tag:blogger.com,1999:blog-55129110724703790882024-03-16T14:52:34.809-04:00Wildy's WorldWildy's World has been bringing you the best in Indie Music, Basement Tapes and major label releases since January of 2008. No artist/band is too big or too small to capture our attention. In the end, it's all about great music, great artists, and the act of creation. All it takes is three chords and a dream. (Although it helps if you know more than three).Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.comBlogger2908125tag:blogger.com,1999:blog-5512911072470379088.post-51185813068991159732022-07-16T08:27:00.007-04:002022-07-16T08:29:41.970-04:00Marc Cohn and the Evils of Streaming<p>I am something of a dinosaur. Let’s get that out front. I refuse to pay for digital file licenses for
music. My CD collection is north of,
well, it’s a lot. I’ve even spurned
releases from some of my favorite artists because they didn’t release hard
copies (here’s looking at you, Ron Hawkins and Barenaked Ladies.) I also have an aversion to vinyl, but that’s
for another day. Suffice it to say that
from the standpoint of sound quality, ownership and longevity, nothing beats
the CD for this music fan.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Of course, I do have teenagers, so things like Amazon Music
and Spotify have made it into our way of life.<span style="mso-spacerun: yes;">
</span>I don’t generally mess with either, although I will admit to spicing up
my morning routine of feeding animals and checking glucose levels with a
shuffle of songs from Amazon for whatever artist occurs to me that
morning.<span style="mso-spacerun: yes;"> </span>It’s often a frustrating
experience, but easier than asking for a specific artist.<span style="mso-spacerun: yes;"> </span>“Amazon, play music by Antje Duvekot.” “I wasn’t
able to find songs by that artist, but here are songs by Two Cats.”<o:p></o:p></p>
<p class="MsoNormal">On this morning’s menu, besides a conglomeration of kibble (what
the hell is kibble?) for the dogs and a split can of Friskies for the felines
was Marc Cohn.<span style="mso-spacerun: yes;"> </span>The first I heard of Marc
Cohn was a quote from Billy Joel way back in 1991, where Billy prognosticated
that Marc Cohn was next great American songwriter.<span style="mso-spacerun: yes;"> </span>“Walking In Memphis” was just catching on at
radio and you could hear the song six times an hour if you were switching radio
stations.<span style="mso-spacerun: yes;"> </span>He is an artist that has
stayed with me through the years in spite of changes in musical taste because
his songs have substance.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal;">He popped into my head this
morning and so I asked Amazon to play songs by Marc Cohn.<span style="mso-spacerun: yes;"> </span>Seven songs in, and I had heard “True
Companion”, “Strangers in a Car” and “Walking in Memphis.”<span style="mso-spacerun: yes;"> </span>Wait, that’s only three songs, but “Walking
in Memphis” had played four times.<span style="mso-spacerun: yes;"> </span><b>FOUR!</b><span style="mso-spacerun: yes;"> </span>Now I love “Walking in Memphis.”<span style="mso-spacerun: yes;"> </span>It’s a brilliant piece of songwriting that
captures a moment like an Ansel Adams photograph turned into song; and I don’t
even mind listening to it four times in half an hour, but this is really a
disservice to Marc Cohn, in a way.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal;">If I were a new fan who stumbled
across one of Cohn’s songs by accident and then looked to take a deeper dive on
Amazon music, I would presume that he was a one-shot wonder (although “True
Companion” is a pretty compelling piece of songwriting in its own right.)<span style="mso-spacerun: yes;"> </span>Attention spans are short these days, and a potential
fan probably moves on to something else (and even an established fan probably
moves on somewhat quickly because of the repeats.)<span style="mso-spacerun: yes;"> </span>The Algorithm, part computer programming and
part Payola, defeats artists at almost every turn.<span style="mso-spacerun: yes;"> </span>This is just another example.<span style="mso-spacerun: yes;"> </span>The repeats of “Walking in Memphis” probably
put another ha-penny in Cohn’s next residual check, but at the cost of the
opportunity to expose people to a deeper catalog that is rich in well-crafted
songs (His recent turn with the Blind Boys of Alabama, <u>Work to Do</u>, is utterly
brilliant, and totally absent here.)<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal;">This is but one of the facets of
the larger problem with streaming.<span style="mso-spacerun: yes;"> </span>Great
artists (like Cohn and Duvekot) get lost in the shuffle.<span style="mso-spacerun: yes;"> </span>Compelling voices with something to say are
not heard unless you know what to ask for (and if Alexa has cleaned her ears
recently.)<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal;">Meanwhile, CDs and (for those who
like media that deteriorates every time you play it) LPs are plentiful in the
marketplace, from the grossly overpriced records at standard retail joints to
thrift stores, garage sales and flea markets.<span style="mso-spacerun: yes;">
</span>If you truly want to support an artist, go to their website, listen to
song samples there that you enjoy, and if you like it, by an album/cd/download
from them directly.<span style="mso-spacerun: yes;"> </span>It puts more $ in
their pockets and ensures that they have the resources to continue doing what
you love them to do.<o:p></o:p></p>Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0Amherst, NY, USA42.9754691 -78.792233514.665235263821153 -113.9484835 71.285702936178836 -43.635983499999995tag:blogger.com,1999:blog-5512911072470379088.post-82845516236057553622020-09-08T16:44:00.005-04:002020-09-08T16:44:46.714-04:00Going Back to Roseland in Style<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3ggz2b6aFpaQcvgEETrFlnqlErUae3c-zYXKcHUsIxHgohHKZ4wZBaB5q1gh1Snub2-MWf5CfdsK_I_pQEp7L0tZHXt3ZPI0jbMNucNoX7dPTTvmqhnKxN2RvHffsRquAdfA53rJf3c/s360/Dennis-DeYoung.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3ggz2b6aFpaQcvgEETrFlnqlErUae3c-zYXKcHUsIxHgohHKZ4wZBaB5q1gh1Snub2-MWf5CfdsK_I_pQEp7L0tZHXt3ZPI0jbMNucNoX7dPTTvmqhnKxN2RvHffsRquAdfA53rJf3c/s320/Dennis-DeYoung.jpg" /></a></div><br /><div><b>Dennis DeYoung - 26 East, Volume I</b></div><div><b>2020, Frontiers Records<span> </span></b></div><div><b><span><br /></span></b></div><div>During the late 1970's and early 1980's there weren't many bands who could keep up with Styx. From 1977 to 1980 Styx released four consecutive multi-platinum albums (The Grand Illusion, Pieces of Eight, Cornerstone and Paradise Theatre.) Styx was a mix of musical contradictions and complements that worked, in large part, due to the vision of Dennis DeYoung. Forty years later, and 20+ years since DeYoung was pushed out of the band, Dennis remains the heart and soul of Styx to many fans. His shows recreate the past for Styx fans 150 nights per year (or did pre-Coronavirus), and do so with an energy and vocal intensity that few 73 year old could match.</div><div><br /></div><div>DeYoung thought he had hung up his spikes for new material under old friend Jim Peterik (Survivor, Ides of March, Pride of Lions) pulled him back in from the recording pasture. Working together, DeYoung and Peterik wrote close to 20 songs. One, "Proof of Heaven", appeared on Peterik's 2019 album <u>Winds of Change</u>. DeYoung was just getting started, however, and dropped <u>26 East, Volume I</u> in late May. It mixes the best of Styx' rock sound with classic DeYoung ballads and wonderfully tongue-in-chic rock/pop. </div><div><br /></div><div>The album opens with "East of Midnight", a Jim Peterik tune enhanced with some classic DeYoung keyboard work. The song fits nicely with DeYoung's looking back to look forward concept album, and sounds like a classic Styx tune. "With All Due Respect" unleashes DeYoung's dad-humor style of the cognoscenti of television's talking head class in an irresistibly danceable rocker. The chorus, "with all due respect, you are an asshole..." rings true with most people regardless of your thoughts on current events. "Run For The Roses" and "Damn That Dream" take altering looks at the pursuit of success; the former a Pilate-like soliloquy on what really matters, the latter a paean to siren call of the life of a creative. These two songs perhaps perfectly capture the tension that has driven DeYoung all of his (now eight) decades. Longtime fans will appreciate DeYoung's ode to the American dream, "The Promise of This Land", calling for all Americans to work together to ensure the dream remains alive for all. </div><div><br /></div><div>The magic moment that seems to have inspired DeYoung to undertake this recording is the duet with Julian Lennon on "To The Good Old Days". The song was written as an ode to his musical roots and where be began, and the inclusion of Lennon brings it full circle. Musically this is the biggest surprise on the album; the song doesn't have the same tenor as the rest of the album, and I suppose that's the point. It's well written, but will probably be hit or miss depending on what fans are looking for. The album wraps with A.D. 2020, an ode to Paradise Past. Get out the tissues, it's an appropriate ending to a brilliant career.</div><div><br /></div><div>Except it's not the end.</div><div><br /></div><div>26 East, Volume II has seven songs in the can with two to be recorded. If Volume I is any indication, Dennis DeYoung still has plenty of gas in the tank.</div><div><br /></div><div><b>Rating: 4 Stars (Out of 5)</b></div><div><b><br /></b></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CFy4hB8EnVU" width="320" youtube-src-id="CFy4hB8EnVU"></iframe></div><br /><div><br /></div>Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-56022406575753245922020-09-02T14:46:00.000-04:002020-09-02T14:46:08.534-04:00Hardly Strictly Bluegrass 2020<p> One of the many casualties of the COVID-19 crisis in 2020 is San Francisco's Hardly Strictly Bluegrass Festival. Scheduled for October 2-4, 2020, the Hardly Strictly Bluegrass Festival cannot celebrate it's 20th anniversary in person, but will offer an online show entitled <u>Let The Music Play On</u>. The show, live from Buddy Miller's studio, will include live performances as well archival footage from festivals past. Announced guests include:</p><p> Emmylou Harris</p><p>Buddy Miller</p><p>Amythyst Kiah</p><p>The War and Treaty </p><p>Steve Earle & The Bluegrass Dukes, featuring Tim O'Brien and Dennis Crouch.</p><p>The festival's organizers also launched the Hardly Strictly Music Relief Fund in 2020 in support of the music community as it grapples with the COVID-19 crisis. The fund includes $450,000 for musician relief and additional support for local music venues and their employees. Musicians interested in grant opportunities can visit <a href="https://www.actaonline.org/program/hardly-strictly-music-relief-fund/">https://www.actaonline.org/program/hardly-strictly-music-relief-fund/</a>. Venues can visit <a href="http://www.hardlystrictlybluegrass.com/2020/music-relief/">http://www.hardlystrictlybluegrass.com/2020/music-relief/</a>.</p><p>Details on the broadcast and lineup will be announced in the coming weeks via <a href="http://www.hardlystrictlybluegrass.com/2020/">http://www.hardlystrictlybluegrass.com/2020/</a>. </p>Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-53315642966330277992020-09-02T12:28:00.001-04:002020-09-02T14:49:22.589-04:00Hello, long lost friend.<p> I remember you.</p><p>It's been a long time since I've walked these halls, but your face is still familiar.</p><p>A lot has happened since we last ran into each other. The world has changed in so many ways.</p><p>Yes, it's good to be back. I am not exactly sure of how I fit in here now. But I think I'd like to give it a try.</p><p>Music is constantly changing. Social mores are constantly straining the bounds of what past generations consider to be the norms, and it all runs in one big cycle. </p><p>I plan on talking a lot about music. Conversing with you. I also want to talk about the world. About ideas and philosophies as they apply to our world and our experience. I am happy to talk politics in the form of ideas. Keep your candidates to yourselves. There's enough name calling elsewhere. But ideas are always open season.</p><p>And health. It's a scary world out there right now for many of us. For some it's something to power through. Some wear masks and view the world through a community lens; others say, "to hell with everyone, I'm doing my own thing." The good news is that no masks are needed here, and the transmission rate is zero. But if you're going to be out around others, put on a damned mask. It costs you nothing but may save everything for someone else. And if you feel it impugns your manhood or your right to choose, then you don't have either to begin with.</p><p>One thing I do note that's important in its way is the continued march to devaluing music. I am talking to those of you who make the music here. We continue to push for more streaming and less physical product (or highly overpriced decomposing product, where necessary.) This benefits those in record labels and streaming services and has little long-term benefit for the creators.</p><p>Your recordings are a record (not the vinyl kind) of your work. When you don't invest in creating physical product you devalue your own career and work. Let me explain.</p><p>Streaming services are not for true music fans. True music fans are the sorts who establish relationships with artists that last the whole or at least parts of a lifetime. These are not people who simply taste and spit out the latest pop hit before quickly replacing it with the next thing. These are people who buy all of your albums and go to shows and buy merchandise. Granted, there are less of those people than there used to be, perhaps. People have been conditioned to go digital by corporate marketers and shortened attention spans. The ease of having every song available has conditioned people to consume whatever the labels want to push rather than investing in artists.</p><p>It is a scheme designed to maintain and enrich record labels while making artists disposable cattle. It is very similar to the Hollywood studio models of the 1950s and 1960s. It is easier to find listeners in the digital world, but more difficult to keep them. Labels used to invest in artists and build them up. They rarely make those investments anymore.</p><p>One of the benefits to physical product is the resale market. Many of the artists out there bristle at this concept, because you don't get any money from these transactions. The record labels hate the resale market, contending that it deprives them of revenue. But is this true? </p><p>There is an entire world of music fans out there who traditionally went to the resale market because they couldn't afford everything they might want to try. The ability to purchase a used CD or LP for a few dollars means those individuals build relationships with artists by trying their music. Those inexpensive sales can lead to other sales, of albums, tickets, merchandise, etc. Records, CDs, cassettes etc. are also passed along to family members and friends as interest wanes, allowing for the discovery of new music for the receivers. In this way discovery of an artist might occur months or years later than the initial fan, but those discoveries are facilitated through the natural trade and transfer of physical copies. Digital is not the same.</p><p>Digital music is not something you own. It's a rental or "license". It can be revoked at any time (have you ever read the Apple user agreement?). It is paying for a privilege rather than a relationship. Investing in a relationship continues even if your most recent work wasn't the music fan's favorite. It's very likely that the good will built from an established relationship will keep you eating even if your most recent work wasn't your best or your most well accepted. Paying for a privilege has a much higher bar. Why would I pay for it if I didn't like your last album and I can get it for free on a streaming service anyway?</p><p>The other consideration, and I recently had this debate with the merch people for a band I adore. This band (who will remain nameless out of respect), recently released an EP of songs and did not make any physical copies available. Now I don't buy digital copies of anything (my choice), so I did not provide any revenue to the band based on this recording.</p><p>But somewhere between 20 and 25% of music sales are still generated based on hard copy sales. Those who buy hard copy are predominately of an older demographic; the one with the most disposable income. These are generally the people most likely to pay premium prices to come to a show or to own/buy memorabilia. Some of those folks don't have strong comfort with digital product, for various reasons. So the failure to provide physical product means a loss for perhaps 20% of revenue from the release... but continued failure to produce physical copies may mean an eventual loss of connection with the band... meaning loss of those ticket and memorabilia sales. And let's face it, that's where most musicians make their money.</p><p>To those who say they can't afford to produce physical product, I would argue you can't afford not to.</p><p>And then there's legacy.</p><p>If you are relying on streaming services to make sure you are remembered, I would offer an analogy. The next time you're at a large body of water (Ocean, Sea, large lake), take a bottle of bottled water and pour it in. Wait even five minutes and try to identify or find the water you poured in. This approximates the lasting impact that most musicians have in the digital world. If you're Springsteen or Madonna or Taylor Swift then you'll be remembered, but the likelihood that someone will discover you one day is almost nil.</p><p>Those pesky CDs and records passed on by others, however, are enduring record of who you are, or at least who you were at the time you made them. This is why ancient rock acts continue to see young fans come to their shows. Artists who go all digital are unlikely to see the same benefits are they age.</p><p>And one final word about vinyl versus CDs. Pick what you want, but I'll go with the small silver discs that are cheaper, easier to store, provide better sound re-production and don't degrade every time you play them. The resurgence of vinyl only benefits the record labels.</p><p>When CDs were introduced, the labels increased the per unit cost of an album. LPs generally retained for about 8.98 in the late 1980's. CDs were introduced at a price point of 12.98 - 14.98 in spite of being cheaper to produce. CD prices were beginning to crack $20 for major artists (list price) when the digital revolution hit. That digital revolution (file sharing) arose largely in response to the price gouging by record labels. Most new albums actually sold in 12.99 - 14.99 range in department stores, but obscure artists weren't often discounted. This didn't benefit the artist, but labels made a lot of money off of it. Then, when LPs were introduced a few years back, two things happened. First, the price points for new LPs were 24.99 - 29.99 in the US. This significant increase persisted despite the rate of increase being wholly out of proportion to the increased cost of producing an LP as opposed to a CD. Second: Labels began actively encouraging stores to decrease the amount of CDs they offered for sale.</p><p>Vinyl degrades every time a needle touches it. CDs only degrade if they are mishandled.</p><p>More expensive + Less durable = greater profit for the record label.</p><p>Inability to trade resell (digital) = greater profit for the record label.</p><p>Neither of these benefit you, the artist.</p><p>Something to think about.</p><p>Comments here are moderated by me. I welcome discussion, disagreement, thoughtfulness and passion. Personal insults to me (which may well be valid) or to other comments, will not got published. Diagreements will not be restricted. Free speech that adds to the conversation will always be respected.</p><p>Finally - I will review music here periodically, as in the old days. If you have an album you would like to have reviewed, please contact me for info on how to submit a physical copy for review. Digital submissions will not be accepted. I am also available on a freelance basis to generate copy for artist websites and promo materials, including artist bios, mailings, articles and blog posts. You can reach me at wildysworld@gmail.com. </p>Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com1tag:blogger.com,1999:blog-5512911072470379088.post-83054318631902090322015-04-30T06:49:00.003-04:002015-04-30T06:49:54.967-04:00Foam Ropes - Foam Ropes<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjPNtrx_PZNwtVPxb-jg0GPZWxkNas_YsaqF94nmHehAOdEvFBr8lvOnzBBJhrT7OpLsGKR1MmJeiExc1i6lUUNUVBLaxBoWa9ff4Bm_N6vdFy-A5is4kXXRwNZfOUcmO68qLOTsOwCok/s1600/FoamRopes_ST.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjPNtrx_PZNwtVPxb-jg0GPZWxkNas_YsaqF94nmHehAOdEvFBr8lvOnzBBJhrT7OpLsGKR1MmJeiExc1i6lUUNUVBLaxBoWa9ff4Bm_N6vdFy-A5is4kXXRwNZfOUcmO68qLOTsOwCok/s1600/FoamRopes_ST.jpg" /></a></div>
<br />
<div class="MsoNormal">
<b>Foam Ropes – Foam Ropes<br />
2015, 7 Trick Pony Records<o:p></o:p></b></div>
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<br /></div>
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Derek Nicoletto, the former front man of Telling On Trixie,
stood at a crossroads in his life: he walked away from his lifelong pursuit of
music to pursue acting through an exclusive theater program. Rather than this becoming a new path, the
breaking down and building up of the stage has led Nicoletto back to music with
a new fervor and a new understanding of self as a creative force. Nicoletto returns this week under the name of
Foam Ropes, with a self-titled album made up of smooth rock and pop.</div>
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<i><br /></i></div>
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<i>Foam Ropes</i> opens
with “Truth In Fables”, a tuneful self-exploration informed by the human
tendency to hide the truth in our own personal narratives. It’s a compelling mea culpa, of sorts, full
of a dramatic flair and a gentle yet persistent guitar-driven arrangement. “Potion Me Well” has an edgier, more muscular
guitar sound that would be at home on old-school AOR stations. Think a cross between Canadian rocker Kim
Mitchell and Billy Squier. Foam Ropes
goes for a pop inflection on “Telescope”, a wordy yet accessible paean to fear
and inertia. This is a radio-ready gem;
upbeat and catchy yet melancholy all at the same time.</div>
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“On Celery Road” is a tasty little rocker that gets your
feet moving with a bright in spite of the darkness sort of sound. Nicoletto digs into the vocal here for all he
is worth, and the performance is stunning.
The mood lightens on “You Make Loving Fun”, with Nicoletto exploring the
natural high of love. This is perhaps
the weakest vocal on the album, but the heartfelt nature of the song makes it
all good. Even the easy sway of the
guitar solo highlights the carefree nature of the moment. Nicoletto explores the uncertainty of
relationships on “Birches” in a dark and tempered pop rocker. “Beauty Number Nine” is a dark rocker with a
light message. Foam Ropes creates a
sound here that would be very much at home on Edge or Classic Rock radio
formats. “Bad Apples” hearkens back to
1960’s ballads, and is dappled with a wonderfully reverbed guitar sound. This is among the best writing on the
album. Foam Ropes reprises “Telescope”
to close out the album, showing the other side of inertia and fear; opportunity
and hope. </div>
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Derek Nicoletto has certainly grown as a songwriter since
his time with Telling On Trixie. There is
more subtlety, nuance and range evident in the songs on <i>Foam Ropes</i>, and the band has a sound that is certainly marketable
in this age of disheveled musical genres.
The songs on <i>Foam Ropes</i> could
find their respective ways to various radio formats as well as to a number of
licensing opportunities. From the
listener’s standpoint, Foam Ropes never stands still. There is a constant evolution of sound as the
album progressives, and you will be pushed along with the rush. This is a great start.</div>
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<b>Rating: 4 Stars</b>
(Out of 5)</div>
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Learn more at <a href="http://www.foamropes.com/">www.foamropes.com</a>. <i>Foam
Ropes</i> is available from <a href="http://www.amazon.com/Foam-Ropes/dp/B00V74NX34/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1430389453&sr=1-1&keywords=foam+ropes">Amazon</a>
and <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CCkQFjAA&url=https%3A%2F%2Fitunes.apple.com%2Fus%2Falbum%2Ffoam-ropes%2Fid979947268&ei=GghCVdaTNYHRgwTTvYDoDQ&usg=AFQjCNGQLs1yHahSfbFeSbql_lysqZgOMA&sig2=ydfR6bfxz6YWrIagBT">iTunes</a>.</div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-5201705939996871162015-04-14T07:07:00.003-04:002015-04-14T07:11:41.427-04:00Bullyheart - Antigravity<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipA60n-h4o3029MnqSgPankbKHDRJnhN1jCpp20IJmBBlhpn8dOP_hkD6W7l3wsX7yF-k6Q4C1tFTJIlZcKk1aeFwM_9vEwJyQ22Kb_XxnQwHpgIHxwAs4drNBaOnb9-p4nA9uSfLl8J4/s1600/Bullyheart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipA60n-h4o3029MnqSgPankbKHDRJnhN1jCpp20IJmBBlhpn8dOP_hkD6W7l3wsX7yF-k6Q4C1tFTJIlZcKk1aeFwM_9vEwJyQ22Kb_XxnQwHpgIHxwAs4drNBaOnb9-p4nA9uSfLl8J4/s1600/Bullyheart.jpg" /></a></div>
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<b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Bullyheart – Antigravity<br />
2014, Skim Milk Productions</span></b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;"><br />
<br />
Bullyheart is the outward expression of recording artist Holly Long’s rebel
musical heart. The Chicago born
singer/songwriter took off for UCLA to study theater, but it was music that
ultimately moved her. Today, Long has
built a reputation as an honest, earthy songwriter and performer. Long finds a home for her voice, both as a
singer and as a songwriter, with Bullyheart.
Long created a cycle of ten songs entitled <i>Antigravity</i> with the help of musical cohorts David Boucher and
Kevin Harp, but the sound is ultimately from the heart of Holly Long. <o:p></o:p></span></div>
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<span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Bullyheart
gets started with "Antigravity", a catchy little rocker full of
syncopated guitar and a strategically laid back vocal from front woman Holly
Long. The juxtaposition between arrangement and vocals is memorable, and Long's
voice sounds like a cross between a young Geddy Lee and Linda
Perry. "Thin Air" has a much more laid back vibe that's
melancholy and refined. "No Pleasing You" has a catchy feel, and is
driven by a talk-sing narrative style. Long works this song for all it is
worth, and you'll have a hard time keeping it out of your head.<br />
<br />
"How Was I to Know" is a slickly produced song of regret. It's well
written and performed, but the elemental lyrics would work better without the
highly polished sonic veneer. "Lost My Nerve" is a languorous bit
of navel gazing poetry set to a crawling arrangement. The juxtaposition of
Long's voice and the depressive arrangement works on one level, but this is a
tough listen nonetheless. Bullyheart sets the ship aright with the manic
"Panic Attack". The inclination to pogo dance to this one is
understandable; at the very least you won't be able to keep your feet still.
"The Pendulum" swing back into navel exercise with a molasses like
arrangement that is a tough sell.<br />
<br />
"Shaken" takes the upbeat path in an observational piece about
another’s emotional state and world outlook.
This is actually well-written, both musically and lyrically. The song gets off to a slow start, but the
incessant chorus has its own inertia, and you’ll find yourself bobbing
along. “There Goes My Man” explores
angst in a delightfully high tempo rocker. This is a brilliant tune that could
be even bigger in sound, but it works very well as presented here. Don’t even try to sit still. Bullyheart pulls in the oars for “Stay”, an
angst filled, repetitive dirge that features just a lingering, plaintive
acoustic guitar and Holly Long’s dynamic voice.
It’s a chilling moment, both memorable and painful. <o:p></o:p></span></div>
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<span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Bullyheart
takes listeners through several ups and downs on <i>Antigravity</i>. The down tempo
pieces can linger too long and become bogged down in emotional and musical
angst, but Holly Long always manages to sound good in the process. The upbeat tunes are where she shines,
rocking out in an understated but still notable fashion. <i>Antigravity</i>
is the sort of album you’ll revisit again and again, whether for specific
tracks or the whole experience.<o:p></o:p></span></div>
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<b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Rating: 4 Stars</span></b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;"> (Out of 5)<o:p></o:p></span></div>
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<span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Learn more
at <a href="http://www.bullyheart.com/">www.bullyheart.com</a>. You can purchase Bullyheart from <a href="http://www.amazon.com/gp/product/B00PAV0NA6/ref=dm_ws_sp_ps_dp">Amazon</a>
or <a href="https://itunes.apple.com/us/album/antigravity/id937851104">iTunes</a>.</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-38065217985021832872015-04-13T05:00:00.000-04:002015-04-14T07:16:07.223-04:00Review: Michele McLaughlin - Undercurrent<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji-udtPxyKNuaCDB-FqiHcjon814Er3pestYzYh-NauPXV53dhOKw2LmRE3zWs0NT4kQw-BjNbSymsHsEvVs4MizQe5sz0j5LM3x-gZ34QgIOP_cWnuXMg1U2Fc6Cn1Jt50wj-wwKmytE/s1600/McLaughlin_Undercurret.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji-udtPxyKNuaCDB-FqiHcjon814Er3pestYzYh-NauPXV53dhOKw2LmRE3zWs0NT4kQw-BjNbSymsHsEvVs4MizQe5sz0j5LM3x-gZ34QgIOP_cWnuXMg1U2Fc6Cn1Jt50wj-wwKmytE/s1600/McLaughlin_Undercurret.jpg" /></a></div>
<b><br /></b>
<b>Michele McLaughlin –
Undercurrent<br />
2015, Michele McLaughlin<o:p></o:p></b></div>
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Michele McLaughlin found her field of dreams, and it has 88
keys.</div>
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Drawn to the piano from a young age, McLaughlin was playing
in front of school mates at the age of five and composing by the age of eight. Blessed with a musical ear, McLaughlin
inhaled melodies and breathed them in ebony and ivory. McLaughlin briefly took piano lessons, but
eschewed the structure of formal instruction.
For the most part, she taught herself by listening to and copying other
composers. Validation came in 2000, when
after much pestering from her Mom; McLaughlin created a cassette of her
music. The feedback received from this
experience led McLaughlin to set up her own home recording studio and get
serious about making music for others to hear.
Fifteen albums on, and McLaughlin has become a powerhouse in the new
age/instrumental world, with awards and/or acknowledgments including the
Independent Music Awards Song of the Year; and Whisperings Solo Piano Radio
Album of the Year. McLaughlin’s latest
effort, <i>Undercurrent</i>, is a powerful
and moving cycle of 13 songs that demand your attention.</div>
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<br /></div>
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McLaughlin is a new age composer with a pop musician’s
heart, writing in almost a singer/songwriter style. It’s therefore not surprising to be occasionally
reminded stylistically of pop recordings as you pass through <i>Undercurrent</i>. The opening track, “11,000 Miles”, carries an
air of Billy Joel in its straight ahead musicality. It’s a pop anthem, unrestrained by subtlety
but thoroughly enjoyable. There’s more
nuance to “Living in Awe”, which has an emotional, if not dramatic build. The early trend on the album is not toward
finesse, but almost to a power songwriting aesthetic. Even the waterfall-like chorus of “Full of
Love” carries this impetuosity, like a child seeing new wonders of the world
for the first time. </div>
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It isn’t until “The Space Between” where we catch glimpses
of McLaughlin’s more pensive side. As
she moves into the second part of the song, however, McLaughlin’s muse storms
back with a rush, pushing with an impatient insistence the story she has to
tell. She steps back for “Undercurrent”,
but even here the quiet surface is deceptive, and the listener is soon caught
up in her musical pull. “Starstuff”
makes no bones about its push, but McLaughlin seems to draw down the intensity
on “Never Give Up”. There’s a singular
beauty to this piece, which reflects in grace and subtlety the depth of emotion
it represents. A sort of quietude
pervades “Evolution”. You might expect
that this song would follow its own title and evolve into something louder or
grander, and to a degree it does, but it is a gradual slide up the scale that
shows tremendous finesse. </div>
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<br /></div>
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“On My Own” showcases McLaughlin at her very best, with
melody, finesse and lyric grace fully integrated. This transitions into “Melody in Motion”;
starting as a plaintive waltz but becomes an aggressively melodic piece of
musical prose. McLaughlin’s cascading
piano style is imperative and impulsive and utterly without reserve. A sonic code arrives with “Stepping Stones”,
a pensive-yet-spritely meditation that’s pretty and refined. McLaughlin closes out with “Synesthesia”, a
quietly impatient number that rolls over and over itself without a sense of
where it’s going until it arrives.</div>
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<br /></div>
<div class="MsoNormal">
Michele McLaughlin impresses with “Undercurrents”. Her compositional style is impetuous,
inpatient and often lacks a sense of subtlety, but it is also ultimately
inspired. McLaughlin isn't afraid to be
herself. She wears her heart on her
sleeve and she touches listeners with her musical honesty. It might not be for everyone, but if you get
it then you’ll find something to like here.</div>
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<b><br /></b></div>
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<b>Rating: 4 Stars</b> (Out of 5)</div>
<br />
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<br /></div>
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<o:p>Learn more at www.michelemclaughlin.com. Purchase <i>Undercurrents </i>via <a href="http://www.amazon.com/Undercurrent-Michele-Mclaughlin/dp/B00STFWJA2/ref=sr_1_1?ie=UTF8&qid=1427710233&sr=8-1&keywords=michele+mclaughlin+undercurrent">Amazon </a>or <a href="https://itunes.apple.com/us/album/undercurrent/id961825473">iTunes</a>, or via McLaughlin's <a href="http://michelemclaughlin.com/store/">Web Store</a>.</o:p></div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com1tag:blogger.com,1999:blog-5512911072470379088.post-22317181815068454942015-04-08T06:45:00.000-04:002015-04-08T06:45:03.225-04:00Blade of Grass - She Was [EP]<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Nv6U_X2k5NOnlrEXHZ2XamZ9PxD1bl1mhK4jYHgXw3iQvF3JyyYm0gcDPYW3HaoVoRhu9aGf3s0U53KO30gmg3NRC10l0JgpLIjmGvCfUG8Z3n-3n0RRGMI0af6uFJdWBM6GHNDdH2g/s1600/BladeOfGrass_SheWas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Nv6U_X2k5NOnlrEXHZ2XamZ9PxD1bl1mhK4jYHgXw3iQvF3JyyYm0gcDPYW3HaoVoRhu9aGf3s0U53KO30gmg3NRC10l0JgpLIjmGvCfUG8Z3n-3n0RRGMI0af6uFJdWBM6GHNDdH2g/s1600/BladeOfGrass_SheWas.jpg" /></a></div>
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<b>Blade of Grass – She Was
[EP]<br />
2014, Blade of Grass<o:p></o:p></b></div>
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Blade of Grass is a minimalist, post-rock electronic duo
from Los Angeles. Josh James and Mike
Hurst combine electro, rock, surf and world music influences to craft
simplistic yet intriguing arrangements that serve as a bed for Josh’s vocal
melodies. The band released two singles
as a two-song EP in the summer of 2014 entitled “She Was”. While the EP doesn’t give a clear sense of
the duo’s musical direction, it does serve as an intriguing introduction.</div>
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<br /></div>
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Blade Of Grass kicks things off with “She Was”, a droning
post-pop ode to love lost. This one is
likely a love/hate proposition for listeners.
Josh James sings with a droning, nasal quality that affects the
low-speed angst of remembered heartache, while a minimalist electronic
arrangement counts the slow passing of time.
This will either connect or it won’t, but it is well and artfully done. “Who You Gonna Run To” is likely to have more
general appeal, with its mellow vibe and pure vocal line. The simple arrangement is appealing, with a
more readily apparent musicality than the previous track. James’ voice is more appealing here as well,
presented with a softer edge.</div>
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Blade of Grass isn’t going to appeal to everyone, but there’s
a unique muse at work here. <i>She Was</i> is an intriguing introduction to
a duo with a lot, perhaps, to say, but whatever they say is going to have their
own distinctive musical pizzazz. I can’t
guarantee you will like everything you hear, but there’s enough artistic juice
here that you’re bound to respect even that which you do not find a feel
for. </div>
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This one is a keeper.</div>
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<b>Rating: 4 Stars</b> (Out of 5)</div>
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<i>She Was</i> is
available from <a href="http://www.amazon.com/She-Was-Blade-Grass/dp/B00MWCP5KY/ref=sr_1_4?ie=UTF8&qid=1428488591&sr=8-4&keywords=blade+of+grass+she+was">Amazon</a>
or <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB4QFjAA&url=https%3A%2F%2Fitunes.apple.com%2Fus%2Falbum%2Fshe-was-single%2Fid910644159&ei=ugElVc_9F8u3sAWQsIGoCw&usg=AFQjCNGZ_EG_Hc09Ok8I5t5o-oJ83zaE8g&sig2=vG9zfpOT3yHiVW">iTunes</a>.</div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-26041140191161966582015-04-08T06:17:00.000-04:002015-04-08T06:17:38.949-04:00Light Over There - Light Over There<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXw8vhb_WKfvnwL97FnbqgC3OKAiHL4CnFOrmhxzLDCb1GrJlsKmdmJrncEeob4xpd__OP5sDohgHb_RTPNE5UpxmRd6ijT0GGImG7Vq3MbIgTB-eK3OPqtDA-ljCkiD7fR8WH0JGKC0Y/s1600/LightOverThere_ST.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXw8vhb_WKfvnwL97FnbqgC3OKAiHL4CnFOrmhxzLDCb1GrJlsKmdmJrncEeob4xpd__OP5sDohgHb_RTPNE5UpxmRd6ijT0GGImG7Vq3MbIgTB-eK3OPqtDA-ljCkiD7fR8WH0JGKC0Y/s1600/LightOverThere_ST.jpg" /></a></div>
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<b>Light Over There –
Light Over There<br />
2015, Light Over There</b></div>
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The ubiquitous nature of the internet has allowed for
artists who might never otherwise meet to connect and make some great art. Perhaps none of those stories is as intriguing
as the one behind Light Over There. Rex Haberman
is a musical veteran, with two solo albums, a duo album a series of EPs with socially
progressive rockers War Poets. Aileen
Henderson is an 18 year old resident of Galway, Ireland. Haberman Aileen Henderson met via Twitter in
2014, and still have never met face to face. Nevertheless, they have begun a
writing and recording partnership that is bound to catch your ear. The duo, with the help of a handful of
Nashville musicians, recently released their debut EP, <i>Light Over There</i>. </div>
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<i><br /></i></div>
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<i>Light Over There</i>
kicks off with “Where Memories Live”, a solid Americana rocker with a good
voice and the wonderfully enigmatic lead vocals of Aileen Henderson. The song tackles the subject of dementia and
the devastating impact it has on families.
In spite of heaviness of the subject, there’s a lightness and energy to
the guitar-driven arrangement that reflects love for the passive
protagonist. This energy carries over to
“She Cries To You”. The juxtaposition of
Henderson’s reserved yet dynamic voice and the up-beat rock arrangement is reminiscent
of some of the better work of the Cowboy Junkies. You’ll have a hard time shaking this song; it
will follow you around for a few days, popping into you head at the most random
moments.</div>
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“I Ain’t That Bad” is a low-key duet between Haberman and
Henderson that’s well meant but perhaps doesn’t work quite as well as
expected. The arrangement has a
country-ish Gin Blossoms feel, but there’s little vocal chemistry between
Haberman and Henderson, and the gap is something of a distraction. “Solitude, Gratitude” is another solid,
low-key rocker, but Henderson’s vocal energy just isn’t this one. Her voice is pleasant enough here, there’s
just no oomph in the performance this time around. Light Over There closes out with “Mountain
Song”, by far the standout track on the EP.
It’s catchy, yet understated, and makes a brilliant showcase for Aileen
Henderson’s voice. Everything clicks
here.</div>
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<div class="MsoNormal">
Light Over There chose their name as a reflection of the
wonder of two musical kindred spirits finding one another across the vastness
of the Atlantic Ocean (or the internet).
That inspiration is apparent on <i>Light
Over There</i> more often than not. The
disconnect of recording in different places at different times does show up at
times, but the band generally does a very good job of bringing an organic feel
to the songs. It will be interesting to
see how the project progresses over time; working face to face will likely help
Haberman and Henderson find the deeper roots that are apparent from the music
on their promising debut.</div>
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<b><br /></b></div>
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<b>Rating: 3.5 Stars</b>
(Out of 5)</div>
<br />
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<br /></div>
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Learn more about Light Over There from the band’s <a href="https://www.facebook.com/lightoverthere">Facebook</a> page. <i>Light
Over There</i> is available via <a href="http://www.amazon.com/Light-Over-There/dp/B00TKKDTFO/ref=sr_1_1?ie=UTF8&qid=1428486109&sr=8-1&keywords=light+over+there">Amazon</a>
or <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB4QFjAA&url=https%3A%2F%2Fitunes.apple.com%2Fus%2Falbum%2Flight-over-there-ep%2Fid967130467&ei=Ef8kVciqLMafsAWfmIH4CQ&usg=AFQjCNEa-AKPZ45gXXY343Pa4lOrRQsPHA&sig2=11O-MRg5i">iTunes</a>.</div>
<br />Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-14204697488433244752015-03-31T07:00:00.000-04:002015-03-31T07:00:29.301-04:00War Poets - Searching For The American Dream<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifWQEtdqyvH50ZATkDRimqu01jDU1ohPeSzipfauBV5RbdiAhiM4ArWI_3MnJIAah52snsEvdWSiSwR4K7SuX2tc0Gw-VwcJyQIIH9zPM1ZLIl8DpwznCzCrffBElBoGD9KZTxLN-pHJY/s1600/WarPoets_Searching.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifWQEtdqyvH50ZATkDRimqu01jDU1ohPeSzipfauBV5RbdiAhiM4ArWI_3MnJIAah52snsEvdWSiSwR4K7SuX2tc0Gw-VwcJyQIIH9zPM1ZLIl8DpwznCzCrffBElBoGD9KZTxLN-pHJY/s1600/WarPoets_Searching.jpg" /></a></div>
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<b>War Poets – Searching
for the American Dream<br />
2015, War Poets</b></div>
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<br /></div>
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Minnesota rockers War Poets have been busy in the last
year. Their most recent release, <i>Searching for the American Dream</i>, is the
third in a cycle of three EPs the band has released in the past nine
months. The cycle is a series of rock
and roll meditations on issues faced in modern American, as seen through the
politically jaded eyes of the Occupy movement.
<i>Searching for the American Dream</i>
is the cycle’s culmination, referencing issues of incarceration; income
inequality; respect for prostitutes; and revolution.</div>
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<br /></div>
<div class="MsoNormal">
The EP opens with “Day Dream”, a compact little rocker with
smooth edges. The song is mildly catchy
and will appeal to fans of classic rock.
The lyrical content is awkward but consistent with issues addressed in
the television show <i>American Crime</i>. “Shadows” is a clumsy humanistic take on
redemption. It’s a great listen
musically, but the disconnect between sound and lyric may be tough to
take. “On My Own” is a classic rock
biograph of a homeless man who experienced child abuse; ran away and grew up on
his own. The song is well written, and
the sound references Pink Floyd or perhaps post-DeYoung Styx.</div>
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<br /></div>
<div class="MsoNormal">
“Sarah” is a song of affection for a prostitute that looks
to remove the stigma of the world’s oldest profession. It also works as an atypical love song if you’re
not listening to the words too closely. “Pay
The Piper” is all about income inequality and revolution. This is perhaps the standout track on the EP;
featuring a tremendously catchy arrangement.
<i>Searching for the American Dream</i>
winds down with “Hey There”, a middling rocker about the pursuit of happiness
and love.</div>
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<br /></div>
<div class="MsoNormal">
War Poets are musically competent on <i>Searching for the American Dream.</i>
The band is musically in sync and wears their progressive social
management views on their collective sleeve.
The message, whatever you might think of it, is ineptly delivered more
often than not. This is a mixed bag that
will have some regional appeal but just doesn’t have enough universal appeal to
break big.</div>
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<b><br /></b></div>
<div class="MsoNormal">
<b>Rating: 2.5 Stars</b>
(Out of 5)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Learn more at <a href="http://www.warpoets.net/">www.warpoets.net</a>. Purchase <i>Searching
for the American Dream</i> from <a href="http://www.amazon.com/Searching-American-Dream-War-Poets/dp/B00TK98ASQ/ref=sr_1_1?ie=UTF8&qid=1427799323&sr=8-1&keywords=war+poets+searching">Amazon</a>
or <a href="https://itunes.apple.com/us/album/searching-for-american-dream/id966455323">iTunes</a>.<span style="color: #555555; font-family: "Arial","sans-serif"; font-size: 9.5pt; line-height: 107%; mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-32782029917593819572015-03-29T07:24:00.004-04:002015-03-29T07:24:50.142-04:00Video: White Like Fire - You Gave Up On MePittsburgh rockers White Like Fire have a new album, <i>Wait The Night Out</i>, dropping on April 21, 2015. The first single from the album, "You Gave Up On Me", is an impressive introduction to the band that has the potential to launch them into a higher musical orbit. Check out the video today, a great morsel to start off the week.<br />
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Learn more at www.whitelikefire.com. Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-27521886271979666552015-03-22T00:16:00.003-04:002015-03-22T00:16:58.294-04:00Love and Music <div class="MsoNormal">
Music is a generous suitor. There’s always something new and interesting to catch your ear. The concept of falling in love is a fair parallel for finding new music that moves you. “Love” can mean so many things of course. You can fall madly in love someone, or love them like a brother or sister; or love them in a new age/agape sense that many claim but few understand. Our attractions to music can be very similar in their disparate sensibilities and styles. Sometimes you need something to rock you; others you need something to soothe you. Sometimes you just want to think or feel; and sometimes you want none of these. The common element is that you find something that touches you on one level or another. It might be a tryst, or it might become a lifelong love; but music rarely leaves you unscathed.</div>
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Just like any relationship, the connection between artist and fan must be maintained. The artist keeps up their side through new material, but also through their social and personal connections with their fan base. Some relationships start strong and fade over time; some start slow but grow over time. I am perhaps talking in circles here, but these concepts apply to two albums I want to talk about today.</div>
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The first is from The Grace Stumberg Band, a Buffalo-based act fronted by the indomitable Grace Stumberg. Stumberg is a diminutive singer with a huge voice, in the vein of Grace Potter. Over her first two albums, 2011’s <i><a href="http://wildysworld.blogspot.com/2011/05/grace-stumberg-to-whom-it-may-concern.html">To Whom It May Concern</a>, </i>and 2012’s <i><a href="http://wildysworld.blogspot.com/2012/10/grace-stumberg-affect.html">Affect</a></i>, Stumberg has shown off a powerful voice and a strong songwriting sensibility. She has an ability to light up a room with that voice. I was understandable excited upon hearing that Stumberg would be releasing a live album in 2015. <i>Live At The Studio Café</i> (Popadelic Records) is a fair representation of Stumberg’s live set a fact that is both encouraging and disappointing at times. The album is encouraging because it gives an accurate representation of her impressive sound, and the material here is among her best. At the same time, the energy level on the album perhaps leaves something to be desired. Stumberg is very much engaged with her audience, and the band backs her 100%, but the album doesn’t do her live presence justice. </div>
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At the same time, another Buffalo-based band, Bryan Johnson and Family is coming into their own. The band released a self-titled demo back in 2011 to positive reviews. The songwriting showed promise and the sound was dynamic, but the production wasn’t quite where the band wanted it to be. Bryan Johnson and Family return in 2015 with <i>Cool Your Jets</i> (Admirable Trait Records), a delicious five song EP full of a rock and roll ethic and a wonderfully danceable sound. The sound is much more polished this time around, and Johnson’s lead vocals and guitar work lead a tight and dynamic quartet with serious chops. There’s a garage/surf/rock ethic here that’s primitive in nature, but this is overlaid with a polished musical veneer that is impossible to ignore. Highlights include the title track, “Cerulean Eyes” and “Dead Fox”. </div>
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Both bands are great representatives of the Buffalo original music scene, and both have the potential to rise above it. Stumberg’s sound might be a little too comfortable to break big, but the talent is there. Bryan Johnson and Family are still honing and developing their sound, but the pop sensibility and DIY/alternative sound they are cultivating speak of big things down the road.</div>
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Stumberg’s <i>Live at the Studio Café</i> is a solid 3 stars out of 5. You can learn more about Stumberg at <a href="http://www.gracestumberg.com/">www.gracestumberg.com</a>. In the mean time, check out this live rendition of "Root Beer Fairy".</div>
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Bryan Johnson and Family’s <i>Cool Your Jets</i> clocks in at 3.5 stars out of 5, but it has some definite 4 star moments. Learn more at <a href="https://www.facebook.com/bjandfam">https://www.facebook.com/bjandfam</a>. </div>
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For now, here's a little live footage to wet your whistle.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/3bMk_vPP0g4" width="560"></iframe>Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-37813780733442715692015-03-02T06:00:00.000-05:002015-03-02T06:49:01.568-05:00Fallin' for Western New York/Exports<div class="MsoNormal">
For those of you who have never been here before, let me tell you a bit about the Buffalo area. To begin with, Buffalo stands at the gates to the rust belt. It was a major manufacturing and port town for the Great Lakes at one time, standing at the Eastern Edge of Lake Erie and at the Southwestern corner of Lake Ontario. The terminus of the Erie Canal can be found here, although no one seems to be quite sure where as various communities each lay their own claims. It is a tremendous city for music and art, although these things are often well hidden from the national eye. What we are most known for, perhaps, are copious amounts of lake effect snow and chicken wings (also known as Buffalo wings). </div>
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The snow is a given, but that isn’t the whole story. If you live in Buffalo or the towns north of it, snow isn’t a huge problem. Our exposure isn’t much different, in general than anyone else living in New York State during winter. It’s the towns and suburbs south of Buffalo that get walloped repeatedly in winter, at least until Lake Erie freezes over.</div>
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What perhaps gets lost in all of this is that the people of Buffalo are good people. It’s a friendly place, and people here band together in times of adversity. That’s not to say we’re perfect. Buffalo has one of the lowest per-capita incomes in New York State, and has the distinction of being one of the most segregated cities in America. What we haven’t seen here is the sort of flat-out racial strife and division that has been on display elsewhere.</div>
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Buffalo creates an environment for its citizens that are full of personal opportunity. Music, arts, politics, professional sports and some wonderful regional food choices all come together to make Buffalo a unique place to live and grow. For a long time, the youth of Buffalo mostly left to seek their fortunes elsewhere, but now the tide is turning. Young people are beginning to flock here because of renewed efforts to revitalize the region. Tomorrow appears to be set to be much brighter than today.</div>
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Speaking of Buffalo area youth who left the area to find their fortunes, today’s artist is a Buffalo native who has gone on to bigger and better things in New York City. Jeneen Terrana is a singer/songwriter based in Queens with a golden voice and a heart to match. I had the pleasure of catching her live show a few summers back at a Relay for Life event in Geneva, NY. It was a light crowd in a small town, but Terrana held sway on stage. Her rendition of “O Sole Mio” was so stunning that the other artists who had played that night all came out from behind the stage to watch and listen. It was a moment.</div>
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Terrana has been busy the last several years, releasing several albums as well as hosting a cooking show, but something special has been going on with her music of late. Terrana’s talent as a songwriter has been blossoming, and has become as formidable as her vocal talents. Her latest EP, <i>Fallin’</i> is a brief but substantial gem, a cornerstone in her development as an artist. The EP opens with “Calling My Bluff”, a brilliant little vignette written from the precipice of love. The song shows off Terrana’s vocal quality and color, as well as distinctive pop sensibility and polish. This is an intelligent pop ballad with a mid-tempo gush you simply cannot ignore. “Fallin’” is a heartfelt ballad that’s sweet but not saccharine. There’s a distinctive poetry here that manages to be artistic yet honest, and Terrana brings it all from the heart. </div>
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“No One Can Hurt You” is solid, a song of succor written with an attention to emotional detail that is stunning. The maturity that shows through here is compelling. “Fast Lane (On Your Way)” doubles down on this oeuvre, while proving Terrana’s penchant for catching melodies and vibrant pop songwriting. <i>Fallin’</i> closes out with a live version of Terrana’s “Bloody Valentine” recorded at The Palladium. This is ear candy/filler for close fans, but it’s a solid close that gives you a sense of how Terrana’s sound carries in a live environment.</div>
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<i>Fallin’ </i>is too brief, but gives forth brilliant musical light while it shines. I’ve been aware of Jeneen Terrana for a number of years now and always had great respect for her work, but <i>Fallin’</i> definitively highlights an artist who has taken her game to another level. Give it 5 stars.</div>
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Learn more at <a href="http://www.jeneenterrana.com/">www.jeneenterrana.com</a>. In the mean time, wet your whistle with a listen to "Fallin'" live. </div>
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Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-20043492203226074272015-03-01T07:31:00.000-05:002015-03-01T07:31:06.557-05:00Fear, Comfort and Dirty Smile(s)<div class="MsoNormal">
It’s a scary world; A world full of people who are willing to castigate you for what you believe, or worse. It doesn’t really matter what side of the political, religious or philosophical spectrum you’re on. We in the United States live in a country started on the basis of freedom. Puritans left Holland/England seeking freedom to believe in and worship God in the fashion they wished rather than in the manner prescribed by King James. The founders of the United States wrote the Declaration of Independence, the United States Constitution and the U.S. Bill of Rights to specifically codify U.S. objections to rule by kings, tyrants and despots. </div>
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Now we live in a nation where our leaders act counter to the interests of the people. Special interests and corporations write our laws. If you speak out against the way things are; against the government, you need to be concerned about who will start going through your email. If you have religious beliefs, you need to be concerned about who might want to kill you. It’s a scary world.</div>
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So reminiscence and memory become an escape, and music is one of the keenest reminders. It’s one of the reasons that cover bands are so popular on Friday and Saturday nights. It’s the comfort of music you know from a band that delivers it in relatively faithful versions. The next step beyond that is a band that writes original music that is wholly from another era. That brings us today’s band, Dirty Smile. </div>
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Dirty Smile is a Buffalo, NY band comprised of Megan Brown, Erik Eimiller, Jesse Raderman, Mike Suda and Gus Walters. The band is as tight as a wire and plays a delicious blend of pop, rock and soul. Elements of Fleetwood Mac and the early, Led Zeppelin-like sound of Rush abound on the band’s debut EP, <i>Love Songs for the Damned: Volume I.</i> Megan Brown is an absolute revelation on the mic, belting out vocals reminiscent of Grace Slick and occasionally even Geddy Lee. Her voice is beautiful and electric with a rough edge and smooth side: the complete package. The rest of the band matches her step for step with a dynamic sound with deep 1970s and 1980s roots. </div>
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“Don’t Lie To Me” is the lead track, and could fit in on the regular play list of any AOR station in the country. The song also has a freshness that makes it ear candy for today, and it wouldn’t be surprising to hear this on pop radio or on a movie soundtrack somewhere. The other big standout track here is “Mona Lisa”, which is really performed in two parts. The backside of “The Vow” is an acapella take by Brown on the Nat King Cole classic, and becomes a transition into Dirty Smile’s original song of the same name. Brown shines on both, showing a supple, classic vocal style on the former, while diving into a soulful pop/rock sound on the latter. Other songs of note include “Siren” and “Insanely Ever After”.</div>
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<i>Love Songs for the Damned: Volume I</i> was mixed and mastered by Canadian Indie legend Ron Hawkins (Lowest of the Low, Do Good Assassins), and the finished product is edgy, but ultimately as smooth as a baby’s bottom. It’s a terrific introduction for a rust belt band with dreams and aspirations, as well as a sound that should carry them far beyond their great lakes home.</div>
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Learn more at <a href="http://www.dirtysmileband.com/">www.dirtysmileband.com</a>. </div>
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Check out the official video for the band's song "Siren" below!</div>
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Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-58142346646545547642015-02-26T07:21:00.000-05:002015-02-26T07:21:23.764-05:00Transitions, New Places and Garden Songs<div class="MsoNormal">
Hello!</div>
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I haven’t seen you around here in a while. In truth, there hasn’t been much going on of late. Have a seat. The table’s a bit dusty, but we’re cleaning up.</div>
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I started this blog seven years ago almost on a lark. I was deeply involved in music from a young age, as a singer and performer; and as a fan. This blog at first was a means to expand my exposure to music while giving back to the musicians who made it. It became something of a mission and a joy; and then a burden. At one time I was publishing up to three reviews in a day, and spending literally all of my free time doing so. I built Wildy’s World up to the point where 500 visitors were passing through each day. I was proud of that, but there was a price. After a while it became something I had to do rather than something I wanted to do. Then it became something I resented but still loved to do.</div>
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The culmination of all of this came in the last year. In October I lost my mom after a brief illness. It was a difficult process that involved making the sort of decisions that no one ever wants to have to make. It threw me for a loop, and the desire to write about, or even listen to new music, came to a shattering halt. That wasn’t the only effect, of course, but it’s the one that’s most relevant to this space.</div>
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So for a time, music became a burden. I continued to communicate with musicians and accept submissions, all with the best of intentions. But when it came time to write, I just couldn’t do it. It wasn’t fun; the words just wouldn’t come.</div>
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Today I turn the page, and as I do the view changes. I will continue to write my thoughts about music, but the formulaic reviews are mostly a thing of the past. This space will truly be Wildy’s World from now. In it I will talk about the world; whatever’s on my mind, really. That will include music, including great new music from Indie artists. I will continue to take submissions and spread the word about things that interest me. I don’t promise to be here every single day, but if you’re interested, this is a place you can come regularly and find something new. </div>
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Today is the first day of my 45<sup>th</sup> year. I suspect it will be an adventure. Please feel free to join me.</div>
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In celebrating transition and change, I’d like to tell you a bit about Ron Hawkins. As regular readers here will know I think Hawkins is the proverbial bee’s knees. He’s somewhere between the Canadian version of Bob Dylan and Tom Waits. His lyrical talent is prodigiously sublime; sometimes deep and occasionally profane but always entertaining. Hawkins began his career as the co-lead of rockers Lowest of the Low. It was a good start, as the band was inducted into the Canadian Indie Rock hall of fame. The band has broken up or gone on hiatus several times, and Hawkins has always managed to remake himself, whether as a solo artist or with bands such as The Leisure Demons and The Rusty Nails, Hawkins has left an indelible mark on the Canadian Indie Music scene.</div>
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The most recent iteration of Hawkins’ muse comes in the form of The Do Good Assassins, a quintet consisting of Hawkins (vocals/guitar); Jesse Capon (drums); Alex McMaster (cello/keys/trumpet); Derrick Brady (bass); and Steve Singh (guitar). Their latest effort is entitled <i>Garden Songs</i>, a collection of ten of Hawkins more thoughtful songs written over the years. The album was recorded over the course of one week, and highlights Hawkins’ brilliance as a songwriter and lyricist. It also shows off The Do Good Assassins’ ability to bring those songs to life. Longtime fans of Hawkins will be familiar with tracks such as “Peace And Quiet”, “Small Victories”, “D.F.W.” , “Propellers” and “Rome”. There are also some hidden gems here. “Kingdom Of The Sun” is memorable, and “Saskia Begins”, an ode to a newborn child, is among Hawkins’ best songwriting. The recasting of “D.F.W.” and “Small Victories” particular stand out here, and listeners newly introduced to Hawkins will be stunned by what they hear. <i>Garden Songs</i> is a must have album. I’ll give it 5 stars, without reservation.</div>
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Learn more about Ron Hawkins at <a href="http://www.ronhawkins.com/">www.ronhawkins.com</a>. You can pick up the album from Ron’s online store at <a href="http://www.victimlesscapitalism.com/">www.victimlesscapitalism.com</a>. Please be patient, because the initial demand for the album caused the first run to sell out. They’ll have more soon! To hold you over, and pique your interest, check out this live performance of "Peace and Quiet", the lead single from <i>Garden Songs</i>. <br />
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Our discussion of The Do Good Assassins fit in with the reintroduction of the blog today. They also kick off a week (or so) of discussion of bands related to my adopted hometown of Buffalo, NY. While The Do Good Assassins call Toronto home, the band (as well Hawkins over the years) have spent a lot of time haunting the clubs and stages of Buffalo over the years. As a result they get honorary status. In the coming days we'll also be talking about Buffalo native Jeneen Terrana, and current Buffalo bands Dirty Smile, Grace Stumberg and Bryan Johnson And Family. After that we'll move on to new or recent releases by Rachael Sage, Seth Glier, Laura Joy and others.</div>
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Until next time.</div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-22797298750146299512015-02-02T05:00:00.000-05:002015-02-02T05:00:11.156-05:00Live Hart - Honesty<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT5MhJDBB98vNmaYwLnCRtPG6crKEUSrxAmTTSxor_c_XWq5h7vHemLfBy99fsw114ot4kHvQrWSeONN2gc0fhE9vzlDlBX2UtOEK_RddTtNJ2JzWPmeUDvM9ev2-K3BsYCxixcf7_eYo/s1600/LiveHart_Honesty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT5MhJDBB98vNmaYwLnCRtPG6crKEUSrxAmTTSxor_c_XWq5h7vHemLfBy99fsw114ot4kHvQrWSeONN2gc0fhE9vzlDlBX2UtOEK_RddTtNJ2JzWPmeUDvM9ev2-K3BsYCxixcf7_eYo/s1600/LiveHart_Honesty.jpg" /></a></div>
<br />
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<b>Live Hart – Honesty<br />
2014, Goin’ Native Records<o:p></o:p></b></div>
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<br /></div>
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New Jersey-born singer/songwriter Live Hart cut her musical
teeth as a member of pop group Urbanesque, but her primary focus has always
been that of a singer/songwriter. This
aesthetic is wholly evident on Live Hart’s debut solo album, <i>Honesty</i>.
Hart weaves intricate tales and soundscapes throughout the ten songs on
the album, with a dulcet voice and an intensely melodic musicality. A soulful R&B influence in inherent in
Hart’s sound, but her muse comes first, and listeners are the one to
benefit. </div>
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<i><br /></i></div>
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<i>Honesty </i>opens with
a touch of Latin soul and pop in the form of “I’m Gone”. The groove here is tremendous, and Hart’s
voice is delicious ear candy. It’s a
brilliant open with significant chart possibilities. Hart changes gears for “New Day”, utilizing
cascading vocal layers to beautiful effect.
In spite of the difference in sound, the net effect is the same, a
brilliant pop turn you won’t be able to get out of your head. Hart digs into a stripped down sound on “Take
Me” that grows into a vibrant folk/rock gem.
The chorus here is perfect pop radio, full of honest life and intensity
and a tasty pop hook. </div>
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<br /></div>
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“Please Don’t Say It’s Over” is a quietly pleading pop
number that’s infectious in its rhythm and sound. The most integral component here is Live Hart’s
honey-tinged voice, dulcet and warm in tone and timbre. She manages to navigate the corridors of pop
music with a grace and class that allows her rise above the pack. On “We Can Change the World” Live Hart takes
a more generic path to a politically correct, socially activist message. This is a popular and thoroughly overdone
message in pop culture. As a result,
efforts in this direction need to be wildly original or extremely well done to
stand out. Neither is the case here.</div>
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<br /></div>
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Hart turns the corner on “Lala”, a quietly brilliant love
song written from the perspective of gratefulness and grace. The melody here is a thing of beauty, as live
shares a moment of true intimacy with listeners. “This Is Me” seems to grow out of “Lala”, but
musically and generationally. The same
pop sensibility is there, but there is a slow growth in intensity and energy
between the two. Hart returns to a
stripped down, guitar-driven arrangement for “What Is Love”, a musical-slow
boat that grows into a low-key R&B gem.
Once again, it’s Hart’s voice that is the key driver here, but the
entire piece is full of an esoteric beauty that is impossible to ignore. “Summer Love” steps into a keener pop/rock
sound and borrows its opening line (lyrically and musically) from John Waite. Hart’s mix of pop sensibility and
singer/songwriter aesthetic serves her well once again. <i>Honesty</i>
closes with “Release”, playing on the edges of popular hip-hop styles and
essentially surrendering the unique high ground Live Hart spent the first nine
songs of the album carving out. This is
a solid piece of writing, but it is by far the weakest track on the album.</div>
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<br /></div>
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Live Hart flashes brilliance on <i>Honesty</i>, with the sort of voice you just close your eyes and let
wash over you. Her songwriting has
depth, and she blends that with a brilliant folk/pop sensibility that gets
inside your head. <i>Honesty</i> isn’t just a title but a mantra, and Hart lives it to the
fullest. This album should establish
Live Hart as a songwriting and performing force to be reckoned with. </div>
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<b><br /></b></div>
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<b>Rating: 4 Stars</b>
(Out of 5)</div>
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<br /></div>
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Learn more at <a href="http://www.livehartonline.com/">www.livehartonline.com</a>. </div>
<br />
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<br /></div>
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You can purchase <i>Honesty</i>
via <a href="https://itunes.apple.com/us/artist/live-hart/id396416910">iTunes</a>
or <a href="http://www.amazon.com/Honesty-digital-booklet-Live-Hart/dp/B00QKRSH3E/ref=sr_1_1?ie=UTF8&qid=1422704802&sr=8-1&keywords=live+hart+honesty">Amazon</a>.</div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-35348127245405185992014-12-05T01:01:00.004-05:002014-12-08T21:46:47.972-05:00Tom Levin - Them Feet<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2z5XxNcQq-8tqEVqfMFBd-Gi4y9azljCKew6EuE62NlM6qW54B7D6AQzGFWR6T25OXd7fBCs_1gndFxEb2TcYf1cOqy3srV5CNE0xgbem8jpy0WYkVJemhbs314RIbO-k_P8E6YvgTOk/s1600/TomLevin_TB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2z5XxNcQq-8tqEVqfMFBd-Gi4y9azljCKew6EuE62NlM6qW54B7D6AQzGFWR6T25OXd7fBCs_1gndFxEb2TcYf1cOqy3srV5CNE0xgbem8jpy0WYkVJemhbs314RIbO-k_P8E6YvgTOk/s1600/TomLevin_TB.jpg" /></a></div>
<br />
<b>Tom Levin - Them Feet<br />2014, Cut The Mustard</b><b><br /></b><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;">Tom Levin just keeps rolling. After an accidental fall into a musical
career that involves a shower concert and an exchange student program, Levin
has led something of a charmed life. His
first band, Tennis, scored a top-10 single in his native Sweden in 1996 with
“Shyway”. Levin was just getting started
however. In the intervening years he has
dropped six solo albums, showing steady growth as a songwriter and performer
while continuing to refine his stage presence and his craft. Levin’s latest effort, <i>Them Buffalo </i>is something of a companion album to his January, 2014
release, <i>Them Feet</i>. Steeped in stripped down rock and Americana styling,
Levin reveals himself to be a master story teller with a deep understanding of
melodic nuance and rhyme.</span><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;"><br /></span></i></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;">Them
Buffalo</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;"> opens with “Thunder On”, something of a musical
bridge from <i>Them Feet. </i>The opener is a sharp and catchy rock and
roll song with country flavor. Levin’s
voice is not a purist’s voice. It’s full
of rough edges and color and has an almost talk-sing sway to it at times, but
he wields his voice like a finely tuned instrument, injecting personality and
presence like a grand showman where the lines thin. The result is a captivating sound that leaves
fans and critics alike captivated and willing to listen long into the
night. “Mind’s Eye” opens in the style
of an aboriginal tribal chant, and becomes a Utopian paean that’s catchy and
well-written. Wrapped up in the song’s
core is an element of faith; a theme that recurs often through <i>Them Buffalo </i>in different forms. “Everyday” is about finding your way by
paying attention to the little things.
Questions of right and wrong swirl around the edges of this song; not in
a judgmental way, but in the form of diving next steps. The song has an earthy and urgent feel that
is brilliantly understated and full of a primitive beauty.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;"><br /></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;">“History, Beliefs and Bearded Men” takes on the
concept of right and wrong between religious cultures from a very personal
perspective. The ancient argument
between absolutism and relative truths wage quietly here, with Levin opting for
an informed conscious to make out the difference in all of us. In truth, there is a fatalism here that is
appealing. Levin doesn’t seem to be
eschewing any side of the argument, in the end.
Opting for the sense that nobody really knows, so let’s all do the best
we can. This is a pensive number that’s
prayerful in attitude and hopeful in heart.
It sets the stage well for “Different Drum”, a paean to being you no
matter what. The swaying rock anthem is
typically understated but somehow more powerful for it. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;"><br /></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;">When it comes to love songs, the genre is thoroughly
overdone. Some overdo, some try to
almost make fun of the genre. Levin
bypasses it entirely in recreating it for a new age. In “More Than A Song”, Levin uses the ancient
art form to decry its insufficiencies while delivering a message of deep love
and intellect all at once. It’s a thing
of beauty that bypasses syrup but sticks to you nonetheless. Levin engages in affectionately humorous
misdirection on “Girl From Nova Scotia”, a tribute to Canadian songstress Mo
Kenney. If you’re not listening
carefully (I honestly wasn’t the first time it played) you’ll think Levin’s
engaging in vitriol, but there’s a deep admiration in the line “I hate you in a
beautiful, beautiful, beautiful way.”
The underlying theme here is the mix of admiration and jealousy an
artist might feel in hearing another artist create beauty. It’s real and honest and powerfully alive.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;"><br /></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;">Levin heads for home with “Schizo”, “Summered” and
“Margaret’s House”. The first delves
into the push and pull of different parts of a personality. There’s a bit of Randy Newman-style
self-parody here, alongside Tom Wait’s biting poetry. “Summered” is probably my least favorite
track on the album; That is to say it’s really well-written, but perhaps just a
bit out of place with this cycle of songs.
Levin bows with “Margaret’s House”, with the help of vocalist Aimee
Bobruk, whose dulcet voice is a perfect blend to Levin’s understated drama. This pensive duet is full of a quiet reverie,
and is the perfect annotation for an album steeped in thought, wisdom and the
slow wearing of time on memory.</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;"><br /></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 107%;">Tom Levin continues to grow into his prodigious
talent as a songwriter and performer.
It’s hard to say if he’s approaching a zenith or continuing a long slow
build to something even more renowned, but the fact that he has hit new heights
is inescapable. In spite of several
releases from artists I absolutely love in 2014, it is not stretching the point
to say that Tom Levin’s <i>Them Buffalo </i>is
the finest album I have heard in 2014.
You will be hard pressed to disagree.</span></div>
<!--[endif]--><br /></div>
<b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Rating:
5 Stars</span></b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> (Out of 5)</span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Learn more at <a href="http://www.tomlevin.com/">www.tomlevin.com</a>. <br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></span>Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-56817659467166834762014-11-25T06:49:00.003-05:002014-11-25T06:49:46.539-05:00Lindsay Mac - Remember (single)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAWLGAq8P1fYFMNJyLIF6Y7iQnt0_HzSdS20H4i6c1254dvqhL6bcGFHbCugmtLfZTeUkIVuWCd95iE50cGEqpWBPHa_PKdZNbPSBjAIBAKSz-gV43RdrPvOYD2mMxYN45WSl8jNKDyZU/s1600/Remember-Cover-(bigger-txt).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAWLGAq8P1fYFMNJyLIF6Y7iQnt0_HzSdS20H4i6c1254dvqhL6bcGFHbCugmtLfZTeUkIVuWCd95iE50cGEqpWBPHa_PKdZNbPSBjAIBAKSz-gV43RdrPvOYD2mMxYN45WSl8jNKDyZU/s1600/Remember-Cover-(bigger-txt).jpg" height="320" width="320" /></a></div>
<br />
<br />
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">Lindsay Mac –
Remember</b> (Single)<br />
<b style="mso-bidi-font-weight: normal;">2014, Lindsay Mac<o:p></o:p></b></span></div>
<span style="font-family: Calibri;">You might remember hearing about Lindsay Mac’s 2008 release,
<i style="mso-bidi-font-style: normal;">Stop Thinking</i>.<span style="mso-spacerun: yes;"> </span>We wrote about it here, and the album
generated a lot of buzz in the Indie music press because of her innovative use
of a cello (played like a guitar) in folk/pop songs.<span style="mso-spacerun: yes;"> </span>Lindsay Mac’s background as a classically
trained musician leads some to believe that she is all about breaking down
musical barriers, when in truth she is just marching to the incessantly
syncopated beat of her own drummer.<span style="mso-spacerun: yes;">
</span>Lindsay Mac tries knew things not shock or are others, but to please her
ever curious and creative mind.<span style="mso-spacerun: yes;"> </span>That
being said, you might wonder to what uses she is putting her cello to these
days?</span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">On her latest single “Remember” (from the album <i style="mso-bidi-font-style: normal;">Animal Again), </i>Lindsay Mac leaves the
cello behind, delving into a resilient blend of electro pop and dance.<span style="mso-spacerun: yes;"> </span>“Remember” is as aesthetically pleasing as
anything you’ve heard on the radio this year, with a joyous sense of melody and
rhythmic poetry.<span style="mso-spacerun: yes;"> </span>You will want to move
your feet, but Lindsay Mac is an intelligent poet in dance diva clothes, and
wends her way with intellect through the sweet and inspired love song that she
crafts.<span style="mso-spacerun: yes;"> </span>The topper of it all is Lindsay
Mac’s voice.<span style="mso-spacerun: yes;"> </span>She cants with a brilliant
sweetness here, and you’ll find yourself putting her album, <i style="mso-bidi-font-style: normal;">Animal Again</i>, on your wish list.</span></div>
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">Rating: 4 Stars</b>
(Out of 5)</span><br />
<span style="font-family: Calibri;"></span><br />
<span style="font-family: Calibri;">Learn more at </span><a href="http://www.lindsaymac.com/"><span style="color: #0563c1; font-family: Calibri;">www.LindsayMac.com</span></a><span style="font-family: Calibri;">.
</span><br />
<br />
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<span style="font-family: Calibri;">Buy “Remember”:<span style="mso-spacerun: yes;"> </span></span><a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB4QFjAA&url=https%3A%2F%2Fitunes.apple.com%2Fus%2Falbum%2Fremember-single%2Fid939706119&ei=l2x0VLHLNOfLsASag4GgDg&usg=AFQjCNHdalj_B5krnheIe-Txoj_vnbtZBQ&sig2=topUcocFkPcpR"><span style="font-family: Calibri;"><span style="color: #0563c1;">iTunes</span><span style="mso-spacerun: yes;"><span style="color: #0563c1;"> </span></span></span></a><span style="mso-spacerun: yes;"><span style="font-family: Calibri;"> </span></span></div>
<br />
<br />Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-81300471947175313692014-06-29T05:57:00.000-04:002014-06-29T05:57:32.361-04:00Aaron Comess - Blues For Use<img id="original-main-image" src="http://ecx.images-amazon.com/images/I/51jqPQXu%2BfL._SL500_AA280_.jpg" /><br />
<br />
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">2014,
Innsbruck Records<o:p></o:p></span></b></div>
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<b><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 106%;"><br /></span></b></div>
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<b><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 106%;">The Band</span></b><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 106%;"><br />
Aaron Comess came to fame playing drums for the Spin Doctors. While that wild ride continues, Comess has
also made a name for himself from his solo work, which blends rock, pop, jazz
and world sounds into his own distinctive sound. Comess’ most recent work is in collaboration
with Teddy Kumpel and Richard Hammond.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b><br /></b></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b>The
Album<br />
</b>Aaron Comess released his third solo album
in May, entitled <i>Blues For Use</i>,
consisting of 12 instrumental tracks.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b>The
Buzz<br />
</b>Comess, Kumpel and Hammond are consummate
professionals, and the music on <i>Blues For
Use</i> is demonstrative of that fact.
The album waxes and wanes from aggressive to pensive. Comess’ talents as a composer are often
overlooked, but he drives the creative process here. <o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b>Spotlights<br />
</b>“Hard Ball” focuses on the rhythm section
in a percussive arrangement that sounds like an early outtake from Rush crossed
with Pink Floyd. “Guilty Until Proven
Innocent” works a long, slow build into a plaintive yet ear-pleasing
chorus. The tight instrumental interplay
is key here, with a subtle guitar lead that fluctuates in intensity. Comess and company engage in a brilliant piece
of non-visual art in “Sunrise”. It’s a
lazy, rolling number; the melody is a dog lying in the summer sun, occasionally
rolling over to scratch its back in the dirt.
“Bajelirious” plays like an alternate James Bond theme. The band is at their best here, with all cylinders
pumping. <o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b>Footlights</b><br />
There’s little negative to say about the album.
There are slower moments, but they are part of the ebb and flow of the
album. There is definite inspiration
here, but it is sometimes of the quieter, pensive kind. Subtlety abounds.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b>The
Rating: 4 Stars</b><span class="apple-converted-space"> </span>(Out of 5)<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b>The
Songs<br />
</b>Surprise, Pt. 1<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Hard Ball<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Guilty Until Proven Innocent<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Sunrise<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Gorilla<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Bajelirious<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Clear<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Casa Colonial<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Blues For Use<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Moonrise<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Finally<br />
Surprise, Pt. 2<b><br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></b><o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<b>Where to
Go<br />
</b><a href="http://www.aaroncomess.com/">www.aaroncomess.com</a><o:p></o:p></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0in;">
<a href="http://www.aaroncomess.com/soundcloud.png">SoundCloud</a><o:p></o:p></div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com1tag:blogger.com,1999:blog-5512911072470379088.post-12888506609172635062014-06-26T07:50:00.000-04:002014-06-26T08:32:14.273-04:00Delta Rae – Live at the Tralf – Buffalo, NY – June 25, 2014<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_WmRwooeUxeip_ysi2xQAPixHHZp7scx36KpM35j_OafyYfD-FSPqyMHQme_vAjOONyz97WfXrwyMjqliK68gW9tjnno4j3OA1v9IVe2P4MUB5YNh3E4ks-fJn04p2x0mdoiICkRvF4/s1600/DR2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_WmRwooeUxeip_ysi2xQAPixHHZp7scx36KpM35j_OafyYfD-FSPqyMHQme_vAjOONyz97WfXrwyMjqliK68gW9tjnno4j3OA1v9IVe2P4MUB5YNh3E4ks-fJn04p2x0mdoiICkRvF4/s1600/DR2.JPG" height="320" width="240"></a></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Delta
Rae – Live at the Tralf – Buffalo, NY – June 25, 2014<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Delta Rae released their debut album, <i><a href="http://wildysworld.blogspot.com/2012/09/delta-rae-carry-fire.html">Carry The Fire</a></i>, in 2012, and it was a
musically mind blowing experience. The intensity
and quality of the music were breathtaking, and the album earned <a href="http://wildysworld.blogspot.com/2012/09/delta-rae-carry-fire.html">Desert Island Disc</a> status. I knew all of this walking
into The Tralf last night, and yet I was not in the least prepared for the
reality of Delta Rae on stage.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">That intensity that comes through in the studio recording
is a mere echo of what the band brings on the stage; and there the musicality
of the band is absolutely unquestionable. Opening with a blend of “Dance In The
Graveyards” and “Run”, Delta Rae established a surprisingly aggressive energy
level from the get go. And while it took
the sound board the first song to get the vocal mix right, the band was nothing
less than amazing out of the gate. Up
next was “Better Off Alone”; another knockout performance. A brand new song, “Better Off Alone”
followed, with Ian Hölljes opening up his
impressive voice for the crowd. It was
an amazing moment; the first of many. This
led into a composite of “Is There Anyone Out There” and “Morning Comes”, which
seemed to be a musical launching pad for the band. Everything to this point was musically
pristine and full of energy, but bar was about to be raised.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">It began with </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Brittany
Hölljes tackling “Bottom Of The River” like a woman
possessed. The entire band was taken
with the primal rhythms of the song and it turned into not just a performance
but an experience. Liz Hopkins took over
the mic for a cover of Bruce Springsteen and Patti Smith’s “Because The Night”
and blew the roof off the place. Her
intensity and tone were amazing, and the band matches her step for step.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">The band went off mic for a new song;
a moving and impressive turn entitled “Doesn’t Get Any Better Than This”. Eric Hölljes took the lead this time, and the
band backed him with a vocal collage that was unforgettable. Up next was another new song, “We All Want
Love”. This time is was Ian alone on
stage with piano for a lyric ballad that ought to see Delta Rae climb the
charts when the song is released on the next album. This was an absolute “Wow” moment. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Liz Hopkins came out front again for “Chasing
Twisters”, and once again raised the roof with a powerful and compelling
performance. As good as this was, it was
a mere appetizer for “Bethlehem Steel”.
Delta Rae rocked the stage, the rafters and the very foundations. Brittany’s vocal was incomparable as she
prowled the stage like a woman possessed.
The song was based on the experiences of the Hölljes siblings’ father,
who worked for Bethlehem Steel for many years, and laments the loss of factory
jobs in a declining America. Liz Hopkins
kept the energy going with an intense and powerful “If I Loved You”. This is one of my personal favorites from the
debut album, and Delta Rae did not disappoint.
Brittany came back out front to close the set with “I Will Never Die”,
from the band’s <i>Chasing Twisters</i>
EP. You couldn’t blame the band for
letting up a bit at this point, but the energy and intensity of the performance
never flagged.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">The small but devoted crowd demanded
one more song. Delta Rae accommodated
the applause and chants with two. The
first, “After All”, is a new song that will be on the new album if the band is
wise. The Hölljes siblings and Liz
Hopkins were all featured on vocals this time around, and the music was a piece
of pure beauty. Delta Rae closed out the
night with a buoyant take on “Dance In The Graveyards” that had the entire club
swaying along. It was a knockout blow
worthy of one the most vibrant and musically apt bands working today.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Opening act Gabe Dixon was a
revelation in his own right. Even Ian Hölljes
said that Dixon is writing some of his favorite music right now, and Dixon did
not disappoint. Trading back and forth
between piano and guitar, Dixon traded ballads and blues-infused rockers that
recalled past greats such as Billy Joel and Ray Charles. Highlights included “Disappear”, “Runnin’ On
Fumes” and the delicious piano work of “Till You’re Gone”. If nothing else,
make sure to download his track “All Will Be Well”, a “Wow” moment all its own.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Both Delta Rae and Dixon were
available and accessible after their sets.
Delta Rae came out and signed at a table after the show, but unlike many
acts, each member took the time to greet and get the name of each person
walking by. It was a great dose of
southern hospitality, and will pay dividends to the band from the personal
connections they made.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Delta Rae’s tour continues tonight at
The Horseshoe Tavern in Toronto. Dates
for the summer tour are </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">currently scheduled through August 3</span><sup style="font-family: 'Times New Roman', serif; line-height: 107%;">rd</sup><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">. Check out </span><a href="http://www.deltarae.com/" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">www.deltarae.com</a><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">
for more information, and go see them live if you get the chance. You won’t be disappointed.</span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Gabe Dixon will be opening for Delta
Rae through July 9<sup>th</sup>, and is currently booking shows for his Gabe
Dixon band for the summer. Get more info
at <a href="http://www.gabedixon.com/">www.GabeDixon.com</a>. </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
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Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-81777199351601077042014-06-24T05:00:00.000-04:002014-06-24T05:00:01.632-04:00Broken Quote - Foreshadowing Sunlight<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNbgrS9bvK6Zk_UjQWpxGpK_1ZSNb5afTCtRAjD8aSsNgHNiwRWMfYXD4jPqP-PGgY4jrfCayqKLQdApr2gPp0O-nja1d1CuTxcbJI-N7QdTF8J7rIdlCC3sN4DGQuuMBpXc7xbUC6sqs/s1600/BrokenQuote_ForeshadowingSunlight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNbgrS9bvK6Zk_UjQWpxGpK_1ZSNb5afTCtRAjD8aSsNgHNiwRWMfYXD4jPqP-PGgY4jrfCayqKLQdApr2gPp0O-nja1d1CuTxcbJI-N7QdTF8J7rIdlCC3sN4DGQuuMBpXc7xbUC6sqs/s1600/BrokenQuote_ForeshadowingSunlight.jpg" /></a></div>
<br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 16pt; line-height: 106%;">Broken
Quote – Foreshadowing Sunlight<br />
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 106%;">2014, 563026 Records DK<o:p></o:p></span></b><br />
<br />
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<b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 106%;">The Band</span></b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 106%;"><br />
Broken Quote is a multi-instrumentalist, writer and producer from Houston,
Texas who has been creating music since he was a small child.<span style="mso-spacerun: yes;"> </span>A self-taught musician, Broken Quote showed a
distinctive ear early on.<span style="mso-spacerun: yes;"> </span>While the lack
of lessons would be a roadblock to some, it became an open playing field to
Broken Quote.<span style="mso-spacerun: yes;"> </span>Broken Quote credits
influences such as Bjork, Eyedea, Beck, Radiohead, John Cage and Parliament
Funkadelic, among others.<span style="mso-spacerun: yes;"> </span>His musical
milieu continues to grow and evolve, but his current sound is something of a
stew of ambient funk, trip hop, electro rock and acid jazz.</span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 106%;"></span><b><span style="color: black;">The
Album<br />
</span></b><i style="mso-bidi-font-style: normal;"><span style="color: black; mso-bidi-font-weight: bold;">Foreshadowing Sunlight</span></i><span style="color: black; mso-bidi-font-weight: bold;">, a five song EP,<i style="mso-bidi-font-style: normal;"> </i>is Broken Quote’s first release.</span></div>
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<b><span style="color: black;">The
Buzz<br />
</span></b><span style="color: black;">Broken Quote is all about minimalist
atmospherics.<span style="mso-spacerun: yes;"> </span>Electronics and ambient
sounds are the core of the sound on <i style="mso-bidi-font-style: normal;">Foreshadowing
Sunlight</i>, but the focus is less musical than it is of painting collages of
sound.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<b><span style="color: black;">Spotlights<br />
</span></b><span style="color: black;">“Late Night Ocean” has an intriguing
rhythm and life all its own.<span style="mso-spacerun: yes;"> </span>The overall
effect is more distracting than cohesive, but there is a musical statement to
be made here.<span style="mso-spacerun: yes;"> </span>“Glass Ceiling” is
similarly unsettling.<span style="mso-spacerun: yes;"> </span>Angst-filled piano
gives way to a slowly growing cacophony of rhythm, as Broken Quote seeks to
unsettle all who would listen.<o:p></o:p></span><br />
<b><span style="color: black;"></span></b><br />
<b><span style="color: black;">Footlights</span></b><span style="color: black;"><br />
The energy throughout <i style="mso-bidi-font-style: normal;">Foreshadowing
Sunlight</i> is minimalist by intent, but the effectuation is downright painful
at times.<span style="mso-spacerun: yes;"> </span>Angst and ennui are the core
emotions, and those vibes are imparted to the listener like a cudgel.<span style="mso-spacerun: yes;"> </span>Effects very often rule the day, covering the
gaps that are left behind by songs that are thought out and through, but often
not fully.<o:p></o:p></span><br />
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<b><span style="color: black;">The
Rating: 2.5 Stars</span></b><span class="apple-converted-space"><span style="color: black;"> </span></span><span style="color: black;">(Out of 5)<o:p></o:p></span></div>
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<b><span style="color: black;">The
Songs<br />
</span></b><span style="color: black; mso-bidi-font-weight: bold;">Ghost Crowd<br />
Late Night Ocean<br />
Glass Ceiling<br />
Sparks Water The Seeds<br />
Mispronounce<b><br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
</b></span><b><span style="color: black;">Where
to Go<br />
</span></b><a href="http://www.brokenquote.com/"><span style="mso-bidi-font-weight: bold;"><span style="color: #0563c1;">www.brokenquote.com</span></span></a><span style="color: black; mso-bidi-font-weight: bold;">.<o:p></o:p></span></div>
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<br />Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-48544849297058005592014-06-23T12:49:00.001-04:002014-06-23T12:51:38.229-04:00Corvus - Never Forget<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">Corvus
– Never Forget</span></b></div>
<b><b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">2013, Corvus</span></b></b><b></b><br />
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">The
Band</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;"><br />
Corvus is one of the most prolific American metal bands of the last five years,
completing six full-length albums in that time.
Heavy guitar riffs, melodic solos, pounding rhythms and deep melodies
have blended with an electric live show to charge up fans across the U.S., and
have led to tours with Trapt, Mushroomhead, American Head Charge and Hed P.E. The lineup includes:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">Brock Brown – vocals<br />
Josh Brown – bass<br />
(v)att(v)an – electric guitar<br />
DH – drums<br />
Isadora Bevins – electric guitar<br />
Sunny - keyboard<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">The
Album<br />
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">The
latest effort from Corvus is <i>Never Forget</i>,
a dynamic and powerful mix of metal and classic rock with distinctive pop
undertones.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">The
Buzz<br />
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">Corvus
takes listeners on a schizophonic buzz fest across the thirteen songs on <i>Never Forget</i>. Crushing guitar riffs, rapid-fire rhythms and
high precision will appeal to metal fans.
The band also delves into Top-40 blends that feature hook filled
choruses and even a power metal ballad or two.
The changes back and forth happen so fast at times that listeners may be
subject to aural whiplash. The guitar
work is strong and the vocals are more than competent. At the same time, Corvus seems to be trying
to be too many things to too many people.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">Spotlights<br />
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">“Hear
No See No Speak No” is a quintessential pop/metal blend, featuring big guitars,
a bigger rhythm section and the screaming/chortling vocal that’s come to
epitomize heavy metal music. The band
settles into smooth sailing mode with an Edge radio style chorus that totally
changes the momentum of the song, but this sudden change is compelling. “Sweet Revenge” is a delicious mix of angst
and anger, contained in the bulging arrhythmia that Corvus builds around
it. “Déjà vu” is a theme song for the
seriously depressed or paranoid. The downward
trajectory is represented here as inescapable.
Big powerful, powerful rhythms and an innate musicality make this a
winner in spite of the compellingly dark outlook. “Never Forget” could have been written by
Dante himself: a monologue by Satan himself full of short-sighted hubris and
pride.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">Footlights</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;"><br />
When Corvus is on, they are on. But
there is also a distinct push toward commercial viability on <i>Never Forget</i> that makes the band sound
unsettled and uncertain of whom they are.
There’s nothing wrong with going for the brass ring, but the efforts
here are so transparent and so different from their natural sound that the gap
is glaring.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 106%;">The
Rating: 3 Stars</span></b><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 106%;">
(Out of 5)<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">The
Songs<br />
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">Hear
No See No Speak No<br />
Sweet Revenge<br />
Through Dead Eyes<br />
Used<br />
Soldiers On Demand<br />
Déjà vu<br />
Plastic Skies<br />
My Greatest Mistake<br />
The Spider And The Fly<br />
Breath<br />
Food For The Gods<br />
Never Forget<br />
Crucify<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;">Where
to Go<o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;"><a href="http://www.corvusaz.com/">www.corvusaz.com</a><o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;"><a href="http://www.facebook.com/therealcorvus">www.facebook.com/therealcorvus</a><o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 106%;"><a href="http://www.twitter.com/CorvusAZ">www.twitter.com/CorvusAZ</a></span></b></div>
<br />Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-60685367756142240462014-06-20T07:41:00.002-04:002014-06-21T01:46:01.916-04:00Matty Ride - Matty Ride [EP]<div class="separator" style="clear: both; text-align: center;">
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<b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Matty Ride - Matty Ride [EP]<br />
2014, Matty Ride<o:p></o:p></span></b></div>
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<span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Disco, pop, hip-hop and soul. Welcome to the world of Matty Ride, a retro-pop musical chemist based out of Nashville, Tennessee. With a pleasing voice and an effervescent energy, Ride revives and blends pop music styles from the last 30 years into an eclectic, yet still relevant, ganache. His latest effort, a five-song self-titled EP, shows why there is room for guys like Matty Ride in today’s dance clubs and on the charts.<br />
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Ride opens with the wispy pop confection "That Girl", which has enough snap to be danceable but is light enough to get caught up in the pop ether of Top 40 radio. The songwriting is compact and driven by an infectious hook that will keep calling listeners back. The only downfall is the breakdown in the last 45 seconds of the track, which could (and should) be cut from a single release without any loss to the listener. "All Over Again" is straight ahead, angst-filled pop. It's solid album material with a bit of Matthew Wilder flair. "Come on and Dance" is as flagrantly bubblegum as 1980's soul/pop ever was, and is likely to inspire seriously mistaken déjà vu or those who grew up in the 1980's.<br />
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"First Day of Summer" is an overexcited piece of fluff that tries to sound modern but ends up very dated. There is serious hook action at work here, but the song is almost a caricature of 1980's dance/pop acts. The video, on the other hand, will give the song serious life. It’s a fun little cinematic escape that features miniature musicians, flying cars and a uniquely comic sensibility that chronicles what happens when geek meet chic. Matty Ride slows it all down for the closing number, "Hold Me Closer". The ballad is a sleepy affair that sounds melancholy in spite of its protestations of undying love. Ride does a pretty decent job on the vocal, but there's no vitality to the arrangement.<o:p></o:p></span></div>
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<span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Matty Ride is a serious musician, but at the end of the day he doesn’t take himself too seriously. The Matty Ride EP is a fun excursion of retro pop with a modern edge. There are a couple of missteps here, but nothing overly critical. Fans of pop, dance pop and light soul are going to dig this big time.<o:p></o:p></span></div>
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<b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Rating: 3.5 Stars</span></b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;"> (Out of 5)<o:p></o:p></span></div>
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<span style="color: #555555; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">Learn more at </span><a href="http://www.mattyride.com/" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">www.mattyride.com</a><span style="color: #555555; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 107%;">. In the mean time, check out Matty Ride's video for "First Day of Summer"!</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/zYI692zBBZE" width="560"></iframe>Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-86471238490137174622014-05-29T07:09:00.001-04:002014-05-29T07:09:25.331-04:00Break of Reality - Ten<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.amazon.com/gp/product/images/B00IPTNNY8/ref=dp_image_z_0?ie=UTF8&n=163856011&s=dmusic" style="margin-left: 1em; margin-right: 1em;" target="AmazonHelp"><img alt="Ten" border="0" height="280" id="prodImage" src="http://ecx.images-amazon.com/images/I/51RjwlORYNL._SL500_AA280_.jpg" width="280" /></a></div>
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<b>Break of Reality –
Ten<br />
2014, Break of Reality<o:p></o:p></b></div>
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Eastman School of Music alum Break of Reality has been
plying its distinct brand of cello rock for nearly a decade now. The New York City-based quartet has released
a series of albums that run the gamut from original tunes to dynamic covers;
developing a dedicated following. The
band recently released their fifth album; a collection of original tunes
entitled <i>Ten</i>.</div>
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<i>Ten</i> opens with the
self-referential strains of “Helix”, driven by a serious rock and roll
sensibility. Lyric and percussive cello
lines intertwine, with percussion providing a sense of sanity and
stability. The energy here is
tremendous, and Break of Reality sounds like they’re ready to explode. The listener is wrapped up in a revolving
wall of sound from the outset. “Storm’s
End” is a highly artistic piece of baroque pop.
The rhythms are pure rock and roll, yet the melody line has an early
Italian madrigal feel. This is serious
music for fans of classical music, film scores and unusual rock and roll hybrids. Break of Reality explores gorgeous and
complex moods on “Star”, building pensive swells with a sagacious sense of
internal energy. The band uses dual
melody lines that circumscribe beauty with an edge of minor key darkness.</div>
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“Drift Apart” begins with a rhythmic pizzicato base and
adding a lyric, mid-to-low range melody line.
You’ll want to close your eyes and soak in the depth and breadth of
sound here; it’s simply gorgeous. “Nine
Deep” has a dark and percussive underpinning.
The lyric melodic build is right out front, creating an atmosphere that
is powerful and moving. Break of Reality
changes moods with “Light the Fuse”, a quietly rolling composition that
transitions into a thunderous dance. “Uprising”
begins with an aboriginal sound; an ancient feel to the percussion. Break of Reality takes a more atmospheric
approach this time, building musical scenery that is lush and full of dramatic
turns.</div>
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“Levy” is a pensive and perambulating piece; an intriguing orchestral
still life full of movement and color.
The band transitions on “Other Worlds” to more of a mid-range musical
score sound. There’s a bit too much
center in this recording, particularly in the early going, but this is more an
issue of production than of composition.
The breaks in this piece have a stunningly dark beauty in them full of
rhythms and tonal rhyme. <i>Ten</i> closes with “Six”, with Break of
Reality utilizing layered melody lines and incorporating glock and xylophone in
with their distinctive 3-cello sound.
There’s a lazy energy that runs throughout the piece, and at five
minutes in length this might become a bit overwhelming, but it is a quietly
ambitious effort that is off the beaten path.</div>
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Break of Reality reaches for new heights on <i>Ten</i>, going all original with a stylistic
approach that blends the best elements of classical, rock and pop music
styles. The compositions on <i>Ten</i> are highly original and full of
life, and Break of Reality use killer phrasing and a nearly flawless sense of
timing and presence to build a collection of songs that will live in your mind
long after the tunes have faded from your ears.</div>
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<b>Rating: 4.5 Stars</b> (Out of 5)</div>
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Learn more at <a href="http://www.breakofreality.com/">www.breakofreality.com</a>. </div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0tag:blogger.com,1999:blog-5512911072470379088.post-71519193908648974222014-05-28T05:00:00.000-04:002014-05-28T05:00:05.049-04:00Blue Skies For Black Hearts - Blue Skies For Black Hearts <img src="http://www.blueskiesforblackhearts.com/uploads/2/5/9/2/25928259/8147494_orig.jpg" style="width: 723px;" /><br />
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Hearts – Blue Skies For Black Hearts<br />
2014, Blue Skies For Black Hearts<br />
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</span></b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Blues Skies For Black Hearts are a
Portland, Oregon quintet with serious pop sensibilities and power pop
tendencies. Blending heavy 1970s and
1980s influences with a modern AAA sound, the band has a consistently
accessible sound that has carried them through 12 years, 5 albums and a number
of lineup changes. Their forthcoming
self-titled album, due July 15, 2014, continues in the band’s tradition of working
class, sweet sounding rock and roll.<b><o:p></o:p></b></span></div>
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<i><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Blue Skies For Black Hearts</span></i><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;"> opens with "Keep On Keeping
On", an easy going rocker with a memorable, easy to sing chorus.
"It's Gone On Too Long" is a catchy Americana rocker with vibrant yet
easy on the ears guitar work. Vocalist Pat Kearns has a down home sound that's
appealing, and this song slips into your ears like butter on warm toast.
"Nothing Came In The Mail" is a solid album cut that's accessible but
doesn't call attention to itself. "Love Songs" finds BSFBH
reaching back into the 1950's for a mellow pop ballad sound. This works well,
save for the messy backing vocals. "You Gotta Quit Kickin' My
Dog" has great energy and a decidedly low-fi aesthetic that will find it
kicking around your head for hours.<br />
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"Waiting To Run" is a gentle pop rocker about the imminent failure of
a commitment. The pop sensibility and guitar work here calls a resemblance to
Blue Rodeo, with a lonely vocal flourish that can only be laid at the feet of
Brian Wilson. "The Past" is a middle of the road rocker, a solid album
cut. "Don't Look Back" is a catchy little rocker that sounds like it
should be a cover tune. Various elements of the song will be highly familiar to
fans of classic rock. BSFBH closes with "Back Home", a nondescript
number that's more numbing than anything else. While sonically safe, the song
doesn't do much to call listeners back again.<o:p></o:p></span></div>
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<span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Blues Skies
For Black Hearts succeeds in promulgating a sound that’s steeped in the past
but ready for the moment. The band’s
sixth album is their smoothest and most appealing to date. Blues Skies For Black Hearts spend most of
their time hidden away in the Northwest, but do have some planned dates coming
up in California this July. Catch them
if you can.<o:p></o:p></span></div>
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<b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;">Rating: 3.5 Stars</span></b><span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;"> (Out of 5)<o:p></o:p></span></div>
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<span style="color: #555555; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-bidi-font-weight: bold;">Learn more
at <a href="http://www.blueskiesforblackhearts.com/">www.blueskiesforblackhearts.com</a>. </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
Wildyhttp://www.blogger.com/profile/16612203546670909958noreply@blogger.com0