast of musicians on her promising debut.

The album opens with the fast-paced, acoustic guitar driven pop-rock of “On Your Own.” The song has a simple, but fun pop rhythm. It has a stripped down sound that really allows James’ vocals to come through. James has a voice that will remind of you of other singers like Sara Bareilles or Alicia Keys.

“Craptastic” and “The Bayou” share the same light-hearted, fun pop-rock sound that “On Your Own” has. These songs would be right at home on pop radio.

While James can definitely write a successful pop song, she also shows a great deal of diversity on the album.

“August” is a fantastic indie rock song that plays with Appalachian melodies on harmonica. It’s definitely a uniquely composed song that later cuts loose with a horn line. Likewise, “Mouthful” shares the same country-rock feel as “August” by using smartly crafted slide guitar.

At other points on the album, James writes heart breaking songs like “To The Man” and “Beautiful Mess” that use delicate arrangements of guitar, strings and piano. On these songs, James establishes herself as a fantastic singer and truly shows how promising she is.

James continues to surprise you with diverse songs throughout her album. The piano filled, jazz influenced “Deal With The Devil” sounds unlike any other song on the CD. However, James sounds right in her comfort zone with the song.

Late in the album, James even proves she can do straight-up, electric guitar fueled rock with “War Song.”

Vanja James delivers an incredibly talented debut. Her ability to succeed in a variety of styles is refreshing. James is definitely an artist to keep your eye on.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 7, 2009

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David Foster & Friends - Hit Man David Foster & Friends

David Foster’s innumerable contributions to the music industry through writing, producing, arranging, and performing, have proven him well deserving of his title, Hit Man. He has already made a difference in the music world, and continues to keep his foot in the door of its future.

This is a special package that contains a 9-track album of live recordings and a DVD from his breathtaking one night only performance in Las Vegas last spring. The DVD contains 16 additional performances from that evening that are not included on the album. The DVD makes it possible to stay at home and have the best seats in the house for an incredible performance. Every artist gives a sincere performance and David Foster is at his best throughout the show. Even the 30 second introductions for each piece are well performed with small humorous interjections, and common thank you’s from the artists Foster has collaborated with over his career.

Andrea Bocelli and Katharine McPhee’s remarkable performance of “The Prayer” is included on both the CD and DVD. While listening to this track or watching this piece you cannot help but smile and shiver due to the sheer power and authenticity in each of their voices. Other renowned artists that are showcased on this album or on the DVD are Celine Dion, Michael Bublé, Josh Groban, Blake Sheldon, Charice, and Brian McKnight. In this album and DVD package, all of these gifted artists and David Foster have created an impeccable musical experience.

Muzikreviews.com Staff-Marina Lane

January 6, 2009

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Gregg Yeti & The Best Lights - Heart Palpitations of the Rich & Famous

If you want something done right, you better do it yourself – or so believes Gregg Yeti, he of the infamous penchant for independence. Self-written, self-recorded, and self-produced, the Syracuse-bred musician has always done things his way, and his full-length debut Heart Palpitations of the Rich & Famous is no different. Bleeding a quirky-strain kind of airy, soaring alterna-pop, the album is one-note but pleasing, a conventionally left-field approach if there ever was one.

Yet the predictability is well-crafted and handled with care, elevating itself above the usual trappings of self-mined material. As a result, Yeti has managed to produce a subtle success; Rich & Famous is the musical equivalent of an iron fist in a velvet glove.

Of course, Yeti gets help, most noticeably from husky-voiced crooner Jessica Rudy, who provides a nice counterpoint to his own off-kilter vocals. Folksy but never rustic, Yeti employs Rudy and acoustic guitars in an effective tandem, ending up with a very urban (and yet very down-to-earth) sound. Yet, as whole, it is Rich & Famous’ blend of pastoral tendencies and hypnotic rhythms that ends up succeeding, channeling the dreamy, warm efforts of 90’s alternative gods such as Flaming Lips and Sunny Day Real Estate. The album manages to pulse and bend but never break into a hard-edged screed, remaining alluring while providing mellow flavors and carrying Yeti’s trademark laid-back posture.

“Deal With You Perfect” introduces that branded sound: a cacophony of drum lines, a repetitious refrain, and a towering melody punctuated by Rudy’s wistful tone. Soft, cyclic, and pensive, it’s M83 equipped with an acoustic rather than a synthesizer. Yeti’s fondness for cadenced music rings of the velvety side of the Smashing Pumpkins’ debut Gish, with bottom-heavy guitars smacking on “Body Like a Fever” and then detuned on the semi-duet “Adventures in Bad T-Shirts.”

Yet just as Yeti, Rudy and company conjure up more old rock ghosts (notably, Broken Social Scene and The Cranberries), they deliver gems like “Colonize Your Eyes,” a brooding ditty constructed from a handful of chords that revels in its own trickling pace. Invoking all the brilliant simplicity of early alternative rock, the track is yielding and amorphous, beautifully uncomplicated in an evolving timbre. Its echoing atmospherics and gentle yearning ricochet across other entries – most notably “Laughter Be Your Slave” – and lends Rich & Famous an aura of cloudy splendor.

By this point I’ve mentioned a dozen alterna-bands from the last decade, acts that cut their teeth on thoughtful, near-stargazing rock songs drenched with melody. Yeti is perhaps a softer torchbearer of that institution, as the near-folk character of “Half On The Way” can attest, but he is no less prevalent or effective. Heart Palpitations of the Rich & Famous is a dream of little bluster, taking the time to soak in an effortless joy so seldom heard nowadays.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 6, 2009

Fairytale Abuse - Perversions Of Angel VI

Anytime the word “abuse” is found in a band’s name, it’s safe to bet that you’ll be hearing some harsh music. True to the band’s name, Fairytale Abuse’s Perversions Of Angel VI is a destructive death metal album that mixes sheer speed with fist-pumping melodies that any sadomasochist will enjoy.

Fairytale Abuse opens the album by proving they can play the fast, chugging guitar rhythms that death metal demands on “When One Bleeds.” From the speeding introduction of the song, Fairytale Abuse begins to slide manically into moments of soaring keyboard melodies mixed with more structured guitar riffs. While the song has a definite melodic side to it, you could never call any part of it pop-friendly. Fairytale Abuse creates a fire and brimstone symphony with many of the songs on Perversions Of Angel VI.

For death-metal, Fairytale Abuse presents a pretty balanced album. While songs like “When One Bleeds” and “Vivid The Blood III- Natured” rely on speed, other songs like “The Interdiction Of Obscurity” and “Lust Murder Theatre” have a noticeably slower pace, forcing more interesting keyboard melodies to appear to keep the songs from dragging. The way that Fairytale Abuse is able to pull out a melody from the chaotic speed of a song like “At The Gates Of Thorn” is also impressive.

Fairytale Abuse loses points for using the overblown introduction that I’ve tried to rally against in previous metal reviews. I simply do not need the empty seconds of floating keyboard that opens “Fall Of The Icon” and “Troparion For The White Plague.” Every metal band feels the need for these introductions, making them all run together and become pointless.

There’s also a lack of originality with Fairytale Abuse’s vocals, which sound identical to the growling of Cradle Of Filth. It’s easy to say that you could find a boatload of songs from other metal bands that would sound like Fairytale Abuse.

While Perversions Of Angel VI is not innovative, its interesting melodies will hold a metal fan’s attention.

MuzikReviews.com Assistant Senior Editor-Chris Homer

January 5, 2009

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Gary King - Songs From The Black Book

Ahh yes, the music industry… “It’s not what it used to be” or “it’s changed” is what many musically-inclined folks find themselves saying and hearing nowadays: it’s all about writing a hit song that immediately soars to #1 and then wears itself out soon thereafter. It’s rare when an artist arrives on the popular music scene (or in the 2008 major motion picture soundtrack for Prom Night) by simply writing songs that encapsulate “a diary of sorts” about their “life’s ups and downs”, but Gary King’s debut album Songs From The Black Book fits the bill.

Hailing from Los Angeles, this Berklee Music grad has compiled a collection that not only allows listeners to hear a fantastic voice at work, but thirteen tracks with positively-charged lyrics and outstanding musical companions as well. “White Blip On My Radar Screen” opens the album with just that – blips – followed by Gary’s first vocal entrance of the collection over a lightly sampled backbeat; his voice is thick, endearing, and pitch-perfect, calling to mind the likes of Maxwell and Nathan Morris (Boyz II Men). “Victim of Ur Love” follows three tracks later as the most memorable track of the album – with a nicely harmonized chorus, backing horn section, and medium-tempo groove – the high point of the album.

From the fifth track onward, Mr. King croons and woos with his intimate vocal performances overtop the funky, soulful 1970’s throwback “All the Love in the World”, the TLC-like backgrounds of “Crayons”, and the lush jazz voicings of “Lady Love” (his finest vocal performance aboard Songs From The Black Book). “Winter Eyes” further showcases Mr. King’s versatility by tossing in a taste of a 1980’s power ballad, with chorus-flavored guitars and punchy, syncopated synthesizer hits. The closing track, “Climb Your Mountains” features the powerful tones of the Confirmation Choir in an up-tempo, gospel-flavored groove and more positively-charged lyrics (such a nice thing to hear nowadays: positive lyrics).

Being Mr. King’s debut album in what is sure to be the first of many, his voice, the musicianship and mixing account for three well-earned gold stars, but on the whole, the album lacks varied vocal interpretation. While listeners are treated to many different styles of music, the vocal interpretation from track to track lacks variety and errs more on the side of playing safe than taking chances and reaching for new dimensions (and yes, Mr. King does have it in him). While the album is a pleasant listen, each track does also lose listeners’ interest as they constantly reach and surpass the four and five minute marks; while “Victim of Ur Love” nears it, a noteworthy chorus is what listeners are awaiting.

While Songs From The Black Book has its minor shortcomings, the good news is that Gary King has the difficult part in tow – an unforgettable voice and passion for his craft. Hopefully, Mr. King will begin Book II of his diary memoirs soon – perhaps a different pen and paper will pull it all together.

Matt Jaworski–Muzikreviews.com Staff

January 4, 2009

Darren Deicide - The Jersey Devil Is Here

There’s always been a place in music for the eerie, be it the dark-as-night rock of Tool or the near-laughable horror spoof tunes of Insane Clown Posse. Yet the qualitative distance between the former and the latter couldn’t be further apart; whereas Tool was creepy in an obscure, locked-attic sense, the Posse reveled in oversaturation and trying-too-hard slash antics (it doesn’t get more over the top than “I Stab People.”)

The verdict for punk-blues fusionist Darren Deicide is decidedly vaguer. His third album The Jersey Devil is HereHereHere is wonderfully bleak and windswept, as severely bare-bones as a lost man recording in the desert. But the album overstays its welcome one time too many, crossing between dangerously brash and numbingly grating like an overly-drunk friend. The resulting work can’t escape its own ambition, despite a host of exciting tendencies.

Chicago-born and Jersey-steeped, Darren Deicide becomes unforgettable the second he opens his mouth. Equipped with a voice discordant enough to head up a Sex Pistols revival, Deicide channels belting punk anthems while his guitar channels the dirty blues. He lays down Jersey Devil like broken rail track: raw, and often absent percussion, bass, or even a standard stereo mixdown. The upshot exudes a self-taught mania that makes for a stirring journey, but not a particularly well-crafted one. It’s the musical equivalent of ad-lib comedy, an art that’s impressive for its off-the-cuff wit but often hit-or-miss when it comes to the punchline. Jersey Devil fails most in the payoff, straddling the line between natural and amateur without ever claiming much ground.

Deicide isn’t afraid to mock, laud, or outright parody various political and religious issues, with both taking center stage on the drunken-pulpit hymn sound of “Napalm, Death, and Fire.” With semi-clean alterna-guitar as the backdrop, Deicide and his congregation spit chorus lines back and forth, barely losing control before regaining composure. The basic makeup of the song is mirrored over and over, with many tracks using single beats, solo guitars, and a scattering of ambient backdrops to work themselves into a frenzy (“Won’t You?,” “The Infidelic Boogie.”) Deicide brays over it all like some mad dog, restraint an afterthought as his growl often turns into a death metal snarl.

Nothing sums up the album’s triumphs and failures more than title track “The Jersey Devil is Here,” a seven-minute opus that often invokes the atmospheric shriek of Henry Cowell’s “The Banshee.” Told like a campfire yarn (and just as rambling), the track is wonderfully chilling and yet languid, a war between beautiful acoustic-fiddle duets and Deicide’s melodramatic bark. The song works and yet doesn’t – a boring horror flick with a handful of truly terrifying scenes and little else, equal parts intriguing and tedious.

That dual contradiction is Jersey Devil’s biggest shadow, dodging the album at every turn. No matter what brilliance Deicide presents (and surely there are some truly golden moments), there is an equal and opposite drag. With a regular pattern of two steps forward and one step back, the resultant impression is akin to treading water. Of the myriad of Deicide’s possible intentions, that can’t possibly be the one he wanted to leave listeners with.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 4, 2009

The Beatles - The Beatles Magical Mystery Tour Memories

The cover of The Beatles Magical Mystery TourMemories reminds one of the Magical Mystery Tour (MMT) itself, with psychedelic colors and bubble letters. The first thing that stands out, though in tiny print on the back cover, is that none of the songs on the DVD are performed by The Beatles. That’s disappointing.

To begin, a cheerful voice speaks of the 60s as images from the time it appears on the screen. That voice is Victor Spinetti, the babbling army sergeant in MMT, who also played important roles in the two Beatles movies. He describes the documentary as “very special and enduring personal memories and encounters with The Beatles on their Magical Mystery Tour.”

The documentary’s ‘feel’ does live up to the description. It is very intimate, and you could almost be sitting with people you’ve known for a while, talking of their experiences. Overall though, the DVD seems slightly disjointed. Topics flip flop, from encounters with The Beatles, to MMT history, to 8mm raw footage of the band - which is certainly interesting and welcomed.

We get a little history of the MMT (Paul McCartney’s “baby”) from Spinetti and Miranda Ward, a journalist who describes how everyone got together and set out on the bus. We hear personal accounts from many of those involved, including Paul McCartney’s brother, Michael, the “Eggman,” road manager Tony Bramwell, and two boys who got up close and personal to their idols in the Atlantis Hotel.

Located in the seaside town of Newquay, the Atlantis is the setting for a large portion of the documentary. The Beatles didn’t have reservations, so they ended up staying in the annex of the hotel, revealing a more humble side to the most popular band in the world.

Extracts of Ward interviewing George Harrison and Ringo Starr are included, while rare pictures of them are shown.

Another memorable instance that proves The Beatles to be normal, everyday guys is when Paul and Ringo go to The Tywarnhayle Inn during some time off from filming, take over the piano, and start playing requests from bar guests. They then, according to the storyteller, “proceed to get sloshed.”

Unfortunately, some stories are so trivial and unimpressive they take away from the better ones. A woman speaks at length how her dad’s hat was used in a scene in the movie, and about her auctions of Beatles memorabilia. Her “claim to fame,” according to Spinetti. The story doesn’t particularly add anything of value to the video.

The Bonzo Dog Doo Dah Band was in a segment of MMT, so speaking with band member Neil Innes seemed like the natural thing to do. But after a few minutes, Innes just talks about his own band, and the topic strays from what everyone watching wants to hear about, The Beatles.

The end of the film shows footage of The Beatles’ ballroom scene at the end of MMT. Their choreographer’s voice tells the audience that The Beatles treated it as a game, and there was “laughter all the way.” The documentary closes with McCartney saying, “It’s a mystery to me.”

When it comes to the bonus features, don’t expect them to be unique. They are just a continuation of the film - 10 more run-ins with The Beatles, just more neatly organized into short segments under headings.

While the documentary has some strong points, it still seems as though it should be a made for TV special rather than on DVD. Positives include real footage of The Beatles, enthusiasm of the guest speakers, and stories that reveal things about The Beatles you wouldn’t learn by watching another history of the band. But some of the stories are so mundane, and the long string of people talking can get tiresome. Another con is the music, strangely enough. The Beatles’ music is the fans’ main interest, not the guys’ personal lives. There are a couple of songs sung by a faux Beatles band, but all-in-all, the lack of true Beatles musical accompaniment leaves something to be desired in more than one sense.

Magical Mystery Tour Memories isn’t an earth-shattering documentary that will change your life or drastically change how you see The Fab Four. But if you’re a hard-core Beatles fan and have an hour to spare, you may as well pop it in and enjoy the unique perspective this DVD has to offer.

Running Time: 55 minutes + 20 minutes bonus material

Christen LaFond, MuzikReviews.com Staff

January 3, 2009

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Eddie Skuller - The Morphine Berry Story

For far too long now, modern music has been gliding along at a squeaky pace, privy to the latest technological advancements and other digital frick-a-frack. The art of recording sound has become surgery, cut n’ pasted with scalpel-like precision until the recipe has been tweaked to perfection. Yet amid the race to faultlessness, there’s always someone ready to throw dirt on Sunday’s best.

Eddie Skuller is that kind of artist, reveling in the greasy, fuzzy buzz of modern blues like a pig rolling around in the mud (and I mean that in the nicest way possible, of course.) Skuller’s newest entry The Morphine Berry Story is a kind of live-session rock hybrid that alternately puffs out and drinks in smoky atmospherics, employing simple instrument combos and punchy melodies to happily belt out its woe.

Skuller’s success is rather surprising, considering he lacks the kind of husky voice often used to work these kinds of rhythms. More youthful and dry than anything else, Skuller provides a dissimilar vocal angle that pays off immediately in tandem with Morphine’s rock-driven style. Paired with a scattering of instruments (guitars and hairy harmonics, mostly) and the legendary James Mastro, the album takes on the air of an improvisational electrical storm, its snappy tracks upfront and naked in the spotlight. The result is a bleary and terse urban soundtrack, perfect in its role as a noir-inspired blues opus.

The initial “Ghost in the Mirror” takes on a traditional rhythmic stomp, but the gristly clouds hang over everything. “On a Clear Day” is anything but, with Skuller singing of mud-filled lands while dual percussion thumps in each ear, a bony electric guitar rumbling overtop it all. Sans bass and variation, the track takes on a rattling, haunting walk, like a jazzman tapping past the graveyard. “I Had it All” snakes out like a cracked rudder, the sounds of slow licks and camera shutters propping up Skuller’s high moan. His pain is the listener’s joy: the soiled drone of “Serves Me Right To Suffer” throbs with a false, mournful echo, while the murderous stutter of “Your Perfume” lays bare the pleasure of Skuller’s dangerous obsessions. Passionate and desperate in its best moments, Morphine’s bare exposure keeps the melodrama to a hush.

That said, there are the expected missteps. Skuller shines when mumbling and slow – as on the prodding “Down & Blue,” whose snail-like inching allows the narration to unfold and evolve. Not so on entries such as “The Wheel Man,” whose up-tempo rally casts Skuller as amateurish and, frankly, asinine. It’s one of the few times where Morphine’s breezy veil gets thrown aside in favor of a more banal concept.

Luckily, Skuller avoids such gaffes in the album’s dark corners, where the ghosts and skeletons often lurk. Moreso than any other genre, blues prides itself on torture and exorcism – the grim journey of sin, regret, and burdensome living. The Morphine Berry Story carves its own road with these austere elements, and Eddie Skuller is right out front as the funereal bandleader. In this case, the mourning is welcome and never overwrought.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

January 2, 2009

Dream Theater - Chaos In Motion 2007-2008

With the latest set from Dream Theater Chaos In Motion 2007-2008 (Deluxe Collector's Edition) the band gives their fans the ultimate gift by putting two DVDs and three CDs together for the most comprehensive overview of their music to date in a live setting.

I grabbed this gem the day it came out and later discovered the concert date I attended in Boston in 2007 makes a few appearances on the set, which makes this experience all that more personal and special for this listener. I was able to attend another concert early in 2008 and bring along my young son, a Petrucci disciple, and he thought seeing DT live was the most amazing thing he has ever seen.

Thanks to the graciousness of Jordan Rudess and making these dreams come true, I continue to enjoy watching the development and legacy of DT grow with each passing year.

Chaos In Motion 2007-2008 is a lot to digest and after you are finished watching all the live footage, interviews and bonuses, then heard all three CDs, you certainly have the feeling you were just given the grand tour and history of a band. DT is at the point where a presentation such as this will be more commonplace because of their hard earned and well-deserved success. I recently spoke to their former manager Jim Putulski, and as we were discussing Jim’s latest new label Blistering Records, the mention of the work ethic of DT came up and he intimated that if more bands held that belief closer to their heart that success would be unavoidable.

At the beginning of the first DVD, there are some questionable videos in reference to quality however, that is something that is more of an anomaly. Once you get past those rare instances, this is superb and it covers much of the output from this band. As the back of the box set says, “1 year & 1 day, 115 shows, 105 cities, 35 countries, 5 continents, hundreds of thousands of fans…1 Band” puts this entire event into proper perspective. The enormity of presence that DT commands finds a time capsule to fit into within this one sentence.

The promo videos and live screen projection films are also a highlight and very enjoyable. With “Behind The Chaos On The Road” segments, Mike Portnoy’s tour of the stage prior to a show is an entirely different look from the band’s eyes that we rarely get to see. As I mentioned previously, this set is all encompassing and I do not think very much is missing. The total DT experience is available here, including life on the road and all the people that make things happen along the way from the bus driver to the cooks, people that seldom get the recognition they deserve. This band is proud of its legacy and is always willing to give credit where it is due and that is why I respect them so much. Success has not changed their outlook, just made all of them more grateful for the current position they hold in music today.

It is hard to imagine how a DVD/CD box set could get much better than this although I have a feeling what is in the future will be yet another notch higher than this. DT is always looking to improve and this is a great way to see how this band has grown in every way by watching the DVDs. If you want to compare, contrast, and see how just how far they have come over the years, check out the double feature DVD Images and Words Live in Tokyo/5 Years in a Livetime, proceed to check out Chaos In Motion 2007-2008, and then watch the amazing progression of a band in one sitting.

Keith “MuzikMan” Hannaleck

January 1, 2009

Benon & Vamposs - I Know

It is not a frequent event to have the opportunity to listen, enjoy, and then review a unique band from Uganda. The duo Benon & Vamposs are stars in Uganda, a literal hit machine there with the potential to spread their wings and take off with the right representation on much larger scale.

I Know is a 14-track treat filled with reggae, R & B, hip-hop and some sweet pop around the edges for extra polish. This is eclectic music and anyone that has a penchant for world music and preferably an open mind to discover something entirely different, this album can be a goldmine of discoveries.

Many of the tracks feature their Ugandan dialect but it does not seem to matter because they are so smooth, the beats are irresistible, and somehow you get the feeling that whatever it is they are singing about means well and feels so lighthearted that it comes at you with complete joy. They did at times at times remind me of Ladysmith Black Mambazo, whom I have always respected and admired, then found myself totally blown away when I saw them perform live. That is another story though.

The highlight tracks for this listener where as follows:

“My Lady” a pop nugget so sweet and smooth you cannot help but melt right in your seat when you first hear it.

“I Know” is filled with an undying spirit and a significant feeling of pure love comes shining through. This one is a real heat seeker for the singles charts if they decide to release it as such.

“Mambo” is the track that put the icing on the cake for me and summed up the entire recording. There is also a video for this track, which turns out to be a good choice, because it uses all of the duo’s many talents. It has that popular reggae beat with hip-hop mixed in and a story about the hardships of life with a message of faith telling you that if you take things day by day you will overcome the challenges you face no matter what the naysayers say. In addition, their example of growing up in the ghetto reminds us of how it gives you character and builds a tougher person to deal with the difficulties that may come your way. All three tracks are standouts and I think they all could be very successful singles. The rest of the album as a whole is very solid.

The last thing I would like to point out about I Know is the fact that it is produced very well and when the men sing in English it is very distinctive and you can understand every word. This is very impressive considering they flip flop back and forth from their homeland language to English.

Keith “MuzikMan” Hannaleck

January 1, 2009

The Weightlifters - O My Stars

There’s a time in every decade where popular music, without fail, will pay unapologetic homage to its retro forefathers. The 90’s saw an explosion of 70’s-inspired styles and throwbacks, and the early millennial years carried an unhealthy obsession with everything 1980’s. Chicago-based outfit The Weightlifters have pre-empted the cycle by crafting an EP that is, in and of itself, a reverent dedication to 90’s bands who in turn reveled in their own retro aura. That would be O My Stars, the act’s second independently-produced record, and one that seems ripped from the song vaults of Ben Kweller. Yet amid the polish of Turtles-esque, sun-drenched slow jams is the fact that Stars just isn’t very interesting, feeling much longer than its half-hour running time would suggest.

The Weightlifters is actually the misleading pseudonym of singer/songwriter Adam McLaughlin, former guitarist for 90’s alterna-band Idle Wilds. Paired here with drummer Ron Wikso, McLaughlin proves to be a capable vocalist of the flower-power, star-gazing strain. Sensitive and genteel, voice and music come together in mellow harmony, well-crafted in an easy, rambling style. Unfortunately, McLaughlin rarely returns from the golden cornfields, preferring to stay lost in a stupor of listless-yet-melodious pop standards. Stars suffers as a result, reaching a predictable gait after the first track and never breaking into anything more than a trot.

Opening track “Perfect” begins curiously small but soon devolves into a slow crawl of fluffy distortion and banal chord changes. This is, presumably, the Weightlifters’ signature sound, and yet it lacks any notable identity, lost in a bin of decade-centric influences and dozens of other mash-ups. In short, there’s too many ingredients in the pie: equal parts 90’s-flavored alternative, 70’s-style guitar indulgence, and 60’s bubblegum pop, Stars has no discernable merit. “Bygones” is smooth and forgettable, a shadow counterpart to “Perfect” and another example of the EP’s lack of legs. Ditto for “Belle of the Wrecking Ball” and “Battlesong,” so similar in stature and air that one would think the melodies were written, recorded, and performed by way of corporate committee.

While McLaughlin is certainly an accomplished musician, Stars finds him falling back on too many bad habits – most notably the impression that he’s gone to the same writing well all too frequently. Time and time again, songs behave in the same manner, as if the same track has been re-arranged several different times to provide the EP with some meat. Even quieter, rawer moments – “To Be a Killer” and “In the End,” for example – ramble along with little pause to consider a listener’s attention. The result is a formless, lethargic style that rarely seems to find the point, too sunny for its own good and about as amorphous as some fluffy invertebrate. Certainly McLaughlin and his Weightlifters avenue are capable of much more.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 31, 2008

Wolf Parade - At Mount Zoomer

You may not be able to tell, but America’s northern neighbors made quite an impact in 2008 – at least, musically speaking. Between the long-awaited commercial success of Leslie Feist, the breakout of Tokyo Police Club, and the growing legend of Arcade Fire, Canadian artists old and young have basked in the rays of mainstream’s loving sun.

Montreal-based quintet Wolf Parade laid the foundation a bit earlier (their 2005 debut Apologies to the Queen Mary was wrought with a fervent electricity, thanks to ill-at-ease ditties such as “I’ll Believe in Anything”), but nevertheless saw their stock rise with the release of sophomore effort At Mount Zoomer in 2008. Zoomer deftly continues the tradition of chilled, despondent Indie rock so popular nowadays – albeit with Parade’s usual gloss of frantic murk. More rehash than revolution, the album succeeds despite its failure to surprise.

Wolf Parade is, essentially, the brainchild of two men: vocalist and multi-musician Spencer Krug (of Frog Eyes and Swan Lake fame) and guitarist Dan Boeckner. The two split vocal responsibilities, with various other notables (such as Hot Hot Heat’s former guitarist Dante DeCaro) bringing up the rear. The result is an urgent neo-rock sound embellished with various electronic, jazz, and blues components; a livelier, more pop-oriented Interpol, if you will (complete with the kind of thin-lipped, Ian Curtis-channeled vocals.) Queen Mary introduced this distinctive sound, and though perhaps more polished, Zoomer does little to incubate it. Thus, the album provides listeners with a lateral (not longitudinal) musical stretch; a kind of jam-oriented pie slice where the band explores freedom rather than innovation. The results are solid if not muddy, recorded in the same echoing church as Arcade Fire’s Neon Bible.

Those who enjoyed tracks such as “I’ll Believe in Anything” will enjoy opening number “Soldier’s Grin,” a winkish rollercoaster of synth pulses, barely-clean guitar, and undulating percussion. Yet only in the second half does the track truly shine, when tempos slow and a wonderfully dirty overdrive leads our ears on a bluesy crusade. “Call It A Ritual” summons the marching piano haunts of 31Knots, miserable and yet alluring in its post-modern honky tonk. “Bang Your Drum” struts along like some Baroque-inspired knockoff of the aforementioned Interpol, complete with despondent, Paul Banks-ish moans and calculated drum pauses.

Yet despite all the incongruent elements, Zoomer glides along from track to track rather uneventfully, its parts interchangeable in mood and air. Even the six-minute opus that is “Fine Young Cannibals” – snappy, minimal, and beautifully sharp – fails to distinguish from the overall detachment. Whereas Queen Mary was unpredictably wonderful in its Ritalin-starved haze, Zoomer is downcast and prodding, floating like a low, inane, urban smog. Perhaps it’s the universal (and near-inevitable) consequence of the dreaded sophomore slump, the same sort of lulling tendency that struck the Cold War Kids on Loyalty to Loyalty. What else can explain the fates of tracks such as “An Animal in Your Care” and “Kissing the Beehive,” inevitably bleeding into each others’ identity despite their sonic pleasure?

Overall, At Mount Zoomer is successful, but not wholly so. A disheartened extension of Apologies to the Queen Mary, the album finds Wolf Parade at times wonderfully dejected but ultimately adrift. For the recently-ablaze Canadian soundscape, theirs is a compelling but cloudy landmark.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 28, 2008

Harlan Mark Vale - Bright Angel

Before sitting down to listen to Bright Angel, I was not in the mood to listen to over an hour of piano music. Harlan Mark Vale had other plans for me though. Two minutes into the opening title track, I was in the mood because he put me there.

The entire album has wonderful piano playing and arrangements, and though Vale’s music is labeled as ambient, it will certainly hold your attention. Vale never lingers on one theme too long and each movement the music takes is wonderful.

The songs of Bright Angel were composed while Vale visited the Grand Canyon and stayed at the El Tovar Hotel. Vale’s playing does an excellent job of capturing the view he saw on a daily basis. There is a majestic quality to the songs and he isn’t afraid to stretch out the space between the notes. After all, the Grand Canyon is really a big space. It’s clear that Vale is trying to evoke and create emotions and visions with his music, unlike some instrumentalists who sound as though their only goal is to prove their technical proficiency.

Another interesting aspect of Bright Angel is that Vale believes it to have healing powers. On his MySpace site, he writes, “The Bright Angel CD has been shown to calibrate at over 700 on Dr. David Hawkins' consciousness scale. This is the level of pure consciousness. Hawkins theorizes that anything at this level can produce healing effects.” He goes on to say that, he has performed at-home tests on listeners’ muscles and claims that they test stronger after listening.

How one determines the level of pure consciousness, I don’t know. And I don’t know if that is supposed to prove that Bright Angel is somehow better than other music. Luckily, most people don’t need a calibrated scale to tell them something sounds good and Bright Angel most definitely does.

Dennis Mersmann MuzikReviews.com Staff

December 23, 2008

Shirley Horn - Live at the 1994 Monterey Jazz Festival

In the rarefied company of Nina Simone and Carmen McRae, Shirley Horn rises to the top among the granddames of jazz piano vocalists. Her career was a lengthy, somewhat convoluted rise to prominence and a tribute to both her talent and her indomitable spirit. After a brief stint at Julliard and some time at Howard University, she gained the attention of Miles Davis, among others, and subsequently began recording in 1960. On this album, her first appearance at Monterey, she’s joined by her sidemen of longstanding: Charles Bales on bass and Steve Williams on drums.

There’s no doubt Bales can read her every move. He tracks her clever substitutions as if in lockstep. Williams, too, has an inside line on her seemingly unpredictable accents. This is no mean feat. Horn’s technique relies heavily on sudden, dynamic changes, which can catch the listener (if not the accompanists) off guard. But the groove is unmistakable as they vamp along on the opening swing of “Foolin’ Myself.” The recording is well balanced. Each instrument, clear and distinct, shares an equal place in the tight aggregation.

The Shirley Horn trio is not background or elevator music. It demands an investment and concentration on the part of the listener. “The Look Of Love” begins with the artist’s characteristically sparse vocals. Her evocative phrasing and alluring piano lines salvage the dirge-like pace. Therein lies the magnetism. It’s a trip – a musical journey – that’s as imaginative as it is compelling.

The tension builds with the introduction to the bossa nova, “How Am I to Know.” The sidemen clearly thrive on the expressive possibilities offered by the Latin rhythm. And Shirley Horn is jammin’ not only on the piano but also with her short, breathy phrases that, despite the semblance of repetition, are ever fresh and unique.

A highpoint of the evening, “L.A. Breakdown (And Take Me In)” features a lyric that gives the pianist a chance to get up close and personal. With lines like, “Just a loser on the run,” the inference is that it reflects the real-life struggle she faced on the road to success. When the tempo kicks in, it’s one of those ‘stands your hair up moments.’ There’s a ripple of applause from those few in the audience who are not totally spellbound by the pathos.

The remaining tracks are a good blend of swing, ballads, and the down-home lyrics that Shirley Horn presents so convincingly. Whether celebratory or lamenting, she delivers them with credibility and the genuine feeling of an intimate conversation. Although a lengthy illness landed her in a wheelchair toward the end of her years, the alternate sensitivity and resilience of this “Hard Hearted Hannah” makes it possible to imagine she went out singing, “Here’s To Life.”

Ronald K. Baker-MuzikReviews.com Staff

Juana Molina - Un Dia

As hackneyed as it sounds, music truly is the one true universal language, emoting far beyond the bounds of mere words. For nothing else can really explain the widespread appeal (and near-unanimous acclaim) of Juana Molina’s newest gem Un Dia (“One Day,” roughly.) Her fifth album in about as many years, Dia finds Molina blooming into a full-blown Argentinean version of Bjork. Pulsing and alive, it’s a marked departure from her previous work, and about as organic and experimental a turn possible for an artist who cut her teeth on more folksy origins. Yet the leap works: beautiful and never boring, Un Dia is an amazing piece of art, legitimate fare for both a good listen and a good conversation topic.

Perhaps one of the most fascinating aspects of the record is how the human voice is treated. Though Molina has always included shades of ambience in previous acoustic forays, Dia takes the less-traveled road and offers sliced, oft-recurring vocal phrases in place of more substantial lyricism. Molina’s voice thus takes a bit of a supporting role throughout, frequently taking up a rhythmic role in accompaniment with traditional guitar and percussion parts. It is, perhaps, a less severe take on Medulla, Bjork’s 2004 album which took vocal arrangement to the extreme (and often to its own detriment.) In Dia’s case, less is more, as Molina’s voice is neither as interesting nor as strong as Bjork’s, and therefore finds a home in supporting roles.

Title track and album opener “Un Dia” is wonderfully tribal and throbbing, seemingly able to channel mountain-drenched folk calls with house-inspired beats. Things stomp and stretch until, much like Aphex Twin, dozens of different whirring noises and buzzing clicks and other horn-like synthesizers bray off and on. In better terms, it’s five minutes of controlled chaos with a Latin flair – set to the rhythm of a factory line. “Vive Solo” (“Lives Alone”) is a warm stab of filtered joy, with analog rumblings and skipping beats playfully flirting with Molina’s cascading voice. “Lo Dejamos” (“We Leave”) is similar but far more nightmarish – wriggling, whispering, and morphing about as if something out of John Carpenter’s The Thing.

Generally speaking, tracks are surrealist and rambling, often topping the seven minute mark as they evolve (and then de-evolve) from one hypnotic trance into another. “Quien? (Suite)” submits more traditional offerings at the outset: a ringing guitar that compliments the smooth overdub of Molina’s free-and-easy vocal. Six minutes later, the track has become a growling beast of wah-wah crests and hammer blocks, Molina’s innocent voice undisturbed but no less frightening. “El Vistado” (“The View”) is similarly paced and yet decidedly sunnier, its upbeat, stumbling percussion like a pleasant drive through lush South American vistas.

By the time listeners reach the faux-Baroque plucks and delayed vocal chants of “No Llama” (“No Flame”), Un Dia will have either fully weirded them out or else intrigued them beyond comprehension – or both. Yet with an album this alive and breathing, it’s a sure bet they’ll have been impressed by the experimental limits to which Juana Molina has pushed their expectations (not to mention their ears.)

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 12, 2008

Bon Iver - For Emma, Forever Ago

Here’s a quick language lesson for those who have forgotten their high school French: “Bon Iver” translates (roughly) into “good winter.” So what, you say? Well they’re fitting terms, considering that the band Bon Iver’s debut album For Emma, Forever Ago is a mosaic of secluded, snowy folk ditties recorded in the cold cabin world of Northwestern Wisconsin. Yet the album’s chilling, Thoreau-esque reflections aren’t the sole reasons for its success. Rather, that would be its adherence to a basic maxim: music should be simple, but not simplistic. Built from thickly-layered vocal harmonies, stringent acoustics, and various ambient noises, For Emma eschews technical nipping and focuses instead on performance, attaining sophistication through frank sincerity.

Until recently, Bon Iver was less band and more musical alias, the pseudonym of folk artist Justin Vernon. And though now joined by musicians Sean Carey and Mike Noyce, the album itself remains the voice of Vernon’s solitary confinement, a slice of icy time dedicated to individual reflection. In that sense, For Emma is perhaps a folksier version of Beck’s Sea Change – a chunky soup of slow, stirring pieces punctuated by disparate instrumentation and electro-synth elements. Bon Iver’s effort is decidedly more chipper, however; reflective and pensive, it’s Fleet Foxes nostalgia without the Baroque flourishes, weighty but ultimately upbeat.

Vernon’s voice is appropriately severe in response, often extending beyond lower, more comfortable octaves and into ghostly falsettos. Salaciously overdubbed into a fat wall of harmonics, the resulting impression is that of self-discovery, a man seeking answers in a crystalline world of nature’s making. Opening track “Flume” is on the funereal side of things, prodding along to the vibrating refrains of wobbly guitars and analog glitches. Both it and the reverb splendor of “Lump Sum” demonstrate an early penchant for intricate harmonies, the latter more rhythmic but no less aural. “Skinny Love” is Vernon’s best attempt at thinly-veiled rage, somewhat panicked and fuming in its rolling strums.

Yet that dour turn never establishes itself as Emma’s backdrop; taken as a whole, the album is more buoyant and optimistic than its frosty air lets on. “The Wolves (Act I and II)” is romantic and sweeping, hitting its quiet stride at the three minute mark with the introduction of faint drum pulses and alternating vocal melodies. “Blindsided” is perhaps a more traditional stab at thoughtful folk, which builds and builds until Vernon crashes it into a rollicking, trickling cadence.

As the album ends, Bon Iver takes some additional detours: “For Emma” is rife with a slapdash assortment of morose brass and fuzzy guitars, while “Re: Stacks” returns to the ramshackle Indie sounds of bedroom-recording acoustics. By then For Emma has come full circle, almost literally carving out a journey of self-discovery and poised simplification from the Wisconsin tundra. In the process, Bon Iver has unearthed a rather supernatural kind of music, chilly and haunting in its beauty. For any and all listeners, such lyrical and melodic success is hard to resist.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 22, 2008

Greg Poppleton & His Bakelite Dance Band - The Phantom Dancer

Sure enough, The Phantom Dancer swings, but it's not a replacement for classic recordings. The band knows what to do in terms of style, and the instrumental performances are convincing, but the vocals are not quite up to the high standard of the musicians.

On the very first track, “If I Could Be With You”, the band demonstrates a complete understanding of slow swing. The push-pull between the drummer and the rest of the ensemble that is a defining characteristic of the style is just right. Furthermore, Bob Henderson (on trumpet) and Paul Furniss (on reeds) sound as if they have been playing together all of their lives. “It's Only a Paper Moon” is a high point. In fact, all of the up-beat tracks where they are cranked up a little such as “Anything Goes” or “My Blue Heaven” are fun to hear because of their great duo work. Some very solid playing from the rhythm section completes the formula that makes the Bakelite Dance Band swing.

In spite of Greg Poppleton's obvious love of the music, I have to take some issue with his vocals. He is a decent crooner, but sometimes over-doing the 'crooner' style leads to ambiguities in pitch. The problem is most obvious on the slower tunes, like “Star Dust” or “Would You Like to Take a Walk”. I'm not saying that the vocals should stop a fan of these tunes from adding this nice recording to your collection. Because of the vocals however, I would have to say that The Phantom Dancer is not on the same level as recordings that have become classics, such as those by the Dorsey Orchestra. Of course, getting to that level is a life-long pursuit and this band is still developing its sound. I look forward to hearing what they do on their next album.

This album is not only about the aural experience, though. There is tremendous benefit in the CD jacket. It reads like a history of some of the biggest hits and most prominent composers of the early swing era. It also features unique period pictures and original artwork in the commercial style popular in the 1920s and 30s. These materials could almost be published as a book without the recording, and are a testament to Greg Poppleton's hard work on research and his strength as a producer. For swing enthusiasts the trivia alone is worth the sticker price, never mind all of the nice music.

Donny Harvey-MuzikReviews.com Contributor

December 16, 2008

M83 - Saturdays = Youth

Sometimes a band is more than just a band. Sometimes it’s a baby – a pet project nourished by some hard-to-understand frontman steeped in musical euphoria. M83 is that kind of band, and has been for some time; a vehicle for the airy, shoegazing sensibilities of Frenchman Anthony Gonzalez, who has been diligently feeding and raising it. Under his watch, M83 has gone from peculiar oddity – a kind of ambient Daft Punk clone – to full-on, legitimate power pop gods. Saturdays = Youth, their fourth full-length release, presents the end prize of that journey, and a utopia of 80’s-drenched teenage vulnerability. Cascading, pulsing, and crystalline in its beauty, Youth is M83’s best work to date, and a testament to the careful eye (and ear) of Gonzalez.

It’s clear from the outset that Youth is a dedication, of sorts, to the dramatic (and sometimes silly) angst of Reagan-era adolescence. Apart from the visual salute to John Hughes (of The Breakfast Club, Sixteen Candles, and Ferris Bueller fame), the album’s sonic tendencies take their cue from 80’s synths, beats, and instrumentation. That’s no leap for M83, who – like Daft Punk – make a living off antiquated-but-reinvigorated soundscapes. But Youth takes it one step further, unapologetic in its reliance on buzzing squares and sines from yesteryear.

Gonzalez continues to prove his music savvy with the introduction of Morgan Kibby, whose angelic, Kate Bush-esque croon is a perfect complement to his own airy whisper. She and her trickling keyboard talents feature heavily from the get-go: “You, Appearing” builds in typical M83 style, with layer upon layer of tweaked accompaniments pancaking over a somber piano, Kibby uttering a repetitive, husky lyrical refrain in agonizing reply. Yet the more cinematic leanings of Before The Dawn Heals Us return soon enough with the ultra-poppy and sugar-laden “Kim & Jessie,” a ambient syrup of drum machine, seagull hooks, and Gonzalez’s usual penchant for breathy vocals. It all works, and wonderfully so: trancelike and dreamy to a fault, Youth indulges childlike stargazing again and again without regret.

An acid-dropping clone of Walt Disney couldn’t channel the kind of youthful-but-psychedelic pleasure of tracks like “Graveyard Girl,” which drips with the summer sentimentality of a time when legwarmers were all the rage. Yet there are still the typical “dreamtronica” moments Gonzalez is so well known for: “Up!” takes it galaxy-worshipping literally, with Kibby’s delicate-yet-lush vocals reaching ever higher amidst a stuttering beat. “We Own the Sky,” one of the album’s best tracks, is marching and almost swaggering; halfway through, the square waves rapid-fire and the song reaches a heady momentum. Gonzalez and Kibby sing “It’s coming/It’s coming now!” in perfect unison to the trickling percussion, and Youth has reached its apex.

Gonzalez moves back to his free-form tendencies by album’s end, indulging in soaring marches such as “Dark Moves of Love” and the eleven-minute opus that is “Midnight Souls Still Remain.” Such fixtures have always given M83 a cinematic quality – an aura that was tempered on Before the Dawn Heals Us and then expanded here. Though that gives Youth a bit of a “concept album” vibe, rarely does it feel cloying or forced. Rather, Gonzalez is indulging in a few rounds of wide-eyed fun, playing pensive romantic for romanticism’s sake. There’s a proper time and manner for that kind of musical flirting, and Youth is it.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 19, 2008

Jupiter One - Jupiter One

For those who are fans of video games and have spent quality time playing Madden 2008 for PS2, it’s likely that Jupiter One’s “Countdown” (from their debut self-titled album) is already on your mental repeat.

Rooted in the epicenter of New York City’s alternative music scene, Jupiter One has been making the rounds since 2004 and until recently, had left fans foaming at the mouth for a studio album to match their electrifying live performances at such venues as NYC’s Mercury Lounge and Bowery Ballroom. Their blend of effective rhythmic syncopation, soaring synthesizer lines, and simply, yet tastefully placed vocal phrases are a treat capable of satisfying any satiable musical palate.

After treating listeners’ ears to a gentle synthesizer climax of “Intro for Ani Enorda”, frontman K. Ishibashi kicks off the slappy guitar riff to “Countdown” and promptly gels with the rhythm section to create a deep pocket that hints at a taste of things to come. K’s vocal delivery is simple, well delivered and mildly evocative of Buggles with a hint of attitude – staying true to the track’s melody and light phrasing. “Moon Won’t Turn” follows with another catchy guitar intro indicative of both Jonny Greenwood (of Radiohead) on “2 + 2 = 5” and Jeff Buckley’s “Nightmares By The Sea”; following in turn are thickly harmonized chorus and supporting Juno pads that pull listeners’ ears in a soft, dreamy direction.

What follows is the album’s sweet spot, featuring the memorable verses of “Unglued”, brilliant acoustic guitar-driven “Mystery Man”, and U2-influenced guitar tones and backbeat of “Turn Up The Radio” – all very catchy tracks that showcase the writing ability of both K. Ishibashi and the multi-talented Zac Colwell. The gem of the album checks in at the number eight slot with “Wrong Line”, showcasing the band’s collective ability to start and maintain a rather tricky tempo (yes, they’re just as tight live). With playful lyrics, yet another catchy chorus, and inventive bass tones, “Wrong Line” is a track where listeners can visualize the bobbing heads of live show crowds. The album winds down with its most up-tempo and pop-like track “Fire Away”, followed by the haunting “Kamikaze Pilot” and final wind down and charming aura of “Way To The Floating Hospital/Miracle of Flight”, concluding the album in similar fashion to its opening – listeners are gently returned to silence after being thoroughly rocked.

It is rare nowadays in the music scene to hear an album that grabs you with the same effect as Pink Floyd’s Dark Side of the Moon or Radiohead’s Kid A, however, Jupiter One touches the ears much in the same manner – their quirky lyrics, inventive tones, super-tight rhythm section and fantastic self-production makes this debut album more than worth a listen or two. Interested listeners can catch Jupiter One in one of their twenty shows aboard the East Coast leg of the MALLARDS UNITE! TOUR throughout January. For those who find the sounds of Jupiter One’s debut album appealing, force yourself to catch a live set – you’ll be more than fulfilled – a Red Bull and double espresso couldn’t do their energy justice.

Matt Jaworski – Muzikreviews.com Contributor

December 19, 2008

Los Cenzontles with David Hidalgo - Songs of Wood & Steel

Every now and then you stumble onto a cool sound–pleasing and unique stuff that demands a second listen. Songs of Wood & Steel fits squarely into that category.

Los Cenzontles, a group that’s been at work since the 1980s, delivers a fresh blend of Mexican roots music infused with American rock n’ roll. Initially started to promote Mexican music through a cultural arts center in San Pablo, California, the name Los Cenzontles is Nahuatl for The Mockingbirds. Nahuatl–if pre-colonial Mexican history isn’t one of your passions–is a group of languages of which Aztecan is considered a part. It’s been spoken in Mexico in one form or another since at least the 7^th Century A.D.

With their latest effort Los Cenzontles call on the capable hands of David Hidalgo and the voice of Linda Ronstadt to complete the album. Mr. Hidalgo is best known for his work with East L.A.-based Mexican-American rockers Los Lobos. His stamp can be heard all over this album.

“Mi Unico Camino”, the album opener, greets the listener with a Lucinda Williams by way of Mexico alternative country sound. Words of loss, heartache, and the bottle paired with steel guitar and a brooding rhythmic feel make this song sound equally at home in a bar room or as a soundtrack to a trip across the Sonoran desert.

Linda Ronstadt lends a hand singing on the traditional “El Chubasco”. Meaning literally “The Cloudburst” this is another tale of love lost, this time set to an ironically cheery tune. The voices of Hidalgo and Ronstadt blend beautifully over the steady mariachi groove.

Hidalgo’s influence is most apparent on the instrumental “Red River Road, Part One”. This one sounds a bit like the Allman Brothers if they grew up on the streets of East L.A. It chugs along with an infectious beat and some soulful guitar work reminiscent of the live performances of Los Lobos. “Quaking Giant” brings another extended instrumental jam. Unlike many tunes of this ilk, it isn’t self-indulgent or contrived. It sounds as garage-like and free as the best early works of Santana.

The sonic diversity on this album is truly something to behold as the band moves into the ballad “Las Ciudades”, and the slow instrumental “Crei”. Both leave you searching for a cocktail lost in the sand more than anything Jimmy Buffett has ever come up with.

“Volando en los Cafetales” and “Ojitos Negros” round out the set. The former will please Los Lobos fans with its catchy hook and danceable vibe. The latter is done almost entirely a cappella and is a beautiful and stirring conclusion to the album.

Songs of Wood & Steel is a work that all Americans can be proud of, not just those of Mexican descent. On display is a rich, and often overlooked component to the vast body of contemporary American music. Mexico has been a contributor to the evolution of rock n’ roll since the early days of Ritchie Valens, a time when Mexican artists had to change their names and shun their culture to broaden their appeal. Fortunately, those days have passed and everyone can not only appreciate music like this, but also hear why it belongs amongst other great music that calls America home.

Noah Small – MuzikReviews.com Staff-December 15, 2008

Animal Sounds - In the Forests of the United States

In the Forests of the United States is the new EP from Animal Sounds, released by Beaten Path Records. The band consists of one man, listed on the CD sleeve as J. Jones. Beaten Path’s site list additional musicians, Spud and Jackson, but after listening to Forests it is pretty clear that what we have is a man and a guitar with some well placed tambourine peppered in.

Animal Sounds sound is simple, as you might imagine, but it’s also refreshing. Animals Sounds actually sound like the Animals in a stripped down way. All of the songs have a somber tone to them. The guitar playing is generally quiet and almost restrained while having a marching quality to it. It’s comforting in a way.

Even though the guitar playing is good, Jones’ voice is easily the most enjoyable part of the EP. The Animals comparison has a lot to do with the fact that his voice is a mix between Eric Burden and Jim Morrison. This man was clearly meant to sing in a rock band and it’s nice to hear a young man with a soulful voice find his true calling.

The big drawback of Forests is that even though it only lasts for seven songs, it lacks variety. While Jones’ voice is great, his annunciation isn’t and he tends to sing each song with a similar cadence. Not that diction is the sign of a good singer, but it does get in the way of determining what any of the songs are actually about. The guitar playing adds to the problem. It is good, as previously mentioned, but it doesn’t change drastically from song to song. Since it is really the only instrument this causes problems. Listen to Forests on “random” (or “shuffle”) and you’ll probably like the first few songs that come up only to grow weary around the midway point. Your favorites won’t depend on the songs, just the order in which you heard them.

Even though the songs on Forests are good, and that’s strongest adjective applicable, it is in an interchangeable way, and this shouldn’t happen on a seven song EP. But it’s still good enough to deserve a listen. At the very least it should leave you intrigued to find out what else Animal Sounds has to offer.

Dennis Mersmann MuzikReviews.com Staff

December 17, 2008

Holy Moses - Agony Of Death

Agony of Death is the twelfth album from twenty-year thrash metal veterans Holy Moses. It’s safe to say that Holy Moses hasn’t dropped a beat over the years. Agony of Death is a speed demon of an album with harsh breakdowns. It may not be the most unique metal album you’ve ever heard, but it definitely has successful moments that any fan of metal will appreciate.

Agony Of Death opens with “Imagination.” The song has a two minute, overblown introduction that every metal band seems to feel the need to open an album with. Once you get the past the clamor of noise that opens and ends the track, “Imagination” is a pretty powerful opener. The song is driven by the frantic drumming of Atomic Steiff, complimented by steam-rolling guitars.

Vocalist Sabina Classen also proves she can scream and growl with the best of the boys on “Imagination,” bringing to mind bands like Arch Enemy.

While you won’t find a ton of soloing on the album, the speed that songs like “Alienation” and “Bloodbound Of The Damned” are played at are bound to keep you rocking.

At times, Holy Moses uses more melodic guitar riffs. “World In Darkness” has a great guitar part that breaks up the chugging, less melodic songs nicely. Likewise, “Angel In War” has a more melodic quality as well.

Eventually, Agony Of Death begins to wear you down with its endless speeding riffs and growled vocals. It’s not that songs like “Delusional Disorder” and “The Cave” aren’t good; you’ve just heard countless metal bands use the same sound just as well. These songs end up sounding predictable, because if you’ve ever listened to any thrash metal you know exactly what’s coming next.

Perhaps what makes Holy Moses stand out the most is the unbelievable drumming of Atomic Steiff. Songs like “Schizophrenia” and “Psuedohalluzination” will be addictive to metal drummers.

Agony Of Death doesn’t do anything to take the thrash metal genre to new creative heights, but it does show that Holy Moses plays as hard as any other metal band. Some songs may be generic, but there really isn’t any track on the album that a metal fan won’t enjoy.

MuzikReviews.com Assistant Senior Editor-Chris Homer

December 18, 2008

Afterdawn - Break

This New York City rock band Afterdawn released their first album Break late this spring after almost three years of “writing, creating, and performing together.” The tracks off the album Break, which were entirely composed by the four band members Corynne, Steve, Matt, and Vinny, are extremely powerful and energetic.

Lead vocalist Corynne Wilder who sings with the deceiving sweet edge of mystifying terror fronts the band. Listening to the album is like being in a trance with every shift in beat taking you farther into another realm of rhythm, wonder, and reason.

The song “Sure Way Out” embodies the skill and effort it takes to make an excellent song. There is a building sense of meaning and understanding in the lyrics that is reflected by the change in rhythm and pace of the songs. The melodic harmony of Corynne’s beautiful yet haunting voice is quite enjoyable and interesting.

Afterdawn’s first album is truly commendable; there is obvious talent and passion that illuminates every track. I look forward to hearing more from this up-and-coming rock band and hope that their future is as certain as their talent.

Lauren Stair-MuzikReviews.com Staff

December 18, 2009

Imperial Vipers - Broken

Rock n’ Roll. Clever lyrics. Memorable compositions. Imperial Vipers bring all of this and more with them on Broken, their second studio album. Hailing from Dunstable, England, the five-piece band has been out on the scene for almost four years, but sound as if they’ve spent their whole lives together, collaborating and writing songs.

Besides the hard-hitting rock, the thing that stands out is the lyrics. They actually make sense, instead of just rambling about anything as long as it fits with the music. Ash Simmons, lead singer says, "We're proud to be a British band who make real songs about real stuff but still have a good time doing it."

Simmons’ grungy, thick-accented voice carries the listener through each song with ease, leaving you wanting more. “Self Medication” refers to drug use with a twinge of humor. Simmons sings, “Self medication what a sensation, intravenous pollution seems a solution,” while “This is the Way” refers to world problems – “This is the way of the world today, the government lies and the bombs drop anyway.”

Imperial Vipers have been compared to bands such as Soundgarden, The Clash, and AC/DC. Sounds reminiscent of The Ramones can also be heard. They may have a harder sound than The Clash, but certainly could fit along the same lines in terms of the punk vibe. The Vipers’ sound makes you feel as if you should pull on your high-tops, jean jacket and tease your hair, yet sing along with songs that tackle issues of 2008.

Infectious guitar riffs, solos, and mosh-pit inducing drumbeats are all present on the album, as it should be on a rock n’ roll release. If the saying ‘time flies when you’re having fun’ is true, you will be thanking your CD player for having a repeat button, because Broken is over before you know it.

Christen LaFond-MuzikReviews.com Staff

December 10, 2008

The Fashion - The Fashion

Neo-alternative, post-punk, math rock…whatever you want to call its current iteration, modern rock is driven largely by percussion nowadays. I’m speaking of acts like Bloc Party, Foals, Editors, Interpol, and darlings-of-the-month Black Kids – bands who at some point or another have borrowed from 80’s titans like The Cure or Joy Division/New Order, and bands that would rather indulge in trip-hop beats than a meaty guitar solo.

Denmark-based quartet The Fashion have taken that preference and wrapped it in a fuzzy-n’-dirty sheen, their self-titled sophomore effort a cacophony of head-bobbing rhythms, lo-fi guitar pangs, and squeaky vocal overdubs. Solid by itself, yes, but not what ultimately distinguishes the band from their poppy peers; instead, that would be their topical lyricism and frenetic mood stylings. Devoid of teenage pining and tired pseudo-emo posturing, the album’s Johnny Cash-flavored crime and death references offer an intriguing angle apart from the usual drum-driven simplicity listeners have come to expect from modern rock.

Looking like European-bred Beastie Boys donned in Hot Topic threads, The Fashion is led in mad fashion (no pun intended) by singer Jakob Printzlau, whose horn-rimmed black rims channel a younger Greg Proops. His voice yelps in a half-cartoon timbre, often doubled up into an off-kilter chorus when the band reaches its most feverish moments. Combined with tape simulation that could have been ripped straight off an Amy Winehouse or MGMT track, Printzlau and company manage to revel in a kind of muddy, urban aura that often bellows as if from a dark train tunnel. It’s like Bugs Bunny in a cellophane nightmare, wonderfully (and intentionally) murky.

“Dead Boys” is driving and splashy, but fails to demonstrate that swampy air as well as “Solo Impala (Take the Money and Run).” Rippling with synth peels and clean-but-degraded guitar swipes, the track joyfully bobs in tandem with Printzlau’s nasal falsetto. He sings of stolen cars, money exchanges, abandonment, theft, and police chases – in other words, not the usual fare. The combination of grubby musicianship and criminal lyricism permeates every track, continuing on the ska-dusted “Letters From the Ambulance.” While Printzlau belts out the implications of sirens, pills, and hospital stays, the song rolls along like a party theme, complete with obnoxious bass and timely handclaps. “Like Knives” is a clear signature tune, borrowing Bloc Party’s stutter-and-stomp beatline while squawking about guns, knives, and DJ’s.

Yet The Fashion succeed afoot other avenues, as well: the not-quite-retro “Alabaster” is sweetly tacky, while “Mathematics” is an in-your-face number of unadorned chord rotations and punchy dynamics. Album closer “Vampires With Gold Teeth” swells like an electric ocean of leftover Beach Boys harmonies, reminding listeners of The Fashion’s ultimate appeal beyond the addictive beats. Yet perhaps that charm is better summed by the actual album cover: a series of switchblades and other assorted knives, buffed to a high sheen. Pretty, alluring, and dangerous.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 17, 2008

Siebenburgen - Revelation VI

Revelation VI is the sixth release from Swedish black metal band Siebenburgen. The album definitely has the dramatic flair that black metal bands absolutely love. While Revelation VI has all the metal riffs and double-pedal bass drum you can handle, it definitely has some surprising melodic sections. If you’re looking for a powerful black metal album, Revelation VI is about as good as anything else you’d find in the genre.

Siebenburgen shows its pension for dramatic sounds by injecting huge orchestral arrangements and Hellish choirs into its songs. If Hell has a soundtrack, I imagine it sounds something like Revelation VI.

The drama begins instantly with the introduction track “Awaken,” where you get your first taste of the orchestral arrangements. Siebenburgen does a great job creating a feeling of impending doom with the creepy sound that it gets out of the orchestra. I can’t think of a better way to be introduced to the intense sound that fills Revelation VI.

Siebenburgen rapidly gets things kicked into high-gear with the album’s second track “Rebirth Of The Nameless.” The song opens with a speedy drum introduction that leads into thrash metal guitar riffs not far from the sound of Slayer. However, Siebenburgen shows some surprisingly delicate melodies on “Rebirth Of The Nameless,” including a piano melody that rises over the prevailing thrash metal sound.

Don’t worry, there are still plenty of moments of brutal metal on the song, as evident by the way vocalist Marcus Ehlin growls his vocals like most black metal singers. However, the non-traditional melodies create a more interesting sound than most black metal bands have.

Siebenburgen continues the trend of surprisingly melodic black metal throughout Revelation VI. “Infernaliia” and the title-track “Revelation VI” are some of the fastest and heaviest songs on the album. Despite this, Siebenburgen gets some powerful, melodic vocals from its other vocalist Lisa Bohwalli. Bohwalli’s voice compliments Ehlin’s vocals well, and adds some more depth to Siebenburgen’s songs.

Later on Revelation VI, Siebenburgen delivers some of its strongest songs with the super fast “Grimheim” and “S.I.N,” where the band mixes synth judiciously into its sound.

Revelation VI is a strong metal album, thanks partly to the surprising melodies found on it. Occasionally it suffers from a little too much of a dramatic sound, such as the bell choir of “Rebirth Of The Nameless” or the overblown piano intro of “After The Wolf.” Overall, Siebenburgen delivers an album that may even be listenable to people that have no taste for black metal.

MuzikReviews.com Assistant Senior Editor-Chris Homer

December 16, 2008

Margot and The Nuclear So And So's - Not Animal

In sports, in politics, in business – and yes, in music – certain combinations always prove lethally effective. Often, it’s a blend of drive, quirkiness, innovation, and a bit of luck that decides the extent of one’s success. The oddly-named but oddly-likable Margot and The Nuclear So and So’s (“Margot” from here on in, else we’ll be here forever) seem to have their own formula: Radiohead-tinged folk melodies, introspective, sensitively-sung lyrics, and a good dose of peculiar packaging (how else to explain a song title like “Hello Vagina?”) All that and more is present on Not Animal, the Indianapolis-based group’s third full-length album, which channels all sorts of modern Indie rock trends while simultaneously incorporating a few original ideas here and there.

It’s important to note that Margot’s Richard Edwards is a songwriter and vocalist cut from the same cloth as esoteric-preening frontmen such as Chris Martin and Thom Yorke. Yet despite his goose-voiced and vulnerable posture, Edwards and Margot find more success with honest intimacy than the anthem-loving boys of Coldplay or the current experimental habits of Radiohead. Thus Not Animal comes across as a sort of modern day The Bends meets Arcade Fire, a collective of guitar-driven sounds fueled by alienation and interesting composition choices. And though it’s not the most creative thing hanging around the corner nowadays, Margot is able to overcome cliché with superior execution more often than not.

It’s apparent from the beginning that Not Animal would rather be soft and mysterious than hard and fractured. “A Children’s Crusade on Acid” employs distortion with a light (yet predictable) hand, preferring piano and vocal refrains to anything too punchy. The use of a creative ensemble to secure more customary pop fixings seems to be a trademark of Edwards’, with off-kilter instrument choices heavily restrained and muted in comparison with the standard guitar-bass-drum recipe. “German Motor Car” wants to be a heady rock song, but perhaps falls back on a set of predictable laurels one too many times, throwing out electronic beats and string hits like meager bones. Ditto the more traditional “Broadripple is Burning,” whose simplicity is marred only by a heavy hand with too-typical guitar strums.

Quiet-yet-atmospheric fare is the better road here: “Cold, Kind and Lemon Eyes” is a masterpiece of disparate elements, wonderfully stumbling as various guitar, string, and bell parts guide it along from verse to bridge to melody. The previously-mentioned “Hello Vagina” is palpitatingly nonsensical but satisfying, dancing out like a macabre spy movie; folksy paean “As Tall As Cliffs” climbs and builds with a sing-a-long, saloon-like confidence. Though later songs are decidedly edgier (“Shivers (I’ve Got’em)” and “The Ocean (Is Bleeding Salt)”), a cheekier thump pervades the music, often in the vein of the Cold War Kids’ better offerings.

It may be too harsh to fault Edwards and company for the inability to somersault off the experimental periphery. Their battles with record company Epic around the more chance-taking version (simply dubbed Animal) is well-documented, resulting in uneasy compromise and the watered-down Not Animal. Clipped circumstances aside, Margot and The Nuclear So and So’s have produced a solid record. Yet listeners will be hard pressed to forget the nagging feeling that it’s caught in too big a cage, as if a large, empty space looms around the tracks’ outer edges. In this case, less is certainly not more.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 14, 2008

Tokyo Police Club - Elephant Shell

There’s a natural tendency for critics to douse everything in water – to downplay any shred of hype and stamp out whatever expectations of universal acceptance some up-and-comer may possess. Allow me to throw away that hat for now and put on the “Giddy, Exuberant Fanboy” one so that I may discuss Tokyo Police Club and their first full-length release, Elephant Shell. It is, quite frankly, one of the best albums of 2008 and one of the finest rock-pop debuts in recent memory – a buzzing, infectious slice of punchy melody mixed with heavy doses of frenetic, razor-wire guitar. Feverish and about as pithy as an orange rind, Shell is short on surprises and yet long on sonic-driven joy.

Much of Ontario-based Tokyo Police Club’s terse aura comes from lead singer and bassist Dave Monks, whose squirrelly voice and obtuse lyricism lend Shell a nerdy, hyper quality seldom heard in modern rock. Yet there is no secret to the appeal: self-deprecating, fast-paced, and singularly sharp, the album is short on the usual Indie-bred hubris, with only one lonely track notching in above the three minute mark. That brevity – in combination with Monks’ often-cartoonish voice – proves to be a delicious (and addictive) mixture, a kind of teenage heart-on-its-sleeve strain that could be dubbed nothing less than “fast food rock.”

The first dose of the Club’s efficient-yet-intricate sound comes on “In A Cave,” where simply-peppered refrains pop in and out until joining as one on the final lap – one of the band’s favorite tactics. Compressed drums, aluminum-tearing bass, and fluttering guitars are the others, used with great efficacy to plug up Shell’s barely-there half hour running time. And make no mistake, things fly by at typical Internet-age pace: “Juno” bursts with analog drums and toy xylophone plinks as Monks cryptically sings “You and your soapy eyes/Called it off so late at night”; “Tessellate” pumps with handclaps and throbbing guitars, propping up its oft-repeated piano line; “Sixties Remake” feeds off Bloc Party rhythms as it drives along in urban-drenched atmospherics. Each one rushes by in some unknowable deadline haste, as easily swallowed as those brightly-colored vitamins kids love so much.

Yet the succinct bluster does little to hinder Tokyo Police Club’s poppy enthusiasm. “Nursery, Academy” is as ruefully sincere a paean as “Your English is Good” is tongue-in-cheek political satire – albeit in Shell’s usual enigmatic stance. The simple-but-not-simplistic “Listen to the Math” is chunky and prodding, rising to a beautiful apex when its clinical, fingernail-scratch guitar lines stutter in the wake of Monk’s crooning.

There will be inevitable arguments over whether Elephant Shell matches up to Tokyo Police Club’s electrifying 2006 EP A Lesson in Crime, America’s first introduction to the northern rock-neighbors. Re-donning the critic hat would lead to a second-guessing of sorts, dubbing Shell a letdown in the follow-up department – a step backwards after a shuttle launch, perhaps. Yet that seems redundant, considering the speed-of-light format such EP’s offer for a band that’s naturally quick on its feet, tempo-wise. Elephant Shell offers a longer stay, but is no less exciting or electrifying: the musical equivalent of lightning in a bottle.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 15, 2008

Sandoval Band - Sandoval Band Vol. 1

If you are tired of Contemporary Christian music that could have been recorded by any country/pop act on the radio you should check this out. These guys have more of their own sound than most. I was first struck by the attractive cover design of this album, and then even more impressed with the stylishness of the interior design and the CD. The music is no let down from that initial impression. Sandoval Band's freshman offering is a good listen from the first note. It's also an effective and sincere offering in a religious sense. For fans of Contemporary Christian music, this album might give some relief from current trends in the genre.

Even having their own sound there are, of course, similarities to other groups. I won't say that they sound like Los Lonely Boys, though there are similarities, because overall the music on Sandoval Band Vol. 1 is more interesting and engaging. Just start with the “Intro” to hear the difference, or listen to the musical conversation between the keyboard and guitar on “Changes”. The album covers a broad range of styles. At times, it is reminiscent of the lighter side of SoCal bands such as Sublime. Check out the use of vocal effects and abrupt style changes on “Drive-Thru”, or the guitar jam on “Testing”. I should note here that the lyrical content is strictly religious and has no similarity to Sublime's lyrics. On the other hand, there are also moments that sound like Santana, like the guitar work at the end of “Que Dios Como Tu”. On all tracks, the prominent use of wind instruments and the variety of styles (from the new-age intro to reggae to Latin-flavored rock) help give the music a life and energy that are refreshing.

The percussion work deserves a special note. Rivera & Alicea find a way to be more present in the music than might be typical, but without detracting from the music or the message. “Para Christo” is a nice example. Strong vocals from Jean Sandoval & keyboard work that nicely ties Sandoval Band's diverse sound back to the church (such as in “Come to Worship”) round out a complete package of entertaining and upbeat sacred music for lovers of rockin' horn bands. Add in strong production value that shows from the cover right through to the last track and you've got an album worth having.

Donny Harvey-MuzikReviews.com Contributor

December 10, 2008

Maury Muehleisen - Gingerbreadd

For listeners who crave more from the acoustic folk era of the late-1960’s and early-1970’s, here’s a relatively unknown gem that will satisfy the appetite.

Best known for his guitar work with Jim Croce and prior to their meeting, a nineteen-year-old Maury Muehleisen recorded his debut album for Capitol Records in 1970. While it remained an unknown rarity for years since its release, Gingerbreadd has once again been made available as a reissue thanks to the efforts of Maury’s sister, Mary.

While gazing at artist Henry Glassie’s picturesque cover illustration, Gingerbreadd kicks off with light acoustic guitar fingerpicking in the form of “A Song I Heard”; Maury’s voice floats overtop a tight rhythm section and richly orchestrated string arrangement with a sweet, airy tone that evokes how a male Joni Mitchell might sound. “Mister Bainbridge” follows with Maury performing a near-flawless take that exhibits effective counterpoint between a light, playful vocal melody and alternating bass line guitar accompaniment; “Eddie” follows in similar fashion toward the end of the album. “Wintry Morning” checks in at the third slot – a haunting and gorgeous melody that eloquently paints a snowy musical portrait over a thick orchestral arrangement; Maury’s intricate vocal lines are perfectly delivered – perhaps his finest vocal work on the album.

The album further showcases elegant melodies intertwined with appropriate acoustic guitar arrangements in the three-part harmonized choruses of “Elena” and the twinkling harpsichord/keyboard lines “Love Is Just A Passing Thing”. Stepping back for a moment, listeners are treated to the intricate flatpicked “That’s What I Like” and solid strumming of “One Last Chance” - not the most memorable tracks on the album, but fine representations of Maury’s guitar playing and lyrical prowess nonetheless. Aside from the ever-driving and perfectly pocketed groove of the rhythm section throughout the album, Maury’s ability to simultaneously deliver vocal lines and fingerpick his guitar accompaniment at brisk tempos is uncanny – note the tempo and pocket found in “Free To Love You”, “Rocky Mountains”, and “I Have No Time”.

A precursor to the music Maury Muehleisen would play with Jim Croce for just three years (prior to his untimely death in a plane crash in 1973 at age twenty-four), the material found on Gingerbreadd is a pleasant collection of fingerpicked acoustic guitar, mature lyrical content and songwriting, and stunning vocal renditions; one can only wonder what Maury’s future solo career could’ve held but as for Gingerbreadd (the second “D” for a little something extra), it’s a wonderful legacy to the memory of late 1960’s folk and a young man named Maury from Trenton, New Jersey.

Matt Jaworski–Muzikreviews.com Contributor

December 12, 2008

Jimmy Witherspoon Featuring Robben Ford - Live at the 1972 Monterey Jazz Festival

There’s no shortage of energy and enthusiasm as “Spoon’s” group takes to the stage for this afternoon concert at Monterey. A well-respected blues and jazz singer, Jimmy Witherspoon has surrounded himself with a bunch of young up-and-comers like guitarist Robben Ford and drummer Jim Baum. The engaging shuffle Baum plays on the opening piece comes at you tightly wrapped, succinct, and punchy. Unfortunately, the bass is a tad loud. The Fender Rhoades, played by Paul Nagel, sounds muddy and gets buried in the fray, due in part to the balance but also as a result of Ford’s aggressive leads and accompaniment. He gets around the guitar neck exceedingly well, but his musical diction, wherein no one else can get a note in edgewise, is better suited to blues/rock than to jazz. Still, as a front man, he keeps things happening, and the audience continually applauds the guitar solos. Witherspoon repeatedly and unabashedly elicits their adulation for his young bandleader.

This daytime concert comes off a bit rough around the edges. Witherspoon opts for a slow tune as his second offering. The loss of momentum feels like a premature denouement, although it allows the band to settle in a bit. But J.W. seems to have some trouble downshifting. As he sings, he intersperses some incongruent, barking sounds. To make matters worse, it sounds like he’s winging the lyrics, which are at once hesitant, inconsistent, and confusing.

Next comes an improbable, up-tempo (polka?) arrangement of “Kansas City.” The vocalist may be dancing around. It sounds like he’s struggling to catch his breath. Ford, by contrast, takes advantage of the tempo with some eighth-note runs that show off his finger speed and dexterity. It’s straight ahead flat-picking sans any gimmicks. Oddly enough, the ending is an abomination: they tag the last line ad nauseum, and then they stretch it into a major production (a la Sinatra’s ending on “New York, New York.”). It’s a bit much.

On this recording Witherspoon comes across as a strong singer, and, absent the breathing issue above, shows no signs of the throat cancer that would take his life twenty-five years later. Granted his vocal style was tough on the throat. So was his lifestyle, if the lyrics to “Reds and Whiskey” are at all autobiographical. The piece is cut short, likely censored, as he launches into a discussion about smoking pot (during the Nixon Administration, mind you). Perhaps Spoon spent a little too long getting “up” for this afternoon’s show. He curses over the microphone numerous times, threatens to cut the rope to the stage curtain if they try to close it, repeats himself in loud and obnoxious fashion, and brazenly hurls a racial epithet at a member of the audience.

They say, “You gotta suffer if you wanna sing the blues.” It’s sad that Spoon didn’t achieve a measure of stardom commensurate with his talent and suffering. But in the succeeding decades the blues idiom has increased in popularity. There’s plenty on this album to delight the faithful. Its sale will bring credit to the estate of the late James J. Witherspoon and will contribute to the Monterey Jazz Festival’s ongoing success.

Ronald K. Baker-MuzikReviews.com Staff

December 12, 2008

Koldasee - Messiah

I was a tad nervous when I popped the Koldasee Messiah CD into my computer. While I’m a Christmas music fan, Christian music tends to be too preachy for my taste. The first song “Color” is full of R&B and pop sensibilities that surprised me. It’s cheery and a standout on the CD.

“Miracle on Christmas Eve” is earnest with a decent hook: “Hero’s are just ordinary people, forced by love to do the impossible,” a pleasant sentiment for the season.

The rest of the CD doesn’t go over as well. I feel Christmas music can stir the soul, no matter what your beliefs. Unfortunately, a few songs on Messiah are very uninspiring. The muddy vocals in a minor key featured on “Mother of my God” drags. The title track features a harmonica that twangs in an extremely distracting way. “Coming Home” starts out with a country feel and features voices that don’t mesh and seem out of key.

When Koldasee employs a lighter, touch, like on “Child Has Arrived” the result is more agreeable. Overall, not a great effort, but a few shining moments perhaps showcase better things to come from this group.

MuzikReviews.com Staff-Susan Evani

December 12, 2008

Ephrat - No One's Words

Ephrat is the project of Israeli musician Omer Ephrat. No One's Words is the debut album for the progressive rock band. Like most progressive rock, the songs are long and opus-like with several movements. Don’t be fooled by the fact that the album only has 6 tracks; it’s just as long as any full-length with 12 songs.

No One's Words is heavily influenced by metal, as seen by the dingy chords that populate the first half of the ten-minute long opening track, “The Show.” Unfortunately, the rhythmic pattern of the vocals and the guitars becomes very repetitive during this portion of the song. You’re left waiting for the sudden change in style that prog-rock bands do so well for far too long. When the change finally does come, it’s markedly different. The second half of “The Show” is filled with hand-played drums and well-played acoustic guitar melodies with some flute thrown in for good measure.

Ephrat does a decent job of building back up to a metal-style guitar solo to end the song. However, the song lacks the intricacies of other prog-rock groups like Dream Theater that can hold your attention for ten minutes.

Ephrat does a better job on the album’s second track “Haze.” The song opens with interesting broken-apart guitar melodies on a synth. From here, “Haze” has a dark, heavy verse that suddenly becomes a soaring melody, which leads to a discordant chorus. Ephrat does a good job of bouncing the melodic guest vocals of Petronella Nettermalm off of discordant guitar parts. It’s a very intriguing sound that becomes enjoyable. “Haze” definitely proves that Ephrat has some real talent as a prog-rock band.

No One's Words has some other powerful moments. The delicate guitar and flute melody combined with the male/female duet vocals on the introduction to “Better Than Anything” is captivating. At first you’ll be excited when the song kicks into its rock movement, but eventually the song shows the same problems as “The Show,” too much length and not enough substance.

Ephrat once again redeems itself with the 20 minute rock-opera “Real.” Here, Ephrat plays around with many different styles and creates an excellent song. The song opens with a hard-rock introduction, before switching to a Beatles' Sgt. Peppers Lonely Hearts Club Band sound complete with horns. “Real” is the albums’ last song and the first one that Ephrat gets right from beginning to end.

No One’s Words shows a lot of promise for a debut album. Ephrat definitely shoots itself in the foot on portions of the songs, but you can see that some real talent exists on the album.

MuzikReviews.com Assistant Senior Editor-Chris Homer

December 11, 2008

Gary Burris - Staying the Course

Unassuming music is most often love-it-or-hate-it. Talented artists know how to make a career out of airy ballads (Enya, for instance), while their lessers are regulated to writing soundtracks for elevators and the Weather Channel. Yet there are others still who illicit vague, ambiguous reactions that fall under huge gray areas of non-opinion. It’s there where we find acoustic virtuoso Gary Burris, whose newest release Staying the Course is beautiful, rippling, and wonderfully warm, but ultimately indistinguishable. Inoffensive and natural, its testament to musical craftsmanship may not be enough to hold most listeners’ attention for more than a day.

Let’s wring some water out of the wet blanket for a moment and discuss Burris, whose guitarwork is some of the most fascinating, impressive, and underrated in today’s music industry. There is little doubt of his technical proficiency or love for the instrument, as every track on Course is filled to the brim with his nimble fingers and masterful fret maneuvering. In addition, credit is due Burris for avoiding the clinical side effects of such expertise: his guitar is alive and ringing, emotive beyond the usual robotic efforts of most professionals. Spending most of his life in the untamed west, listeners will be able to catch the landscapes flowing through every one of Burris’ relished plucks.

Those evocations of rugged beauty and quiet solitude are Course’s greatest appeals, as it often lacks the familiarity of human touch. To call the album an “instrumental” collection would be a gross understatement: devoid of vocals, percussion, or anything in the way of accompaniment, Burris’ music is guitar and guitar alone. While there is an admirable simplicity about such an approach, it ultimately will leave audiences with a sense of listlessness. Tracks come and go without much distinction beyond an innate golden quality – gorgeous but not striking, as if Burris is simply some spending time beside the fire, reflecting with a strum (albeit an enormously talented one.)

Standout track “Thoughts in Passing” redirects this sentiment for its four minutes of playtime, combining two complimentary guitars that glide and glisten across each other in joyous complement. Yet the title is more apt for the whole collection rather than the singular track: songs are picturesque in general, but lack structure and direction, perfect for playing on a humming stereo during a rainy afternoon and forgetting about altogether in favor of a good novel.

Perhaps that’s Burris’ point – calm, easy music that’s a treat to the ears and effortless for the brain. The guitar-driven equivalent of milk n’ cookies and a warm blanket, if you will. Yet somehow, that seems like a disservice to Burris’ immense talent; a guitarist of such capability should be headlining world-dominating masterpieces, not quiet compilations. As listeners enjoy the reflective finish that “Autumn Leaves” provides for Staying the Course, they will wonder and perhaps rue about such potential in the shadow of Burris’s awe-inspiring ability.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 10, 2008

Freddy V - Easier Than It Looks

Fred Vigdor (or Freddy V) pushed his stake in the ground a long time ago when he stepped in with his saxophone to help the legendary pop-soul band Average White Band climb the charts. AWB remains one of my favorites to this day. For a decade Freddy’s trademark sax was a steady groove on AWB tracks. His accomplishments with that band alone still resonate today.

Through his many years of side work and AWB, Freddy V has come full circle and now has his own solo album, Easier Than It Looks. Don’t let the title throw you off; what Freddy gets done on these 12 tracks is not a walk in the park by any means. He plays his music proudly and wears his influences on his sleeve - Sanborn, Scott, Coltrane etc. all make an appearance in Freddy’s smooth, funky and soulful output. Even though his base sound remains in funk and soul, there are many moments of classic and smooth jazz that come through, which makes for a real nice variety, especially on the all instrumental tunes like “Any Other Way” where everyone in the band gets their turn to step into the spotlight for a while. This track is a perfect example of genre to sub genre crossover and Freddy and his band do it with relative ease, or they make it sound Easier Than It Looks.

Freddy V carries some weight with his resume and he has fellow AWB members, including a new song and vocal “You Can't Have It All” featuring founding member and vocalist of AWB Alan Gorrie. There is also a re-working of the AWB classic "Let's Go Round Again," highlighting the voice of Klyde Jones (co-lead vocalist with AWB) on this fresh and full of life recording. Other prominent players include Mo Pleasure (keyboards, bass, Earth Wind & Fire, Ray Charles, Janet Jackson), Rocky Bryant (drums, with AWB, formerly with Dave Sanborn, Branford Marsalis, Maxwell), Roger Smith (organ, Tower of Power), Onnie McIntyre (guitar, original member of AWB) and Ricky Peterson (Dave Sanborn, Prince, John Mayer).

I felt it was paramount to make mention of all of these outstanding musicians and their impressive list of associations. This is an indication of why the recording is so good and why Freddy handpicked the cream of the crop to help launch his first solo effort into the stratosphere, and it worked.

There is nothing not to like here; it stands as evidence to the consistently good production and quality of a superb solo effort. If you appreciate the great saxophone players in jazz, it’s quite simple, you will love what Freddy V serves up on his first solo album. Its tasteful, exciting, sexy, well, you name it, this CD gets a lock on your heart and soul right from the outset and hangs on tight for the entire ride.

Keith “MuzikMan” Hannaleck

December 10, 2008

Forever Slave - Tales For Bad Girls

Hailing from Spain, gothic-metal outfit Forever Slave delivers a shocking sophomore album with Tales For Bad Girls. There are songs about priests molesting girls, A.I.D.S and cybersex just to name a few fun topics on the album. Unfortunately, the shocking lyrics don’t equate to a shockingly good album. Tales For Bad Girls is the sort of bland new metal that pollutes the genre.

While Forever Slave’s vocalist Lady Angellyca does have a powerful, haunting voice, the generic music accompaniment doesn’t let you draw much pleasure from it.

Tales For Bad Girls opens with “Dickhead!” Lyrically, the song shocks you with the topic of a molesting priest. Angellyca sings in an operatic voice, “I feel hate when he touches me…While his wife is watching TV, when her glance is far away, he plays with his hand under my skirt.”

While the dark subject matter fits the gothic-metal theme perfectly, the slick studio production takes away the raw, aggressive sound that a metal band should have. Angellyca’s vocals are strong, but the liberal use of keyboard and synth throughout the track gives it a contrived feel. The guitar riffs are crunchy and bland, so any jolt you get from the lyrics is quickly replaced with boredom.

Forever Slave clearly has too much love of keyboard on the album. On the very next track, “Say Goodbye,” keyboards and synth once again provide a feeling of slick production and not enough aggression. At least “Say Goodbye” has a decent guitar solo that “Dickhead!” lacks.

Forever Slave quickly returns to shocking lyrics on “Gothix Girls,” a song about cybersex. Here, Angellyca sings, “Turn on your webcam…I need your passion now. You never stop!”

Once you get past the humorous dirty passages of the song, it’s pretty much more of the same for Forever Slave; too much keyboard and not enough of a pure metal sound.

Another problem with Tales For Bad Girls is that Angellyca’s operatic vocals get boring by the album’s final track. It’s simply just too melodic for a metal band. The trance inducing nature of the vocals combined with unmemorable guitar parts will have you sleepwalking through later tracks like “Our Story” and “My Girls (She Loves Her).”

Honestly, is it too much to ask for a growl or a scream out of Lady Angellyca? It is supposed to be metal after all.

Tales For Bad Girls may have some songs with shocking subject matter, unfortunately there’s not much shocking about the music. Forever Slave should have spent less time crafting dirty lyrics and writing synth parts and more time making sure the album had the powerful guitar sound it needed.

MuzikReviews.com Assistant Senior Editor-Chris Homer

December 9, 2008

Elusive Parallelograms - And Everything Changes

For listeners whose curiosity beckons an intense palette of color and energy, Elusive Parallelograms’ And Everything Changes is worth a spin on your ears.

Fresh off the release of their debut album, Milwaukee’s own Elusive Parallelograms wastes no time in making themselves known. “Rev”, a two-plus minute barrage of lazily swooning vocals, driving distorted guitars, and heavily accented drumbeats provides a taste of what is to come. Lead singer John Hense’s vocal lines recall the styling of Black Sabbath-era Ozzy Osbourne and Rush’s Geddy Lee, complementing the driving rhythm section all the while. “Otro” follows with a short space for the music to take a quick breath, recalling the late ‘90’s sounds of Mr. Dave Grohl and his amazing Foo Fighters with a catchy opening guitar riff and chorus-ripping vocal outbursts.

“Belochromatic” and “Hang Those Who Speak of the West” introduce listeners to sonic creativity in contrast to the band’s self-proclaimed “punch-drunk drums and unruly guitars”, with soundscapes that for a moment, whisper the name Radiohead. “Closure” falls somewhere in between the heavy metal-like rock and pop with a drop of a couple tempo notches and a rather lackluster title track follows, providing little more than a space for the album’s energy to take a coffee break and a nice deep breath. However, as quickly as that breath is taken, “Destroyer” steals it away with a hard-edged, screaming metallic eruption, greatly disrupting what little flow the album does have.

And Everything Changes concludes with two vastly differing tracks: “Intelligent Design” which stands up to its name and “Epilogue” – an instrumental sendoff that could’ve been on either Radiohead’s “Kid A” or in The Verve’s “Bittersweet Symphony”; both are in the minority on this album, but a pleasant, relaxing finale nonetheless.

Despite the lack of interesting vocal melodies and lyrical appeal, the driving energy and creative origins of Elusive Parallelograms is what catches ones attention. Aside from their ambivalent musical direction, their passion and energy is a credit to their efforts on their debut album – stay tuned for their sophomore album, it’s coming...

Matt Jaworski - MuzikReviews.com Contributor

December 4, 2008

Tres Bien - Meet Your Maker

Back in the olden days of 2007, Fox decided to air a relatively-unheralded reality show that sought out new musical talent, hoping to get some lucky, fresh act a record label (and with it, millions of viewers and merchandising sales.) No, not that show – I’m talking instead about “The Next Great American Band,” a group-focused clone of “American Idol” whose eventual winner was the livewire Americana act Clark Brothers. Amid some of the disappointed runner-ups was kitschy retro act Tres Bien, whose 60’s-flavored pop rock channeled a bizarre-yet-cute milkshake of The Monkees and The Kinks. Yet despite the slick image and explicit hook, Tres Bien were ousted, their repertoire highly restrictive and, frankly, one-note. Fast forward a year and, fortunately, Tres Bien lives: with catchy-and-quick debut Meet Your Maker proudly in hand, the quartet has expanded their sound and – despite some avoidable missteps – has managed to correct what got them rejected in the first place.

It’s important to note that while Tres Bien is firmly and unapologetically stuck in the not-quite-British-Invasion sound, they’ve clearly succeeded in crafting an album without gimmicks. All are serviceable musicians led admirably by Michael Bostinto, whose slightly-nasal throwback voice is a perfect match for the group’s air. More often than not, the stars line up right and the combination succeeds, with Maker able to present some nuggets of pure sonic joy amid a few fun-but-forgettable tracks.

Quite ironically, one of those unremarkable entries comes right away, with opening track “Seeing You, Seeing Me.” Imagining several weeks of similar stop-start rhythms and ho-hum lyrical crawls and listeners will easily understand why Tres Bien didn’t last long on “The Next Great American Band.” Luckily, the band finds their way quickly enough with the sing-along “Right & Wrong,” followed by the playful (but equally rugged) “Femme Fantome.” Each track features that waxy n’ fuzzy guitar sound – the kind that likes to drive off a cliff for its own amusement, dragging Bostinto and crew along for the drop.

That irresistible method expands as Maker chugs along: “Strange Sleep” brings in a kind of choral-and-string dynamic more reminiscent of Moody Blues, while “Oi Oi” is amusing and punchy, throwing handclaps, up-and-down guitar stutters, and piss n’ vinegar vocals all into the bucket. With each passing track, listeners are left with the impression of an unbeatable poker hand, its holders Tres Bien revealing more and more of their ace cards with joyful exuberance. Title track “Meet Your Maker” and “Through My Eyes” finish as the album’s best songs – driving and impulsive, they end Maker with a smash.

It’s undeniable that Tres Bien have grown since their days on Fox’s summer offerings. Who knows – perhaps if they had presented more of their own excitable music, they could have unseated the wild country-bred fire of the Clark Brothers. No matter: as it stands now, Meet Your Maker succeeds beyond the initial gleam of its retro shtick – fun, rocking, unrepentant, and without a care in the world. Much like Tres Bien themselves.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 8, 2008

Jacqui Naylor - You Don't Know Jacq

VH1’s I Love the 70’s featured a segment hosted by Bob Eubanks titled “Songs to Make Whoopee To”. Add Jacqui Naylor’s cover of the Bee Gees classic “How Deep is Your Love” to any other bedroom playlist you may have. Opening with a church organ sound, the song turns into some of the smoothest sounds to ever ooze from your ear buds.

Naylor and her band comprised of Art Khu, Jon Evans, Josh Jones, Yoan Ki Chai and Michael Romanowski set the smooth and easygoing tone for You Don’t Know Jacq early on. While Naylor’s voice is on display throughout, the ability of every musician playing is hard to ignore. Everyone is doing what is best for the song and impeccably so. Khu, who also produced and worked on most of the arrangements, is especially wonderful on the organ. He is able to fill in the background in a flourishing manner without overstepping his bounds, similar to Garth Hudson of the Band.

But this is a review for You Don’t Know Jacq, not You Don’t Know Art. If you don’t know Jacq, this album is an ideal starting point. The songs are a mix of covers, about half, songs previously released and some new material. The previously released songs are redone, so it’s worthwhile for old fans to check out too.

You Don’t Know Jacq seems to have only missteps rather than flaws. Her voice on “Black Coffee” sounds almost clinical in that it is too well trained, though it’s hard to fault someone for covering Ella Fitzgerald and not blowing you away. And on “Ain’t No Sunshine” Naylor switches the she’s for he’s so as to not lead us to believe she yearns for another female. This problem may be specific to me, but I find it distracting and unnecessary. It’s even weird when the Beach Boys did it, so Naylor’s in good company. Pronouns notwithstanding, it's still a wonderful take on Bill Withers.

These are biggest problems with You Don’t Know Jacq and as you may have noticed, I’m reaching to find them. The album is almost relentless in how well done it is. Naylor and the musicians she has surrounded herself with offer almost no low points. This makes picking out highlights somewhat difficult, but thanks to a handy algorithm, I can assure you that they are This Is the Spot, Shelter and the previously mentioned How Deep Is Your Love.

Dennis Mersmann-MuzikReviews.com Staff

December 7, 2008

Dao Strom - Everything That Blooms Wrecks Me

“Mood” is a tricky balancing act for artists and often a determination of how their music is ultimately defined. Whether songwriters pen happy little ditties or scrawl solemn anthems, they'll inevitably be judged by how well the aura carries over to their audience. This is how a band like the Goo Goo Dolls could abandon their predominantly hard rock genesis for poppy softness: because they executed the latter so darn well. For someone like the folksy Dao Strom, it’s the same principal – her sober, funeral march-of-a-sophomore album Everything That Blooms Wrecks Me is so effective at emitting gloom that it becomes a victim of its own success, with songs often being shrouded by a self-cast storm cloud. It's this very triumph that bogs Strom down, despite her rich lyrical talent and distinctive perspective.

From the outset of Everything, it’s clear that Dao Strom's assorted history is one of her greatest assets. Born in Vietnam, Strom’s footsteps dot some of the country's most diverse locales: from New York City to Austin, Texas to her current location of Juneau, Alaska. Her way with words has been documented in a smattering of critically-acclaimed literature, including The Gentle Order of Boys & Girls and Grass Roof, Tin Roof. Thus, it's not much of a stretch for Strom to assume the role of folk artist, whose narrative talents and storytelling capacity are vital for success. Unfortunately, while Strom has both in spades, her voice remains limited and wan, barely escaping a recurring set of notes and restricting her music's emotional impact.

That disadvantage plays into the larger narrative of static, dismal pieces. Both the title track and “Caller of Spirit” are pretty and thought-provoking introductions to Everything, but remain mired in a drifting, listless depression. It’s a unique sensation for such humble Americana offerings, but nevertheless, the album emits a continual, dragged-out feeling of being marooned in space. “Sweetness” is warm with the glow of slightly-fuzzy guitar strums and haunting Appalachia reverb, but Strom’s undisciplined vocal effort veers the track off-course one time too many. Providing melodies in a register that is often no louder than a eulogy-like whisper, Strom comes across as ailing and lost – an obvious intent, but a technique that grows thin after a handful of songs. Strom seems so dedicated to the method that even the river-bobbing accordion and acoustic combination of “Silver” and more traditional stylings of “Lebanon Missouri” are unable to persuade her into a more energetic delivery.

Strangely, the obsession with morose-laden music does nothing to dampen Everything’s beauty. “Traveler’s Ode” seems the best outing for Strom’s voice – sans any accompaniment – and tracks like the bluegrass-rimmed “Slow” and shimmering, buzzing swells of “Only Angel” prove she has an ear for subtle, elegant melodies. Thus, it’s nothing more than the album’s overwhelming fixations that ultimately prevent it from reaching loftier heights, a combination of favoring lethargic dynamics and Strom’s own anemic channeling. With more energy and direction, perhaps Everything That Blooms Wrecks Me would have been a much more interesting record – and one worthy of Strom’s other accomplishments.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 6, 2008

Marco Granados - Music of Venezuela

Marco Granados states in the liner notes of his beautiful serenade to his country Music of Venezuela, that the music of Venezuela is one of the rare treasures of Latin America, it seamlessly combines cultures, musical traditions, rhythms and the spirit of a people in a joyful and innocent voice.

The artist very eloquently said this with deep thought and respect for his heritage. His flute playing embodies that very thought as Marco very precisely and exquisitely takes you on a trip through the land he loves in 15 tracks of fast-paced jazz tinged Latin-World music.

Marco and his Un Mundo Ensemble are Jorge Glenn (cuatro), Roberto Koch (bass), Leonardo Granados (maracas) and Manuel Rangel (maracas). His guest contribute plenty of heart and soul to the mix, particularly the acoustic strumming on Cuatro (a Latin American instrument with four strings), which is all very fast in order to keep up with Marcos’ rapid accession of notes coming from his flute. Three men encompass this very large contribution including Hector Molina, Henry Linarez and Jorge Glem. All three are incredibly good at utilizing the four stringed instruments, so well that you would never know there were two less strings than a standard guitar. I have to admit that their adeptness was equal to the task and rose to challenge of the excellent flute playing of Mr. Granados.

Marco was apparently very determined to find musical partners on equal ground in order to produce the finest representation of his treasured music of Venezuela. As it turns out for the listener, it actually is like finding a lost treasure and once you have it you will never let it go.

This is music to take you away to another world and even though it is face paced it still has a calming spiritual effect upon your senses, as if he were the pied piper of Latin America inviting you to take a vacation while you experience everything that happens visually through his looking glass of music.

Keith “MuzikMan” Hannaleck

December 8, 2008

Amy Grant - The Christmas Collection

When it comes to Christmas music there are two types of people. The person who loves a holiday tune so much they can’t WAIT to start digging into their collection. On the other side are those who despise the very thought of a little ditty about Rudolph or a cheery stanza about Santa.

In full disclosure, I’m one of those Christmas music geeks.

Christmas songs and Amy Grant go pretty good together. She has morphed from a Pop performer to one of the foremost artists in Contemporary Christian music. On The Christmas Collection, Amy’s voice is comfy and pure and generally wraps around a classic Christmas carol with grace.

It’s difficult to give a new twist to a familiar and beloved song. I mean really, how many versions of “Deck the Halls” and “Have Yourself a Merry Little Christmas” do we need? The CD starts out with the millionth rendering of “Jingle Bells.” This version sounds a bit like a show tune with a kind of cha-cha feel to it. It’s something the kids will really like.

“It’s the Most Wonderful Time of the Year”, “Winter Wonderland” and “Sleigh Ride” all have an old-school Christmas special feel with a large orchestra gleefully backing Amy up. Her warm voice almost conjures up the smell of mom’s cookies. I generally prefer other adaptations of these songs, but she’ll do in a pinch.

“I Need a Silent Night” is an original, with nifty upbeat lyrics recalling memories of Christmas past and bemoaning commercialism.

“Count your Blessings” (instead of sheep) is an example of a song I would personally never listen to any other time of year. But it’s Christmas, and the sentiment comes off as sincere. Some of the more gospel-tinged songs like “Joy to the World” are sung in earnestness with uplifting and melodic arrangements. The simple, country tinged “ O Come All Ye Faithful” makes my heathen soul want to repent.

The Christmas Collection contains a carefully balanced mix of traditional and religious tinged holiday music. It’s a passable blend of new and old that is sure to be favored by all Christmas music geeks. Pass the eggnog and the fruitcake!

MuzikReviews.com Staff-Susan Evani

December 4, 2008

Alyssa Suede - Black and White in Color

On some level, most of us know the pressure of following a family member’s successes, and how long-cast familial shadows hold their own sets of benefits and pitfalls. I reason that it must hold doubly true for Alyssa Suede, whose famous relations include father (and well-known composer) David Campbell and brother Beck (yes, that Beck.) Even her mother, Raven Kane, is an accomplished theater artist. So, it goes without saying that Suede has some very deep footprints laid out in front of her. Luckily, debut album Black and White in Color is a fairly auspicious first step, a singer/songwriter folk-driven project in the vein of a more experimental Jewel. The highs aren’t too high and the lows aren’t too low, but it’s undeniable that there’s substantial promise amid Suede’s trips and stumbles.

The Los Angeles-bred Suede comes from a family of musicians, both famous and otherwise, so it’s no surprise she’s fairly confident with regards to artistic poise. Still, there’s a stark dichotomy between her voice – a more traditional, country-flavored swoon suited for radio – and her musical style, which is about a dozen different flavors of pop, folk, alternative rock, and string-influenced experimental rumblings. That same two-level drama plays out amid Color’s track quality, where Suede alternately amazes and bores, varying between dark, brooding pieces and sappier, chart-friendly fare. The lasting effect is a little schizophrenic and disorienting, but not without its merits.

“Ferris Wheel” introduces us to Suede on a more traditional road, a corn-husking ditty out of the Nickel Creek/Alison Krauss songbook. Things are delightfully perky and fun during verse refrains (singing about Ferris wheels and lemonade helps), but the track’s joy is derailed by a tacked-on chorus obviously designed to hook in listeners like a friendly party host. Perhaps there’s a fear that being associated with Beck will turn off more casual audiences, but that’s misplaced: Suede is stronger when pursuing more serious endeavors, such as the moody “Fallout.” Pairing her breaking, twangy voice with quartet accompaniments and various electronic flourishes, Suede finds a superior niche that evokes more intimacy and feeling.

With that being said, Suede’s musical likeness to Jewel is often startling. Though “Puppet on a String” sounds like the trademark Psycho string line blended with stabs of fuzzy guitar, drums, and other instruments, it might have been ripped from one of the Alaskan crooner’s more polished albums. Ditto on “Jack & Jill,” a storytelling effort whose bluesy, stuttering aura cannot escape the same similarity. While these are not subpar entries by any means, they fail to carve out the distinctive identities managed by tracks such as the wonderfully slow “Jaded and Strange” and the jazzy “Falling From Mars,” both a part of the gloomy camp that “Fallout” claims.

It goes without saying that Black and White in Color is neither a resounding success nor an abject failure; it is, if nothing else, the first go of an artist trying to find her voice, complete with the necessary bright spots and black marks. That quest is especially difficult amid the established success of her precursory relatives, but Alyssa Suede manages to hold her head high and sculpt a fairly satisfying semi-identity.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

Lazz Rockit - Left For Dead

Since forming in 1982 in Berkeley, California, Lazz Rockit has become recognized as one of the founding bands of the Bay Area thrash metal scene that also spawned bands like Metallica and Slayer. Left For Dead is the band’s first album since returning in 2005 after a 13 year hiatus. On Left For Dead, Lazz Rockit shows they can still thrash with the best of them. The album is volatile and intense like any great metal album should be.

Left For Dead opens with “Brain Wash,” a song ruled by a simple, heavy riff played at the fastest tempo possible. The vocals of the verse aren’t so much sung as they are spat at you. Lazz Rockit changes things up with the chorus of “Brain Wash,” where the speeding riffs give way to a more melodic breakdown. It’s a song that gets in your face and doesn’t apologize, like all great metal songs.

On the next track, “Delirium Void,” Lazz Rockit continues its trend of fast, chunky riffs. However, on this song it’s the drum playing that really stands out and makes the song great. Double-bass drum licks kill throughout the track. It’s a fantastic example of metal drumming. “Delirium Void” also has a guitar solo that shows shades of old-school Metallica.

Great thrash metal songs fill Left For Dead. The multiple guitar solos of “My Euphoria” will please any metal fan. Likewise, the sheer brutal speed that a song like “Turmoil” is played at will be addictive to a Metallica or Slayer fan.

Lazz Rockit does a great job of keeping the songs short on Left For Dead. Too often, metal bands seem to think a song needs to be ten minutes long, resulting in a song that eventually loses your interest. Lazz Rockit manages to pack a brutal song like “Brain Wash” into a three-minute box with success.

In fact, the only point where Lazz Rockit stumbles on the album is with the eight minute long “Desolate Oasis.” The song begins with a slow, drawn-out melodic introduction before dissolving into a series of boring repetitive riffs. Towards the end of the song, Lazz Rockit finally kicks into full gear with some great guitar solos, but it just takes too long to get to that point.

Left For Dead also contains three great live tracks that show the raw, aggressive sound you’d expect out of Lazz Rockit. Overall, this is an album that any metal fan would be ashamed to not own.

MuzikReviews.com Assistant Senior Editor-Chris Homer

December 4, 2008

Sweetmeat and the Silverfish - Sweetmeat and the Silverfish

With a name as intriguing as Sweetmeat and the Silverfish, it might be hard to not see what the band has to offer. Will it be ear candy or somewhat hard to swallow?

The first track, “Can’t Start” in fact, does start, and very nicely, indeed. A mix of saxophone, acoustic guitar and keyboards flow into a toe-tapping steady beat. Michael Stefanski, the lead singer, has a voice that sometimes can leave something to be desired. While his voice has a huskiness that fits in well with the rock genre, sometimes it can sound a little strained and not flow particularly well with the music. “Too Much Talk” brings with it a ska feel, especially with the fast piano chords. The whole CD has ska and reggae elements such as accented offbeat’s, bluesy chords, and a few horns thrown in here and there.

“Texas” might be the most fun track on the album. The guitar riff and beat in the song is very reggae and has a feel-good style, whereas “Grey Mourning” is sort of depressing, not only by the title but also by the sad musical composition and lyrics.

Unintentionally or otherwise, “Do You Know Me” has the main guitar riff that sounds just like a very slow version of the one at the end of the solo in “Stairway to Heaven”. Just that fact takes away from the song because it is so hard to not hear Led Zeppelin’s hit embedded in it. And with “Stairway to Heaven”, any band would find it hard to compete.

The final song on the album, “Get Outa My Face (Live in Studio)” doesn’t sound like it’s in a different setting from any of the other songs, in studio or not. The longest song on the album at just over 9 minutes, includes a very 70’s sounding keyboard progression and group chants. It ends with a little bit of chatter from the band, silence, and some jamming together to finish it out.

While Sweetmeat and the Silverfish has a few cons, the pros outweigh them. Overall, the first CD by this band from Nantucket is enjoyable and a sophomore album will certainly be welcomed.

Christen LaFond-MuzikReviews.com Staff

Blue Rabbit - Separate

So much more than creative, intergalactic bunny inspired cover art, Blue Rabbit’s “Separate” is a breath of fresh air.

Formed in 2005, this San Francisco-based cello/harp septet demonstrates a tasteful mixture of jazz-like melodramatic feel and phrasing, thick harmonic layering, and a rhythm section that understands the intricacies of acoustic simplicity; the result is a blend of sound that most Greenwich Village and Brooklyn-based ensembles strive toward, but fall well short of (save NJ’s own Double Breasted).

Instead of the clichéd vamps and overly loud guitar lines found on album opening tracks nowadays, “Sleep” casually grabs your ear and draws you in. Reminiscent of Leigh Nash (Sixpence None The Richer), Bjork, and Fiona Apple, Heather Anderson’s intoxicating vocals gently convince listeners that while they’re not necessarily sure about where she’s going, they should follow her.

“Getting Away” follows with a rich minor chord sequence, strong percussive backbeat, and sudden, but smooth tempo changes; Anderson’s vocals are bluesy, soothing and seductive – the forerunner for top track of the album. Despite cloudy lyrical content, the title track follows with a solid backbeat/harp intro and a melodic chorus and without much avail, continues onto “Missing Piece” – a six-plus minute bluesy interlude splashed between catchy, finger-snapping choruses; in spite of an unlocked drum/harp/cello entrance at the onset of the tune, Anderson is vocally, once again, at the top of her game, weaving a dreamy spell over every corner of the track.

While the bossa-influenced “No Batteries, Please” and the 6/8 feel “Like I’d Like You To” showcase less of the dark Blue Rabbit material with acoustic guitars and thick Wurlitzer/Fender Rhodes-like keyboard tones, “Stupid Flag” and “Love Secret” return listeners back to the album’s original mood and tonality: gloomy and minor, but charming.

In spite of the occasional cello intonation issues and lack of low end to fill out the grounding of the album, “Separate” is a true breath of fresh air and interesting (a characteristic not possessed by many in today’s music industry) to listen to; not often are listeners presented with an ensemble of this makeup that effectively navigate through the elements of melody and mood – until their sophomore album, we’ll have to wait and see where Miss Anderson takes us next – wherever it happens to be, she’s got this set of ears on board.

Matt Jaworski-MuzikReviews.com Contributor

December 3, 2008

Tito Puente & His Orchestra - Live at the 1977 Monterey Jazz Festival

Jimmy Lyons, by way of introduction, suggests that Tito Puente is “royalty” in the world of Latin jazz. This album mightily presents the king in his court: Tito Puente on timbales joined by a fifteen-piece orchestra. Most of the selections are Puente originals that rely heavily on a few simple chords (often only two) punctuated by tightly knit orchestral flourishes featuring complex rhythms and elaborate horn lines. It’s hard to imagine a musical genre more festive than this.

The intro to the first selection is unassuming at first, but when accelerando sets in, it mixes the strange bedfellows simplicity and intricacy. Mauricio Smith manages a note on the bottom of the baritone sax that is reminiscent of the ‘Queen Mary’ coming into port. As the three or four percussionists try to best each other, the horns get into some harmonies based on fourths and major ninths not ordinarily associated with Latin music. When the piece ends, the festival crowd goes wild with appreciation.

Thus primed, the enthusiastic audience immediately recognizes “Oye Como Va,” the Puente composition, popularized in 1970 by guitarist Carlos Santana. They begin clapping along with the beat. Instead of having a lead vocalist, several of the band members sing the song. Their glee is audible and infectious. It has a loose and haphazard quality that reechoes singing on the bus on the way to summer camp. What a groove they get into! If you can hold still while listening to this barnburner, call the paramedics to check you for a pulse. The title loosely translated is “Hey, how’s it going.” After this six-minute blast the likely response is “Just fine, thanks!”

Next, the bandleader introduces a mambo and hollers, “Venga!” Come on along as if back to Puente’s roots at the fabled Palladium in New York City. Here’s a piece that borrows elements of Gospel music. It builds on a repeated figure –Paquito Pastor doing yeoman’s duty on the piano - and features a solo vocal improvisation on top. The brass parts are compelling, and Smith’s baritone sax work is masterful. They blaze to a finely crafted and magnificent “Tutti” ending.

On the ballad “Delirio,” penned by Pastor, the pianist, Frankie Figueroa’s vocal is rife with emotion. Mike Collazo on the drum kit adds not only some intricate cymbal work but also some powerful accents that register on the Richter scale. The horn soloists stretch out and take full advantage of the chord structure on this piece. Puente has surrounded himself with some first rate jazz players. Mauricio Smith somehow manages two-part harmony with himself on flute, a typically monophonic instrument. It brings the house down.

And there’s a lot more where that came from, including a Stevie Wonder composition, and an appearance by special guest, vibraphonist Cal Tjader. The soloists continue their romp. The Latin piano never tires of the repetitious underpinnings. The percussionists call aloud back and forth as they incite each other to create new rhythms. Always in the mix, Puente’s ebullient timbale cuts through, proving that he is “El Rey Del Timbal,” the king of the timbale, royalty indeed.

Ronald K. Baker-MuzikReviews.com Staff

December 3, 2008

Ahmond - A Boy You Once Knew

It’s either a blessing or a curse for up-and-coming musicians to be compared to an established artist, depending on the fate of the latter. A perfect example occurred in 2001 and immediately afterwards, when every trendy rock band was dubbed the “New Strokes” – a title that soon went from eliciting gasps to inducing groans. Safe to say, it didn’t end well, so it’s with caution I label independent singer/songwriter Ahmond the “Next Kenna.” Hypocritical on my part, maybe, but frighteningly accurate. And perhaps the poppy ethno-alternative sound on Ahmond’s debut A Boy You Once Knew is more accessible, more acoustic, and more secure, but the comparison stands nonetheless. That’s because it’s a compliment of the highest order: a march-to-his-own-beat kind of guy, Ahmond manages to emulate the best parts of Kenna’s sound while still remaining unique.

A little history lesson: Kenna is, in this critic’s opinion, one of the freshest faces in the music industry, a charismatic experimenter who can pump out rocking dance tunes one on album (2007’s Make Sure They See My Face) while channeling New Order’s “Elegia” on another (“Hell Bent,” from 2003’s New Sacred Cow.) A younger incarnation of Beck, perhaps. Though the New York-based Ahmond is not as “urban” as Kenna (whose latest album is assisted by Neptunes alums), his sound on Boy is just as interesting: a fusion of old-fashioned alternative rock, 80’s New Wave, breezy folk, ethnic music, and a dozen other flavors, incorporated through melody rather than mosaic. It’s self-described “Folkloric Rock,” comfortable on New Age stations, coffee house sound systems, college campuses, and just about any other outlet.

Things start off humble and soft with title track “A Boy You Once Knew,” where a gliding acoustic gets accompaniments of electronic flourishes, pulsing string quartets, and Ahmond’s sweet but world-weary voice. Time and time again, Ahmond turns to rough sincerity over hubris and pretension to evoke visuals. That refreshing determination continues on the dancing ethno-rumbles of “Go To Africa” and “Those Damn Things,” with both tracks relying on driving percussion to guide the melody along in vastly different ways (the latter sounding like something a heyday-era Cranberries would produce.)

Often, Ahmond is content to be an unabashed, radio-friendly alternative junkie: addictive entries such as “You’re the Life” and “The Forgotten Realm (Left Behind)” might have been produced a decade ago, but manage to emulate the best aspects of David Gray-style adult rock. At other times, Boy is pleasingly experimental, with the sparse Baroque stylings of “Everything Eden” worthy of envelope-pushing artists such as Enya, Bjork, or even Peter Gabriel (or perhaps all of them together in some sort of hyper-duet.)

After devouring A Boy You Once Knew’s nine tracks and meager half-hour running time, the only complaint listeners are bound to have will likely concern the album’s brevity. That, however, turns out to be a trivial complaint for such a striking debut – especially for one that leaves you hungry for more, with the Mediterranean pulse of closing song “Collision” not nearly enough to sate. Yet there’s little doubt that the promising Ahmond – en route to an equally promising career – will deliver more.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 3, 2008

Straight No Chaser - Holiday Spirits

Holiday Spirit is the perfect beginning to Straight No Chaser’s second-coming. Straight No Chaser (SNC) began as a Collegiate a cappella group in 1996 at Indiana University, but their musical adventure did not end with graduation. In an unexpected reunion spurred on by an out of the blue hit on their popular YouTube video “The 12 Days of Christmas” the group signed a 5-album record deal with Atlantic Records, and then promptly went to work.

The men of this group blend their musical talent and innovative style of a cappella to generate a holiday album with the potential of becoming a classic in households across the country. The words holiday spirit mean something different to everyone, but for many they embody the comfort of family, security of tradition, and the merriment of the holidays. SNC’s Holiday Spirit accents their family of voices and their love for entertaining while incorporating the reassurance of well-known lyrics.

The very track that got SNC discovered is on this album. They have included the live recording of “The 12 Days of Christmas” from their 1998 performance in the Indiana University Music Arts Center. This track starts out true to the original, but then as the numerical progression of the days falls away various pieces of other classics can be heard. The melodies of “Rudolph the Red-Nosed Reindeer”, “Santa Claus is Coming To Town”, and finally an amazing interpolation of “Africa.” Throughout this track as well the other 13 on the album SNC has woven harmonies and rhythms together to create an experience for their listeners. They move their audience beyond listening to music.

MuzikReviews.com Staff-Marina Lane

December 2, 2008

Exciter - Thrash Speed Burn

Exciter’s Thrash Speed Burn is the band’s first album in eight years. Exciter returns with a new vocalist in Kenny Winter, but retains the same speed metal sound that they are known for. Thrash Speed Burn is the perfect title for an album that moves insanely fast and shows what speed metal is all about.

Fans of old-school metal will be happy to play air guitar along with the album. Most of the songs use the rapid-fire guitar style of bands like Slayer. However, Exciter mixes the vocal style of Iron Maiden with the Slayer-sounding guitars. Kenny Winter’s shrill vocals ring throughout the album, often going into falsetto. If you aren’t a fan of Iron Maiden you’ll probably find the vocals a little ridiculous. Of course, if you are a fan of Iron Maiden you’ll appreciate the throw-back sound these vocals have. Thrash Speed Burn will have you drawing pentagrams on your wall in no time.

The album’s opening track “Massacre Mountain” begins the speed metal slaughter that just doesn’t quit at any point. The song begins with dirty, down-tuned distorted guitar before kicking into the blistering pace that lasts the rest of the song. Winter’s shrill vocals seem to drive the song to an even faster pace as his falsetto bounces off chugging guitars.

“Massacre Mountain” also contains the type of guitar solo you’d expect from a speed metal band. It’s a great opening track that makes you hungry for more of Exciter’s unapologetic sound.

The title-track “Thrash Speed Burn” also uses break-neck speed to its advantage. The chanted vocals also give it a sort of live sound that’s enjoyable.

Exciter has no problem writing speedy, thrash metal songs. There’s no shortage of head-banging anthems on Thrash Speed Burn. Songs like “Demon’s Gate” and “Hangman” are textbook examples of speed metal, and the riffs are surprisingly clean for the pace they are played at. The drum introduction to “Hangman” is also one of the best moments of the album.

The only real problem with Thrash Speed Burn is that Exciter shows little change in song structure from track to track. When the band tries to change things up a little on “Crucifixion” and “Evil Omen” with a slower pace, the songs sound drawn-out and do little to break up the repetitive feeling.

Despite its shortcomings, Thrash Speed Burn is an album that old-school metal heads are sure to enjoy. Exciter proves that they can still play speed metal as well as any band in the genre.

MuzikReviews.com Assistant Senior Editor-Chris Homer

December 2, 2008

Ayreon - Timeline

Ayreon (Arjen Anthony Lucassen) never intended on releasing a career spanning boxed set or compilation outlining the continuing stories in his successful rock operas. Arjen changed his mind after the release of this year’s 01011001 because it connected all the previous stories musically and lyrically so after more thought, and now feeling comfortable with completing the musical circle if you will, we have Timeline. This set is a beautiful three CD and one DVD box set, which includes a Timeline poster (list releases) and a booklet stocked with photos, liner notes from Arjen, lyrics, and the usual previously unreleased nuggets from the archives. All of the tracks selected for this release were remastered especially for this compilation.

This being the first Ayreon retrospective it is without any doubt quality like all the other releases this fine artist puts out. I am talking about all around quality including sound, presentation, artwork and value to the music fan. On a scale of 1 to 10, it is easily a 9 with just a few points taken off for the DVD. What turns out being a bonus when a recording artist decides to do this is the fact that some listeners will pick this set up and discover Ayreon for the first time and come to the realization that he has a long legacy of recorded works and will then seek that catalog out. In this case certainly that would be the minority because it falls squarely into the progressive-rock genre and longtime fans would be more likely to grab this because of the newly remastered tracks and video footage on the DVD, some of which I have never seen myself and other tracks culled from previous special edition CDs.

I found this most pleasing, being a lifetime fan of Ayreon, for all of the reasons I just sited. The only issue I had was navigating the video tracks on the DVD. It was most difficult getting the little yellow triangle to land where you wanted it on the carefully arranged Timeline grid. As I found out, you are better off popping it into your PC and simply clicking on the selection you would like to view. If you are viewing it on the big screen in your living room trying to figure out how to get it to “play all” is another thing I could not do for some reason, once you view one video it takes you back to the grid and you have to start all over again with that annoying yellow triangle. Normally the “play all” option is a given but in this case it was not, which I found baffling to be honest. You can however choose your sound, 5.1 or Dolby Stereo. The “Stanger Within” video, which is excellent, shows up for an encore in 5.1-surround sound. Also in 5.1 are ”Day Eleven: Love”, “Farside of the World”, “Back on Planet Earth” and “Beneath the Waves”, another very cool video with outstanding graphics and imagery.

To fittingly end the story so Arjen can move on and start another one, a new song makes its debut titled “Featurette Epilogue: The Memory Remains.” This closes out the Ayreon legacy, this chapter that is.

Therefore, this is a nice way for Ayreon, the launcher of Star One and The Universal Migrator, to finish and make a grand departure. We all know that as one door closes and another opens for such an ambitious artists like Arjen Lucassen. I look forward to a new chapter of progressive rock operas right around the corner. In the meantime, I will continue to enjoy this set and reach back for the previous releases of this fascinating creator of music and storytelling.

Keith “MuzikMan” Hannaleck

Donna Lee Quartet - Mellow

In 1999 Zdenko Ivanusic and Andrej Henigman, two classically trained altoists from Croatia crossed paths while playing in the Croatian Army Symphonic Wind Orchestra in 1992. They then formed the Donna Lee Saxophone Quartet. By 2001 the band jelled and found permanent members Vanja Ilekovic (tenor-saxophonist) and Ales Susa (baritonist from Slovenia).

The quartet has performed regularly including several appearances on television and a major concert at the Lisinski Hall in Zagreb. As a strong follow up to their debut, Four Odd, Mellow reasserts their prominence as one of the most admired active quartets worldwide.

The title is a bit deceiving at times, they roll out some “kick your heels up” post bop that requires endless energy and adept skill to perform then they can scale it back with equal precision like subtleties while in the same instance turn around and play what borders on progressive acid jazz. The best case in point would have to be their different adaptation of “La Cucaracha”. I was most intrigued with the cat like quickness that each band member changed his timing and melody in this track. Trust me, you will never hear this classic song again the same after taking in this track. My affinity for progressive rock and fusion (heavily influenced by classical music) came through quite obviously on that musical joy ride.

Ivanusic is the established leader bringing forth six of his originals, three standards and the Macedonian traditional piece “U Krusevo Ogin Gori”, which they all must feel a personal enduring inspiration for, and it plays out as such. With Ivanusic’s pragmatic reeds (alto and soprano) setting the pace, Henigman (alto), IIekovic (tenor) and Susa (baritone) which purposefully comes in very heavy serving as the band’s bass line, effortlessly follow him through the 10 improvisational compositions. Ivanusic also throws in the title of his last solo album “Lost In HTML” just to see what it would sound like within this particular musical configuration.

Yet again Ivanusic triumphs with the most difficult pieces in the realm of instrumental music and with the additional onus of having no other musical instruments to enhance and flavor the mix besides the saxophone, it set the bar even higher for a successful venture. The Donna Lee Quartet creates a recording that will indeed receive rave reviews and deserved accolades in the jazz community.

Keith “MuzikMan” Hannaleck

December 1, 2008

The Crowd Scene - With Complete Glossary for Squares

Often times, the best kind of song is that which offers listeners a journey: ups and downs, climaxes and crescendos, all encapsulated within the art of storytelling and musicianship. That’s a lot of imposing elements to get right for overwhelmed artists – but when they do manage to come together, it’s nothing less than magic. And that is why I turn with a heavy heart to discuss With Complete Glossary for Squares, the sophomore album of Virginia-based trio The Crowd Scene. Despite a wealth of talent and plenty of moody ambiance, Glossary’s offerings take listeners nowhere, gliding listlessly along from track to track with an overbearing case of ennui. As a result, The Crowd Scene threaten to put audiences to sleep rather than stimulate their earbuds.

Husband and wife Grahame Davies and Anne Rogers make up the meat of this lethargic outfit, supported on percussion by Evan Pollack. Together they evoke a kind of tired, 60’s-themed pop gloom ripped straight from the rainy day music of John Lennon. In other words, Oasis without the electric buzz and tiresome anthem-sized singalongs. Unfortunately, The Crowd Scene can’t manufacture anything more interesting in their intimate approach on Glossary, with every track coming across as like-colored Play-Doh formed into slightly-disparate shapes. As Davies barely manages to stretch his slender voice over the sluggish melodies, listeners will start to wonder whether the album was produced during a sleepwalk.

“Walk Up To The Heath” is unadorned acoustical balladeering slowed down to a snail’s crawl. This, despite solid guitar work and serviceable melodies throughout – a ironic frustration on nearly every track. “Edward Learjet” is Lennon through and through, right down to the playful vocal screeds, but fails to rise above its melancholy pomp. Which brings us to another issue: despite the soft dynamics of Glossary’s music, Davies’ voice rarely distinguishes itself. Often times – such as on “Cracked Leather Seat” – his effort sounds like an afterthought, despite an accompaniment of nothing more than soft acoustics. The overall effect is that of a sick man broadcasting from his bedside, with barely enough energy to even lift his head.

Certainly, that kind of quirk distinguishes Davies and The Crowd Scene from rough-and-tumble rock outfits who still prefer “scream-o” music. Yet it is also severely limiting: time and time again, tracks struggle to simply go about a crawl, lulling over and over like a slowly-sinking rock. “It’s Not Easier” is a chain of excruciating stutters, while pieces such as “Trick Photography” and “Secretly Sorry” seem cut from the same exhausted melody line. The album’s best entry, “Great Jones Street,” is still incredibly airy and limp, despite a charming chorus that bops along like a colorful bicycle.

Despite all of this, it’s impossible to deny the talent and confidence of The Crowd Scene – leaving many a fan mildly frustrated to be sure, and not unreasonable in expecting more from a trio with such great components. Yet as listeners skip from track to track on Glossary, they’ll be left hanging for the next step – the increased drama, the payoff, the hook, the whatever-you-call-it that begs and then demands your ear’s attention. Sadly, there’s nothing on Glossary that demands such interest or excitement.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

December 2, 2008

Jack Frost and the Christmas Band - Vol. 1

Is it okay to dislike a Christmas album? Let’s hope so.

Producer Ivan Valles serves up some of the most mediocre holiday cheer in recent memory with Jack Frost & The Christmas Band. There are eight yuletide classics here, that is of course assuming that the listener makes it through without falling asleep at the wheel of the sleigh.

If the Brooks Brothers were to start a record label, this would be their Christmas compilation. We start out with a stiff as an over-starched shirt rendition of “It’s Beginning to Look a Lot Like Christmas.” Strangely, the following track, “Let It Snow”, sounds almost the same, just a little quicker. It’s hard to tell if the drums are a bad sequence or just a bad performance, but either way these tracks swing about as much as a truckload of cinderblocks.

Next up is “Christmas In Killarney”. This one sounds about as Irish as Buena Vista Social Club. One would have to be quite a few pints deep for this track to conjure up images of the Emerald Isle. Mr. Frost and company move on to treat us to a little “Jingle Bells”. Dashing Through the Snow is more like, Passed Out in the Snow.

“I’ll Be Home For Christmas” rounds out the set. The guitar intro alludes to Led Zeppelin’s “Stairway to Heaven”, a surprise for sure, and the only dash of flavor in the whole lot. You know things are bleak when you’re excited to hear a few bars of the intro to “Stairway”. Why couldn’t they have used “The First Noel” to quote The Who’s “Pinball Wizard”?

Simply put, this album sounds like karaoke from the Bushwood Country Club holiday party. With so much Christmas music filling up the bargain bins, from Elvis to Run DMC to Britney Spears, it’s hard to find a place for something as bland, and poorly done as this. With a little help from global warming this snowman should melt soon enough.

Noah Small – MuzikReviews.com Staff

December 1, 2008

Leslie Wake - Heart to Heart

There was a line in The Simpsons once, where daughter Lisa – in response to hearing of audience’s demands for “sap” in news programs – stated: “They want sap? I’ll pump them so full of sap, they’ll be blowing their nose with a pancake!” The quote popped out suddenly (from somewhere in the obscure parts of my brain where I house old television dialogue) when hearing Leslie Wake’s Heart to Heart for the first time. Granted, it’s not the best line to be reminded of when listening to music, but therein lies the double-edged sword of Wake’s charm: honest-spoken, lyric-driven songs that can be both enchanting and cloying within nanoseconds. Unfortunately, Heart spends most of its time stuck in the latter, and no amount of sincere talent can overcome the sap level.

First, the cloud’s silver lining: Wake is an award-winning writer and former hospital “Guitar Lady,” both of which serve her well on this debut album. Lyrically, Heart to Heart is quick and witty, dispatching heart-on-its-sleeve observations that will remind listeners of Carly Simon’s own trademark quips. The lovelost pining is well-suited for the aching atmosphere, with bell-like guitar peals sounding as if they were plucked from a deep Pennsylvanian coal-town forest. But the stark visuals and setting can’t right Heart’s bow, which is pulled under early (and often) by an endless repetition of lulling sound and subpar melodies.

“Diamonds & Desire” starts things off with a mystical aura akin to Joan Baez’s “Diamonds and Rust,” but fails to take its dancing nylon guitars anywhere interesting. Wake is morose throughout, caught between one failed romance and an impending relationship on nearly every track. And while her voice is suitably anguished and strained, the regretful pose becomes tiring before long. Title track “Heart to Heart” continues that meme, with only the sexy, playful “Don’t Matter” popping in to shake things up. Failing that, Wake is content to play the hopeless, lovesick songstress, with entries such as “How Could I Know” and “I Can’t Pretend” sounding as if sampled from some made-for-television Lifetime event. While there’s an undeniable appeal in that kind of sweetness, it’s been done long before, and done much better.

Thus, Wake’s strong suit is her storytelling ability, which comes to life on pieces such as “Hey Little Lady” and “Love at the Five & Dime.” The former revels in its ditty-like pomp, while the latter is wonderfully blue without raining on the musical parade. Regrettably, Heart is intent on filling listeners’ ears with more forced efforts of emotional wrangling – a kind of manufactured sentiment that one often finds in second-rate family films. This is as predictable as those in most places, and continues to frustrate up to the closing bars of the deliberate-but-sugary “This Old Cup.”

Interestingly enough, Heart to Heart is hardly an indictment of its artist, despite its sap-filled contents. Rather, Leslie Wake proves she is as talented a folk singer as she is a writer, a rare and pleasant combination nowadays. That is why her debut should be so much more than a romantic retread, more than just a collection of yearning ballads, and more than just the musical equivalent of a Danielle Steele novel. Sadly, it’s not – ladies and gentleman, prepare your pancakes.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 30, 2008

Amaseffer - Slaves For Life

Israeli progressive-metal outfit Amaseffer’s debut album Slaves For Life has been in the works since 2004. It’s no surprise that the album took four years to finish, as itis a deeply spiritual and ambitious concept album. Slaves For Life is actually the first of a trilogy of albums that tells the biblical story of Exodus, where the Hebrews, led by Moses, were released from the slavery of the Egyptians after a series of ten plagues. If you’ve read the Bible, you know the story, but Amaseffer presents it in a unique way with the epic songs of Slaves For Life.

To say that the album is strictly a metal album would be a lie. Amaseffer combines pounding metal guitars and drums with huge orchestral arrangements, choirs and instruments that sound straight out of ancient Egypt. Slaves For Life definitely pushes metal to a new level of creativity that’s not often seen.

The album opens with the introductory-track “Sorrow,” where Middle-Eastern flute melodies soar over an acoustic guitar, establishing the sounds that Amaseffer injects into songs throughout Slaves For Life.

From “Sorrow,” the album progresses to the title-track “Slaves For Life.” The song opens with a marching snare drum rhythm combined with a slow-moving orchestral part and vocals that can be compared to the chanting prayer songs of the Middle East. Suddenly, a hard-edged metal sound takes over on guitar and drums. However, Amaseffer adds a sitar part and flute to back these sounds up. Just as you think that “Slaves For Life” is another metal song with an over-blown introduction, Amaseffer drops the song back to just the orchestra and the flowing vocals of Mats Leven.

Later on the track, Amaseffer combines the metal, orchestral and Middle-Eastern influenced-sounds with great success. These sections are unlike anything I’ve ever heard from a metal band and showcase Amaseffer’s creativity.

Amaseffer keeps the balance between delicate orchestral melodies and driving metal riffs throughout Slaves For Life. “Birth Of Deliverance” opens with a beautiful, nearly three minute long, orchestral introduction before strong guitar riffs shock you. Likewise, “Midian” shows the same powerfully creative arrangement. Here, verses composed mostly of sitar and Leven’s vocals give way to a ripping metal section with shrieking vocals, before changing back to acoustic guitar and Leven’s melodic voice.

At other points on Slaves For Life, Amaseffer proves they can go the opposite direction with songs that start with metal riffs and then become orchestral. The rock introductions to “Wooden Staff” and “Ten Plagues” are some of the best parts of the album. On both songs, Amaseffer still holds your attention after the introduction with well-composed orchestral arrangements. “Wooden Staff” also has a shredding guitar solo that compliments the orchestra well.

The only real problem with Slaves For Life is that it can be a bit of an exhausting listen. Most of the songs fall between eight and eleven minutes long, and you might find your patience wearing thin as some of the tracks contain excessively long instrumental sections. However, a fan of true creativity in music will find the beautiful arrangement of the album intriguing, even if you’re not religious.

MuzikReview.com Assistant Sr. Staff Writer-Chris Homer

November 16, 2008

Various - Soul Men-Original Motion Picture Soundtrack

With the passing of Isaac Hayes and Bernie Mac earlier this year, the release of the Soul Men-The Original Motion Picture Soundtrack, featuring both Hayes and Mac, will certainly evoke a wide range of emotions. The music itself inspires the boogie in you. The upbeat and very soulful compilation of new and revived tracks is a finger-snapping, hip swinging collection of songs.

This soundtrack boasts an all-star line-up of top contemporary musicians including Grammy winning John Legend. Released on Stax Records, the soundtrack is reminiscent to of many Stax releases in the 1960’s and ‘70’s.

The opening number, “Soul Music”, sets the stage for this twelve-song soul music experience. John Legend’s cover of the undeniable James & Bobby Purify 1966 classic, “I’m Your Puppet” is one of the highlights on this overall shinning compilation. The legendary Isaac Hayes does not disappoint in the five spot with his original recording of Stax Records’ “Never Say Goodbye.” Sharon Jones’ vocals are outstanding on “Just Dropped In (To See What Condition My Condition Was In)”, and Sharon Leal’s mellow vocals on “Comfort Me” are in fact comforting. The closing track, however, lost my attention after three and half minutes – it is ten minutes too long.

Many reviewers comment on Mac’s and Samuel Jacksons’ limited vocal abilities. In the context of this soundtrack, I find any vocal anomalies endearing. Moreover, I believe much of the success of the soundtrack will be due to the actors’ musical participation.

MuzikReviews.com Contributor - Dena M. Castricone

November 28, 2008

Travis Kline - More Time EP

The classic example of violated expectations involves opening a can of beer nuts, only to be assaulted by a spring-loaded paper snake. That was my first reaction to Travis Kline’s second EP, More Time, but without the horrifying conclusion. Beneath the hipster-flannel combo look and aura of Indie angst dripping from its cover, More Time is all about country-flavored pop love – the kind that are written with the utmost care and performed with sublime skill. That sort of sonic blend is very appealing (even to jaded music critics), and tends to overcome the spates of mediocrity and predictability to which Time is prone. In other words, it’s all about averaging strengths and weaknesses, and here Kline has managed to make the former shine through a little brighter.

It helps that Kline is armed with a ripened voice that seems stolen from a man twice his age, tired and dusty in all the ways countrified pipes should be. Time and time again, when the EP turns to the regular assortment of instruments (banjo, oily guitar, honky-tonk piano), it’s Kline’s vocals alone that manage to strengthen the musical delivery. Elevation by way of human effort, if you will, with a suspicion that none of these pieces would work without his distinct touch.

Opening track “Anyway” starts off deceptively simple (cue beer nuts can), with a down-home acoustic and accompanying slide guitar creating an atmosphere straight out of Beck’s Sea Change. However, it doesn’t last: a twangy distortion crashes in only seconds later to introduce the pop anthem status (paper snake pops out.) Moving like an alternative rock radio jingle filled with country players, the song turns out to be the perfect introduction to Kline’s brand of rough-but-sensitive Americana rock. That sound softens even more with “On High St.,” which trots along like a bittersweet horse to Kline’s tender, lovesick croons.

At this point, listeners will undoubtedly note the lack of dynamic movement in Time’s compositions – rarely do they change key or break from tempo. Instead, Kline is content to keep them sleepwalking along in a lazy dream, as if the EP is being broadcast from the confines of a sunset-drenched porch littered with whiskey bottles. Though this is remedied somewhat on “Today,” a stop-and-start ballad of broken relationships and driven guitars, Time gets back to its old habits soon enough. Title track “More Time” starts low and builds slowly, never fully realizing its glorious possibilities due to an unembellished accompaniment. Ditto on the bare-bones closer “A Thought,” which is certainly pretty, but awfully meandering.

More Time manages to overcome its mixed bag status, even if it doesn’t ever truly escape the valley of musical doldrums. This is largely due to the affable persona and confident comfort of Travis Kline, whose songwriting skills and seasoned voice are marred only by an inclination towards the predictable. In the end, most listeners will like (not love) what’s waiting for them inside the tin of beer nuts.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 27, 2008

Hank Williams - Unreleased Recordings

Few artists lay claim to places in history like Hank Williams. He sits among the elite who pioneered not just a genre or style, but the music of an entire nation. Williams shares his lofty perch with the likes of Charlie Parker, Miles Davis, The Beatles, Bill Monroe, Bob Wills, Jimi Hendrix, and Robert Johnson. You don’t often see Bird and Wills listed in the same sentence, but there you go.

With songs of loneliness and heartache, Hank Williams influenced the entirety of American songwriting. His work sits as a crucial link in the evolution of American music, marrying the traditions of western swing, bluegrass, and gospel. His style would pave way for the early rock n’ roll giants Buddy Holly and Elvis Presley, among others. More recently, his influence can be found in the alternative-country and folk worlds with artists like Gillian Welch, Ryan Adams, Darrell Scott, and Lyle Lovett.

This three-disc box set compiles recordings Hank made for the Mother’s Best Flour Show, an early morning radio program carried on WSM-AM, the home of the Grand Ole Opry. These shows were fifteen minutes in length and the band would often record five shows in a day before heading back out on the road. At the time, WSM could be heard all over the mid-south. In part, it was through these broadcasts that Hank Williams became a household name.

The original acetate recordings were rescued from being tossed in the garbage and eventually transferred to tape. That’s where they remained until a legal battle granted Mr. Williams’ estate the rights to the recordings.

Highlights from the first disc include renditions of “I’m So Lonesome I Could Cry”, “Hey Good Lookin’”, and “On Top of Old Smoky”. The recordings themselves are tastefully restored, capturing the warmth of Hank’s voice, and the delicate balance of these live performances.

The second disc opens with his classic “I Can’t Help It (If I’m Still In Love With You)”. It goes on to feature his original “California Zephyr”, along with quite a few gospel classics. On the third disc, Hank does his interpretation of Albert Brumley’s “I’ll Fly Away”, a version of that tune can be heard on the acclaimed soundtrack to the film Oh Brother, Where Art Thou. The upbeat “Mind Your Own Business”, and one of the great under-rated ballads, “There’s Nothing As Sweet As My Baby” take center stage on this final set. Ominously, the set closes with “The Pale Horse and His Rider”.

In total, the number of tracks here comes in at fifty-four. As a testament to the quality of its music, this box set doesn’t leave the listener’s ear with twang fatigue. According to the custodians of Hank’s estate, these tracks represent a fifty-percent increase in the number of Williams’ commercially available recordings. While there aren’t any songs that are previously unheard, all the performances are, unless of course you were listening to WSM in 1951.

This music is special. Not just because of what it would give artistic birth to, but because of it’s natural, ungarnished beauty. Williams and his fellow band mates used a few (or more likely just one) high quality microphone(s) and basically pressed the record button. No overdubs, no digital outboard effects, just the room they were in. This isn’t an outcry against digital conveniences, or an angry-old-man speech, but there’s always something to be said–as with any art form–about clarity and lack of distractions. All clichés aside, the music here is truly allowed to speak for itself.

Noah Small – MuzikReviews.com Staff

November 26, 2008

Demians - Building An Empire

For a debut album of a one-man-band, Building An Empire is quite well-produced. Mixing orchestral elements with electric guitars and ambient effects creates dramatic soundscapes and an environment in which progressive rock can shine.

With plenty of chunky, chugging metal guitars, the first track showed much promise. However, one can’t help but recognize the robot-programmed drum tracks and ambient vocals hiding second-rate lyrics. Building An Empire seemed to just be perpetuating a stagnant spot in its genre that is not forward-progressing as the name implies.

There are many times during the album that I was impressed mostly with the guitar playing and riff-rocking madness, as in “Naïve”. This is the best track on the disc and best hope for a successful single. “Naïve” is reminiscent of California rockers Everclear and sports some of the heaviest riffing that can be heard on any rock record nowadays. There just are not enough bands rocking like this track!

Epic length tracks “Sand” and “Shine” only become boring and repetitive and do not show any new, creative themes or material in order to set themselves apart from the rest of the album. The same orchestral, drum, and rock guitar tricks can be found on every track on the disc and I didn’t sense any other originality. This album could have been one long song and the listener would never even know. One can listen and then guess when the interludes will begin and how they will evolve.

Although very slow and repetitive, I give this disc 3/5 stars. The only things keeping it above water were the above-average guitar playing, tone, and “Naïve.”

MuzikReviews.com Contributor- Wes Costello

November 18, 2008

Starbreaker - Love's Dying Wish

Starbreaker’s second album Love’s Dying Wish proves that metal can be well balanced and still have crushing riffs. Throughout the CD, singer Tony Harnell’s powerful vocals flow well with both the melodic moments and driving metal parts of the songs. The album successfully combines ambitious melodies with typical metal elements, resulting in an enjoyable listen.

Love’s Dying Wish often makes use of orchestral arrangements. The introduction to the first song “End Of Alone” shows that Starbreaker can use these arrangements to their advantage. Here, soaring string parts are balanced between crunchy, distorted guitar riffs. Harnell also shows a lot of vocal range on the song, at times sounding a little bit like Axel Rose. “Evaporate” is another song that plays speed-metal riffs off the background of orchestral strings. The resulting sound of both songs is epic, but Starbreaker does a great job of not straining your patience with a lot of experimentation. The songs are simply straight forward melodic metal songs sure to get your fist pumping.

Starbreaker occasionally surprises you with some very delicate melodies. The piano intro to the title-track “Love’s Dying Wish” shows the band’s ability to go outside of their comfort zone and is a satisfying effort. The huge melodies of the chorus that lead up to shrieking guitar solo also show how well balanced Love’s Dying Wish is. “Building A Wall” has an equally impressive piano driven introduction.

Later on the album, Starbreaker proves that they can play more than just metal riffs on guitar. “Hide” uses flowing guitar riffs, a nice change from the chunky riffs that populate Love’s Dying Wish.

Starbreaker sounds the best on tracks like “Unknown Superstar” that are built for arenas. These songs may not be the most creative on the album, but they are shamelessly fun. The memorable guitar solos of “Unknown Superstar” and group vocals of the chorus create a Bon Jovi-like “Livin’ On A Prayer” feel. It ends up becoming an addictive song after a few listens.

Love’s Dying Wish shows great balance between soft melodies and brutal metal riffs. Many of the songs have an enjoyable anthem quality, without becoming too experimental. Starbreaker has written an album that fans of metal and fans of more melodic rock alike will enjoy.

MuzikReviews.com Assistant Sr. Staff Editor-Chris Homer

November 25, 2008

Aeolian Race - Landlocked Nation

Aeolian Race’s Landlocked Nation most certainly lives up to one of its genres: experimental. The album begins with “The Caspian Sea” consisting of sounds that could come from space: high-pitched tuning of an aerial and laser beams. That eclectic mix takes us into “The Hidden Queen of the Drone Throne” which has keyboards sounding as though they may be being played by a toddler, banging and playing around. Later in the song, some guitar riffs change the sound altogether to a more rock genre, which is carried over into the next track.

Certain songs are definitely reminiscent of Pink Floyd, such as “Landlocked Nation” which has an airy, mysterious feel. Whereas others sound as if The Beastie Boys helped with the concoction, such as “SoHo” with its fast-paced singing and instrument playing.

The lead singer’s voice, while not particularly enjoyable or annoying, is not too impressive. But it does do what it should on this CD, which is fill the void between heavy instrumentals and silence.

If you enjoy music that is spontaneous and unpredictable, pick up this CD. If you enjoy singing along to songs and artists that follow along the beaten path, don’t pick up this CD. Either way, Aeolian Race deserves at least some props for originality.

Christen LaFond, MuzikReviews.com Staff

The Avett Brothers - Introducing the Avett Brothers

Critics may look back on 2008 and dub it the “Year of Lo-Fi Sensitivity.” Headlined by breakout Indie group Fleet Foxes, stripped-down acoustic ballads chock full of heart-on-their-sleeve emotionalism have made a roaring comeback. Perhaps those same critics could look even further into the recent past and credit trio Nickel Creek for infusing bare-bones bluegrass ditties with youth, energy, and talent. Whoever gets the eventual acclaim, future conversations on the compassionate resurgence will undoubtedly include the up-and-coming Avett Brothers, a North Carolina-based trio whose musical bread and butter predominantly include heartfelt, humble, and utterly catchy acoustic numbers. Simplicity has never sounded so honest or so good than on Introducing the Avett Brothers, an EP sampling of releases that includes 2004’s Mignonette, 2006’s The Gleam, 2007’s Emotionalism, and 2008’s The Second Gleam.

Setting aside the novel fact that the Avett Brothers are, in fact, actually brothers, there’s no denying that a sheen of high-minded likability cuts across their lyrical and musical content. In other words, this is thoughtful pop without pretension: detuned banjos stand in for guitars, vocals are unadorned and lack any sort of youthful posing, and refrains drink in the joy of simple rhythm. All the while The Avett Brothers make it look incredibly simple, doling out talented melodies in heavy doses left and right. And though they lack some of the Appalachian authenticity Fleet Foxes channel so well, the Brothers still rightly recognize the power of a single acoustic guitar over more fleshed-out arrangements.

“Paranoia in B Flat Major” is delightfully rustic, with vocals thinly covering a layer of rural angst and despondency over sardonic strums. The track is listeners’ first indication that the Brothers know how to broadcast generational alienation and rebellion with traditional means. Love-‘em-or-hate’em banjos take a more predominant role in “Shame,” but here they’re easy to like, filling in the edges of an ode to embarrassing apologies. As Seth and Scott Avett sing “Boatloads of shame/day after day,” the honky-tonk strut glides along in joyful sorrow.

“Murder In the City” is clearly a highlight track, and demonstrates the Brothers’ penchant for Johnny Cash-like topics of death, crime, and regret (the song starts out literally with “If I get murdered in the city.”) Combined with the beautiful aura of naked acoustic echoes and little else, the entry abstains from epic melodies to achieve a more cordial effect. Even in its climax, nothing more than a handful of piano plinks highlights its elegant ease.

Later tracks like “Swept Away” and “When I Drink” carry on that same formula with more twang, but by then the desired result has already been achieved. In effect, listeners will get the impression that the Avett Brothers would rather go play guitar on the back porch than sit and tweak recording files in some high-tech computer program. In a day when radio is filled more and more with the latter kind of expertise, it’s reassuring to know something like Introducing exists, managing to be both wonderfully traditional and sincerely contemporary at the same time.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 23, 2008

Sammy Hagar - Cosmic Universal Fashion

For better or for worse, the Red Rocker returns. Whatever can be said of Sammy Hagar, it’s certain he could care less about the rants of his critics – especially on this, Cosmic Universal Fashion, his eleventh solo album. That kind of moxie certainly endears him to a particular brand of rock n’ roll; that is, his long-time specialty of loud, brainless, but heartfelt anthems that made him such a special fit for Van Halen. Fashion continues the tradition, and as a result is solidly entertaining but never surprising, something akin to a well-made Twinkie. It’s the exact kind of album one would expect Hagar to make, and thus manages to please and disappoint simultaneously.

That’s not to say it won’t show you a good time; with Hagar, listeners are bound to get a unique type of party-concert vibe from his guitar-driving tunes. Yet, though self-admittedly “short on subtlety but long on punch and personality,” it appears that Fashion is Sammy’s attempt at a more socially-conscious record, leaving the refrains alone while infusing lyrics with politically-charged bravado. Of course, things never get specific, nor do they always remain on track – as his ballsy remake of the Beastie Boys’ “Fight For Your Right to Party” can attest. Polished with the kind of gusto one would expect from Hagar’s musical tastes, the cover deviates little from the original – that is, save a husky croon replacing the Boys’ nasally yells.

“Loud” is a perfect summary of Fashion’s sound – front-heavy guitar sounds, constantly-crashing percussion, and Hagar near-screeching a set of dumb-but-fun lyrics over the top of everything. “Loud like a Super Bowl,” he drawls, “loud like a trash can cherry bomb!” It’s at this point that many listeners will conclude that Hagar has produced the perfect driving record – the kind you’d put on while steering the Arizona desert, brain shut down and mindlessly tapping the wheel in rhythm. Though one would expect that’s the whole point, it remains true that this isn’t the type of music you would blare anywhere else (well, perhaps briefly…at a pool party.)

After wading through mentions of porno mags and boxing ring sound effects, audiences may eventually find something more quirky – like the saucy, twangy “When the Sun Don’t Shine,” which shows a softer side of Hagar without sacrificing any of the sass. Ditto for the soulful, sing-along live track “Dreams/Cabo,” which sheds the tough, wild guy stance in favor of some sincerity and a steady rhythm.

In the end, it’s a shame one has to dig so far down to find the deep, meaningful side of Hagar’s talent. Instead, the veteran rocker would rather play the role of an ADD-plagued fun-loving entertainer for most of Cosmic Universal Fashion – a part he’s welcomed his entire career. While there’s nothing inherently wrong with mindless rock, it’s disjointed to offer such music in an environmentally-friendly package featuring photos of oil refineries, stranded polar bears, and trash heaps. At the very least, Hagar needs to get his rock and his message on the same page.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 24, 2008

New Concept - Stomp

Saying “Euro Pop” in a room full of Americans is akin to screaming “Fire!” in a crowded gym. It’s not that us Yanks are predisposed to hating the genre – but it’s hard to warm to a music we know little about apart from some horrific, overplayed imports. Many people are still having nightmares over Italian group Eiffel 65’s “Blue (Da Ba Dee),” which saturated radio waves so frequently that, eventually, exhausted listeners would have preferred hearing Henry Kissinger read “Ulysses” than to listen to that thumping beat one more time.

That’s why I approached German group New Concept’s third album Stomp with so much trepidation: cringing at the description of “electro-acoustic pop” and “fresh sound buffet,” fully expecting looped synthesizers attempting to photocopy the success of Daft Punk. Luckily, I was pleasantly surprised: though it’s about as edgy as a marshmallow, Stomp is a successful exercise in restraint, eschewing techno-flashiness for relaxed spaciness.

New Concept is the trio of Uwe Loos, Oliver, Keil, and Marcel Gläser, who found previous success in Europe with debut album Wheel of Love (2000) and sophomore release The Outer Gates (2004.) While those efforts were techno-heavy in a more traditional sense, Stomp is contentto pull out the more melodic tones while distancing itself from the house beats. The result won’t surprise anyone, musically: sugary and light, the music here will eventually do to your ears what candy does to your teeth. That being said, it’s clear Stomp is meant as a guilty pleasure, a kind of escapist journey that seeks to titillate rather than challenge. In effect, it’s Yanni as a pop-rock artist rather than a New Ager.

People who associate German music with Rammstein will immediately be caught off guard by opening track “Stomp!,” which is decidedly more Men at Work-ish than industrial growl. Loos’ voice proves to be serviceable if not unique, a fitting match for the slick international sounds at work here. Beats and melodies drive forward like the soundtrack to a car commercial – not necessarily a bad thing in this case, especially in the ludicrously-titled but undeniably-catchy “The Heart is a Lonely Hunter.” A chunky pulse barely growls under swaying electronic beats and well-placed samples, an edgier example of New Concept’s penchant for keyboards and digital polish.

Later tracks are well-executed but not nearly as interesting: “Drowning” is haunting but halting, bogged down with crammed lyrics and banal concepts. Less is more, in this case, which the boys of New Concept seem to understand on “When You Come Around.” The album’s second-best entry, it takes on a much more rockish, radio-friendly edge, with harshly-strummed guitar lines flittering over a lighter melodic riff. Perhaps it represents a step in a whole new direction for the band – the kind that “Don’t Save Us From the Flames” achieved for the once-relatively-obscure M83.

The lesson here for many transient, ambiance-dominated groups is to bring their collective heads out of the clouds and ground the music in something more mundane. As trite as that sounds, it works wonderfully for New Concept here; that is, a healthy dose of structure to temper the more shoegazey aspects of their modern electronica. And though it hasn’t quite drowned my fear for flavor-of-the-month Euro hits (I’m still shuddering over Aqua and “Barbie Girl”), Stomp is a step in the right direction: away from gimmicks and goofs, and towards a more tempered sound.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 21, 2008

Karmakanic - Who's The Boss In The Factory

When most people think of jazz, Sweden does not come to mind. One listen to Who’s the Boss In The Factory by Karmakanic will do nothing to change this. I suspect multiple listens won’t bring you to a different conclusion, no matter how progressive you like your jazz. This is because the album has little in the way of jazz music on it. Oh sure, there are some parts in the longer songs where the guys seem to be playing aimlessly in a mildly improvisational way, but that’s about it. They’re a rock band. This wouldn’t be a problem if they did not label themselves as a jazz group. The Nordic region doesn’t need to be producing jazz bands in the first place, no matter how many sax solos there are.

Once you get over this not really being jazz (which I haven’t) Who’s The Boss is a half-way decent album. There are some good songs on the album like “Two Blocks from the Edge” and “Send a Message from the Heart.” The problem is that the good songs are stretched beyond their means. “Send a Message” could be a great, anthemic rock song, were it condensed from 19 minutes to 5. It has a good hook, a wonderful, slow build and the lyrics, as sparse as they are, push past corny and schmaltzy that they become heartfelt and earnest. It could be a “Don’t Stop Believing” type song, except around the time “Send a Message” should be wrapping up, Karmakanic decides to get all Pink Floyd on our ears.

And this is the overall theme of the album, a lack of focus. Styles shift in songs so frequently that you’ll be surprised when you notice that you’re listening to the same one four minutes ago. Karmakanic’s own website describes the album as “a bit Genesis/Jackson Browne/Pat Metheny/Joni Mitchell/Yes/Pink Floydish.” Joni Mitchell and Genesis? What could possibly be expected from a band whose sound combines Joni Mitchell and Genesis? The answer is 45 minutes of music that is generally progressive rock capped off with two songs that are heavy on the classical piano. Who’s The Boss has some really good moments, but it seems like Karmakanic is trying to confuse and throw off listeners, no matter how much we want to like them.

Dennis Mersmann MuzikReviews.com Staff

November 20, 2008

Christian Scott - Live At Newport CD+DVD

Christian Scott, the rising voice of jazz trumpet today, has released his first live album and DVD, “Live at Newport”. The 2-disc set showcases Scott and his band performing in their element, live at the JVC Jazz Festival in Newport, RI. While featuring 5 new compositions, “Live at Newport” revisits material from both “Anthem” and Scott’s Grammy nominated debut album “Rewind That”. The result is a stunning experience of slow burning jazz infused with an intense and earnest energy harkening back to Scott’s critically acclaimed sophomore release, “Anthem”.

If you’re familiar with Scott’s previous albums you know his music is an expression of personal experience. The set opens with “Died In Love”, harnessing all the heartfelt emotion of losing a close friend. Scott’s playing here echoes cries of sorrow that will send shivers up your spine. Jamire Williams’ staggered drums tumble with energy while Matthew Stevens and Aaron Parks’ brood over a heart wrenching chord progression on the guitar and piano. And this is only the beginning.

Building upon the intensity, “Litany Against Fear” is a composition from Scott’s previous release, “Anthem”. Stevens steals the spotlight with sharp riffs and runs that trickle about the fret board, while saxophonist, Walter Smith III, makes his presence known in this piece by laying out a fervid solo that will leave you breathless.

The energy settles down as Scott’s plays “Isadora” a sweet and smooth ballad that caresses your senses while providing some emotional resolve after the first two numbers. Stevens’ “Rumor” is driven by a funky rhythm with Smith’s solo igniting the composition midway through the piece, while Parks tears up the piano in “Anthem”.

“Live at Newport” is a performance that allows you to experience music in the moment: there are no dubs or retakes. The album affirms that Scott’s unique sound, coupled with his innovative and breath-taking style, is unmatched among his peers. Reinforced by a skillful and adept band, Scott’s “Live at Newport” is an album that will resonate for years to come.

Victoria Collins-November 21, 2008

Allan Comeau - Life Is In Session

Allan Comeau’s debut release, Life is in Session, draws his listener in with the story-telling lyrics of a country song and toe-tapping folk melodies. His songs run the gamut from playful to political. In addition to twelve original numbers, Comeau also covers Leonard Cohen’s “Hallelujah” and Chuck Berry’s “The Promised Land”. The title of the album, Life is in Session, certainly has some connection to Comeau’s thirty years of experience as a practicing clinical psychologist and psychotherapist.

The opening song “You Can’t Catch Me,” cleverly captures the playful nature of new love, while “Lay Down Your Guns” rings clear with a strong message of peace. Comeau ends with “O Katrina,” a powerful ballad paying tribute to the struggles of those who lived through the storm.

The sonic quality and production of Life Is In Session is outstanding. Comeau clearly has the support of several very talented musicians who provide a great depth to each song. The bluesy lead guitar in “Sin to Be Saved” left me playing air guitar.

I have only two minor criticisms. First, in “Best Man,” a lyrically strong song, Comeau’s melody suffers from lack of variety and over-repetition. Second, Comeau’s occasionally unsteady vibrato detracts from the song and Comeau’s otherwise good vocals. All in all, Comeau’s Life Is In Session is a solid folk-country album. Fans of Willie Nelson or Johnny Cash, would truly enjoy Comeau’s Life Is In Session.

MuzikReviews.com Contributor - Dena M. Castricone

November 21, 2008

Roger Kellaway - Live At The Jazz Standard

The most remarkable thing about Live At The Jazz Standard is how Roger Kellaway and his ensemble make this recording sound as if it was recorded right in the studio. This is a tribute to the excellence of Kellaway on piano, his exceptional accompaniment, and not to mention the high standard of recording a live performance for the pristine and perfect replication that this two CD set offers.

The IPO label continues their series of live recordings with Kellaway referred to as the “all wood” (drumless) trios. These sessions emulate the 1940s and 1950s extraordinary trios of Nat Cole, Art Tatum and Oscar Peterson.

Kellaway brings in the splendid Russell Malone on guitar and Stefon Harris on vibes. The vibes provides a nice added touch to their sound and a new wrinkle to previous presentations. Jay Leonhart serves as the bottom end on bass and the special guest is classical cellist Borislav Strulev. Struley shows us why classical music influences everything with a strong presence in the performances.. Clearly, Kellaway is a seasoned performer with recordings dating back to 1965. He was overlooked prior to the 1980s and stands as one of the most respected and revered bandleaders to this day. For this listener it was yet another new discovery in the world of jazz and one that I appreciated enormously.

Once again, I was impressed with not only the quality of music that IPO brings to the table but the packaging and the added sampler they put in so you can check out their stable of artists. I really appreciate the three fold CD in digipak format. It reminds me of gatefold vinyl LPs and it simply looks better and offers more quality to the music connoisseur, and the covers don’t crack or scratch up.

Both CDs have fantastic music that will easily fall into the higher echelons of consideration in the realm of jazz, fitting squarely into the post/neo bop sub genre quite nicely. Although you will not hear the name, Kellway mentioned in the same instance as the legendary Oscar Peterson, he certainly deserves the nod here for pulling together an incredibly coherent band and his playing is beyond exemplary. If the two CDs in this set do not convince you of this then I suggest you go for a hearing test. Once you hear tracks like “C Jam Blues” and the closer “52nd Street Theme” you be left wanting for more and for certain will be reaching for this “A” set of live jazz music many times before your time on this planet is through.

Keith “MuzikMan” Hannaleck

November 22, 2008

Danny Brill - Better Late Than Never

In music, as in anything else, there’s good and bad experimentation. The greatest leaps can result in the greatest rewards – or the greatest disasters, depending on where you land. But once in a while, experimental artists find themselves in the sonic equivalent of No Man’s Land, where even the most patient listeners can’t make heads or tails of what they’re hearing.

And it’s that mixed, confused impression most will step away with after taking on Danny Brill’s Better Late Than Never, a hybrid rock opera-cum-concept album. Despite its tip of the hat to Rush and other retro prog-rock giants, Brill’s work never truly achieves any great visionary pinnacle – or whatever other enigmatic ends it strives for.

The latter result is rather surprising, considering Brill’s talent on piano/keyboards and the impressive list of musicians he’s enlisted for the craft. And despite a wide range of instruments – everything from sitars to mandolins to upright basses and electronic sampling – there is a profound reliance on detracting thematic elements around every corner. Specifically, the dependence on spoken word and poorly-written, poorly-acted dialogue peppered throughout Better’s various tracks is an overwhelming distraction. The randomness is more diversion than delight, and ultimately ends up derailing most of what Brill intends.

The album starts off with “Baker’s Dozen,” a kind of meandering synth-meets-guitar instrumental that loses it way fairly early on. There is little in the way of tension or climax, and the first indication that Brill is willing to scrap melody in favor of bland experimentation. The following “Double Feature” tracks – “Part, Cyclops” and “Part 2, David,” – serve as the listener’s first taste of Better’s thick melodrama, with Ian Lloyd providing a layer of overdriven vocal cheese unheard of since hair metal died in the 1980’s. Greek mythology, vocals seemingly strung from Broadway’s “Jekyll & Hyde,” and dragging guitars – a unique recipe, for sure, but not one for a good song.

In truth, many tracks come across more as avant-garde gimmicks than truly experimental pieces, particularly the roundabout “Yes it Is, No it’s Not.” Such musical leaps would be forgivable if Better were not filled to the brim with them – or if they managed to please while they challenge. Sadly, the only place where that happens is the mystical “InDJia,” where bare sitar-drenched rhythms hook beautifully around ethnic percussion refrains. Yet even this is eventually mired by goofy spoken-word intervals – the kind of vignettes that often bog down many hip-hop albums.

By the time the campy “Son of Bunsen Burner” arrives, listeners will be convinced that Brill is on some kind of incomprehensible, self-indulgent musical quest, as if he’s attempting his own post-modern composition in the vein of a classical opus. Each track on Better Late Than Never yearns for concept status, like rewritten versions of Styx’s “Mr. Roboto” without all the cheesy charm. A whole slew of these things together shapes an album of monstrous proportions, better suited for Halloween playback than anything else. Perhaps that’s what Brill intended – but with talent like his, most audiences will wonder if this goofiness is the best he can produce.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 20, 2008

FEMI - Sweet Water Soul

FEMI takes me back to a Sade concert I attended in San Francisco in the 1985-86 time frame. These are fond memories because I was jumping head first into exploring jazz and all of its sub genres. Sade was a combination of pop and jazz that I found very appealing. FEMI is similar and has the same appeal for listeners that like a musical stew that includes pop, funk, soul, R & B, and the far away fringes of hip-hop, all propelled by a formula that uses jazz as its springboard.

Sweet Water Soul is an impressive EP debut that introduces you to an artist that is not afraid to bare her soul and heritage to the world. While using water as the driving force and or theme of the project, her firm roots in Puerto Rico are the piece of her soul that helps her to realize her highest expectations deep inside, pushing her performing abilities to its very zenith.

The six tracks put FEMI on the stage in your mind with a smooth groove that matches her sultry sweet vocals. This is modern day romanticism set to music with old-fashioned values. That combination works very well for the vocalist and I can see a huge potential for cross-pollination into several radio ready areas.

Tracks 1-3 hold you steady with their hypnotic beats and that sensual soft voice of FEMI that cries out for your attention through the wall of music around her. By the time you get to “I Want You”, you realize the potential for repetition may start setting in with that funky bass line; however, some real nice brass arrives in between the vocals and other instrumentation to keep it all interesting and change the flow.

This is a solid EP and I think this artist has enormous talent and could easily branch out musically, expand upon the concrete foundation laid down here on Sweet Water Soul, and become an artist that is on everyone’s play list.

Keith “MuzikMan” Hannaleck

Jorn - Lonely Are The Brave

The first time I heard the husky voice of Jorn, it took me back a bit. He has a voice that sounds like someone, although I can’t quite place it.

Back in the day, most of the boys l adored were into bands like Ozzy, Whitesnake and Scorpions. I used to pretend I was a fan too, because well…. I liked the boys. Listening to Jorn Lonely Are the Brave I can almost hear the crackling of the radio at full blast as I’m cruisin’ down the road.

When I looked up some background info on Jorn Lande, I found the Norway born artist has worked with a variety of musicians that played with the likes of Rainbow, Deep Purple, Scorpions, Whitesnake and more. So the influence of these groups is not just a coincidence.

The title track, “Lonely Are The Brave” kicks off the CD with a solid rock sound. Jorn’s rough-and-tumble voice pairs well with the boisterous guitars and percussion of his band. “Night City” is enjoyable, the dark lyrics matching the moody music in a listenable style. “Inner Road” is a standout, a metal pop anthem that sounds a bit like Judas Priest.

Some of the songs like “War of the World” and “Shadow People” seem to be forcing a dastardly, menacing style; the growling vocals do not showcase Jorn’s stronger talents.

Overall, Jorn has a tight, polished sound reminiscent of days-gone-by and the 90’s “hairbands” that flooded the airwaves and our collective conscious. While too much of one thing can be too much at times, Jorn toes the line pretty well .

MuzikReviews.com Staff-Susan Evani

November 19, 2008

On Tracy Lane - Pretend the Thing With Charlie Never Happened

Amid all the labels that are applied to modern music, there may be one glaring omission (and if it doesn’t already exist, I am hereby inventing it now): “Adult Contemporary Alternative Rock.” I’m sure it’s been coined elsewhere, but rarely will you hear it mentioned by anyone, in or out of the music industry. And while the perfect poster children for such a genre may bring up names like 3 Doors Down and Lifehouse, it’s time to add one more – specifically, On Tracy Lane. The L.A.-based quintet perfectly typifies the kind of comatose ease that only radio-friendly rock balladeering can induce, with pleasant-but-forgettable lyrics, licks, and looks. In other words, a cookie-cutter climb towards the rock summit – a tried-it-before-a-thousand-times method that sinks their EP Pretend the Thing With Charlie Never Happened like a hiker without a Sherpa.

On Tracy Lane is led confidently by photogenic singer/songwriter Darryn Yates, a likable guy with a likable voice and a genuine So Cal persona. Unfortunately, the agreeable peel of his languid vocal effort is the only highlight of Pretend, with the accompanying music and lyrical attempts stumbling badly from track to track. There is solid musicianship here, but no shred of excellence – songs come and go with little fanfare, little rhythmic change, and little variation. Riffs and melodies (as well as band chemistry) are ambivalent at best and lethargic at worst, contributing to an overall sense of ennui. Perhaps that’s the infamously laid-back Californian attitude – or perhaps it’s the creeping conclusion that On Tracy Lane fails to distinguish itself in any way from thousands of other pop-rock acts.

“Smile Like A Child” opens things up with a sound typical of mid-90’s alternative rock, even down to the way Yates croons “to-day-ee-yay.” Things are pleasantly chunky but never surprising: a verse that is slightly more pleasing than the chorus, a half-attempt at half-rage, and some electronic flourishes here and there. These sorts of things might have worked during the first generational forays of bands like Weezer and Better Than Ezra, but here they sound awkwardly out of time, as if Pretend is some cover-band’s paean to a forgotten decade. “Snowballs in L.A.” adds a more slowed, countrified polish to the earlier formula, a kind of Mason-Dixon-meets-Aerosmith ballad that is anything but unpredictable (listeners can practically cue the sexy guitar solo two thirds of the way through.) “Disappear” is similar in approach and geniality (though its structure and lyrical content are eerily comparable to the famous Smashing Pumpkins B-Side “Pennies.”)

As the more up-tempo “Ship to Ride” and introspective “17” wrap up Pretend, there’s a certain suspicion many listeners will undoubtedly possess: that come tomorrow, they’ll have hardly any lasting impression of On Tracy Lane. The quintet boasts a polish but no niche – in other words, nice clothes, but no identity. It’s the musical equivalent of having a palette and paint but no distinctive art. And it’s a fitting metaphor for Pretend, which has the emotional impact of a blank piece of paper.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 18, 2008

June Moris - White Spot

It seems obvious now that, during the waning days of the 1990’s, there was an explosion of independent female artists rising to musical stardom (actually, “explosion” may be an understatement.) Even long-time singer/songwriters like Ani DiFranco and Tori Amos were getting their due as newcomers like Sarah McLachlan and Alanis Morissette led the way. Of course, like any musical movement, the wave subsided, leaving the legitimate contenders afloat while the pretenders struggled to tread water with their one-hit wonder lifesavers. Like the similarly short-lived Latin and Big Band fads soon afterwards, the “empowered female songstress” stereotype left a bad taste in both critics’ and audience’s mouths due to oversaturation. For the sake of June Moris, let’s hope that ill reaction fades, as her debut EP White Spot demonstrates enough deft touch and genuine talent to garner the beginning of a legitimate musical career.

The New York-based Moris counts Kate Bush as one of her major influences, and the inspiration shows. But much like another veteran female vocalist – specifically, Annie Lennox – Moris’ voice is layered with varying levels of anguish and ecstasy. Such vocal attributes manage to elevate the musical content of Spot: a beautiful-but-inoffensively slick production in the vein of David Gray’s work, pop disguised in a slightly electronic (and slightly forgettable) sheen. In other words, Moris opts to present a tough, unique voice rather than any kind of refurbished edginess.

Luckily, that decision leads to largely solid musical results. The sonic bag that is Spot is a mishmash of various styles – yes, there are shades of Kate Bush, but also a little bit of the Adore-era Smashing Pumpkins and even some Bjork peppered about. Moris’ label is “hypnotic wave,” but perhaps a more accurate genre description may be new-age electronic pop (no less confusing, I’ll admit.) Thus, it’s a toss-up for listener’s expectations: you may get the beautifully-slick, Alanis-esque “White Flower” –youthful, brusque, and pulsing – or you might get the painfully-dragging “The Memory,” a slower piece meant to showcase songwriting knack but only managing to bore.

It’s clear after only a few tracks that Moris transcends with heavier, up-tempo pieces such as “Perfect Dream,” guided by up-and-down percussion drums and a swaying chorus of clean guitar. Such a framework allows Moris to stretch her pained voice into the foreground and away from the more nondescript edges of the music. Ditto on “Intrusive,” which employs a similar style, but ends up as the most interesting track on the entire EP (melodically-speaking), allowing Moris to take the lead.

So the advice to any producer covering June Moris in the future is thus: don’t muzzle her one bit. If anything, strip away all the filler and all the slick Pro Tools editing, hand her an acoustic guitar, and let her go to work. Though White Spot is an incredibly strong start, she’s undoubtedly capable of much, much more.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 16, 2008

Vegasaint - Elephants Never Forget

Back when MTV was still remotely legitimate, there was a weekly show that detailed embattled teens dealing with their parents’ embarrassing behavior. One unfortunate kid had a father who thought he was a legitimate hip-hop artist – he dressed the part, acted the part, and opted to rap rather than talk in casual conversations with the family. He was a middle-aged parent with the vicarious obsession of a fifteen-year-old suburbanite, a painful display of two generations clashing. Unfortunately, I recalled the episode after listening to a handful of tracks off Vegasaint’s Elephants Never Forget, an exercise in hubris, self-delusion, and all the worst rap has to offer (with none of the good.) Elephants is amateurish, scattershot, and bipolar in its execution –about as haphazard and undisciplined as randomly throwing paint on a canvas.

Vegasaint is the pseudonym for the Seattle-bred Casey Allen, now based in San Diego. His background as a Marine (including tours in Afghanistan and Iraq) seems ripe for interesting musical material, including thoughts on war, crisis, and grace under fire. The crushing problem is that his rhyming talent is less than serviceable…and sometimes even painfully atrocious. Thus, in an effort to be both socially responsible and also tart-tongued (a la Eminem), Vegasaint rarely lands on his intended target: his forays into lyrical bravado are hardly believable, his bloated tracks are filled with numerous randomly-placed samples, and his effort on Elephants is weighed down with sixteen tracks of indiscernible hip-hop muck.

After breezing through a spate of flat, dynamic-starved songs (“Spy vs. Spy,” “Red October,” “Shanghai”), listeners may first assume this is parody-fueled fare in the vein of “Weird Al” Yankovic. Sadly, it is not – and furthermore, “Weird Al” turns out to be a better rapper than Vegasaint (just see “Amish Paradise” and “Ridin’ Nerdy.”) For being a genuine, battle-tested soldier, it’s a wonder why Vegasaint’s lyrical output is akin to that of a teenage poseur – a pretender’s sad attempt at legitimate hip-hop, so in love with the sound of their own voice that all quality escapes them. While Vegasaint goes on and on with little rhythm or timing nuance, tracks drag on in stagnant fashion, relying on poorly-placed sound cues to generate enthusiasm.

It’s not that the music is utterly horrendous. In fact, many songs – including “Dear You,” “Doing Fantastic,” “8 Bar Blues,” and “One Rhyme” – are worthy of more polished rap productions, channeling acts such as Kanye West, Beastie Boys, and even Jay-Z. Yet when the meat is supposed to arrive – the lyrical prowess those aforementioned artists possessed in spades – Vegasaint (and his cast of guest stars) fall horribly short. The final product is akin to a bunch of amateurs who somehow obtained a karaoke rap mixtape, spending one afternoon to fool around on the microphone. Suffice to say, that’s not good enough for the kind of self-serving praise Elephants lavishes on itself – and certainly not good enough for tracks like “68 Days Later,” a serious inspection of wartime issues that falls flat because of a tone-deaf ear.

As a person with several veterans in the family, it’s important to recognize Allen’s service and his harrowing experiences overseas. But when it comes to rhyme skills, he needs to head back to the drawing board and buff the rust off his efforts. Elephants Never Forget would have been served better with less filler, more discipline, and true grit. As a former Marine, Vegasaint has plenty of the latter two –now if he could only lend some to his music.

Kevin Liedel, MuzikReviews.com Sr. Staff Editor

November 13, 2008

Rose Tattoo - Blood Brothers

Blood Brothers is the eighth studio album from Rose Tattoo, whose history dates back to 1977. Coming from Australia, it’s no surprise that Rose Tattoo shares a very similar sound to a better known Australian band, AC/DC. Blood Brothers departs little from the sound of the band’s past work. The album proves that sometimes it’s best to stick with what you know.

Throughout Blood Brothers, Rose Tattoo uses a classic, hard-rock guitar driven sound that seems to be straight out of the 70’s. When combined with snarling vocals of Angry Anderson, the comparison to AC/DC becomes unmistakable. The album lacks the memorable guitar solos that an AC/DC album would have, but it’s still full of undeniably strong rock songs.

Blood Brothers opens with “Black Eyed Bruiser.” The song is a fighter’s anthem and Anderson lives up to his name with vocals like, “If your looking for a heavy time/ Best you don’t come around/ Or else you’ll get something heavy/ Six feet of solid ground.”

“Black Eyed Bruiser” uses a heavy, aggressive guitar part that matches the tone of the vocals. However, at a certain point the riff becomes a little repetitive. It’d be nice to hear Rose Tattoo mix it up a little more on the song. The guitar solo near the end of the track helps to break up the repetitiveness, but it sounds like Rose Tattoo could have extended it a little.

Blood Brothers comes back to aggressive, but repetitive, guitar riffs throughout the album. On songs like “1854,” “Man About Town” and “Sweet Meat” these riffs are instantly attractive, but Rose Tattoo fails to add on to this strong foundation and you’re left wanting a more diverse song.

At other times on the album, Rose Tattoo uses more melodic, picked guitar riffs. On “Slipping Away,” the punchy, rapid, blues-influenced guitar part creates a shamelessly fun rock song. “Creeper” also builds itself on punchy guitar riffs and gets help from strong guitar solos.

The special edition of Blood Brothers also includes a 2006 live performance on DVD that features a couple of the songs off the CD as well as some of the band’s older songs. The DVD proves that Rose Tattoo hasn’t dropped a step live, the music sounds just as aggressive as it does on their studio albums. In fact, Rose Tattoo is more enjoyable on the live DVD than on the studio album, so it’s a nice addition to the CD.

While Rose Tattoo will never share the same success that their fellow countrymen AC/DC have, Blood Brothers is still a solid hard-rock album not to be dismissed. Although the album occasionally suffers from a lack of depth, most of the songs are still enjoyable and bring to mind the sound pioneered by bands like Black Sabbath in the 70’s. Chances are, if you like AC/DC’s new album, you’ll be able to get behind Blood Brothers as well.

MuzikReviews.com Staff Writer-Chris Homer

November 13, 2008