Leslie DiNicola - Some Greener Yard

Leslie DiNicola - Some Greener Yard

2013, Leslie DiNicola

Leslie DiNicola is a New York City-based singer/songwriter who writes soul-baring lyrics with a universal perspective.  Over time, DiNicola has receiving comparisons to such divergent artists as Janis Joplin and Alison Krauss.  She’s worked with the likes of Ron Allaire (Keith Richards, Madonna, David Bowie, Shakira); Julian Coryell (Aimee Mann, Leonard Cohen, Jewel, Alanis Morisette) and others.  DiNicola’s latest EP, Some Greener Yard, is her second with Coryell at the helm, and features some of her most personal songwriting to date.

DiNicola launches with "Shaky Wire", an aptly titled lead considering DiNicola is skating a fine and uncomfortably navigated line between country and rock here. The music is adeptly crafted, but there's a bit too much vibrato and tonal uncertainty in DiNicola's voice for this to be convincing. The vocals are much more stable on "Give Me Away", a middle of the road country/pop number full of melancholy. "Stay" shows more energy and a memorable chorus, but the vocal issues noted in the opening track return as DiNicola moves into her upper register. "Weight" tries to be a heart breaker, exploring the self-exploration following heartbreaking in reciprocal loops. The melody is pleasant enough, but the musical recidivism is tiring. DiNicola closes out with a meandering ballad that pales at its own energy and pacing.

Leslie DiNicola displays an affable voice with manageable weaknesses on Some Greener Yard. Unfortunately she tends to choose slow, languorous ballads that highlight the weaknesses rather than material more appropriate to her sound. The EP is fraught with slow, low energy moments that just don't do DiNicola justice.

Rating: 2 Stars (Out of 5)

Learn more at www.lesliedinicola.com.  

Abbie Barrett & The Last Date - The Triples: Volume 1

Abbie Barrett & The Last Date - The Triples: Volume 1
2011, Beige Bomber Records

Abbie Barrett grew up in New York City attending private schools. A professional career and upward mobility were the clear goal. Even through college, Barrett was on target. But once free from formal education, Barrett jumped around from town to town anything but. Eventually landing in Somerville, Massachusetts, she first picked up a guitar and began writing down the songs that kept running through her head. This was a watershed moment, both a continuation of her rebellion against the expectations she was raised with, and an embrace of the person she would become. Drawing on influences as disparate as Pink Floyd, Radiohead, Neil Young and Aimee Mann, Barrett continues to write songs about underdogs, unsung heroes and rebels. Along with her band, The Last Date, Barrett recently released the first in a series of EPs called The Triples.

The Triples, Volume 1 opens with "Here To Stay", a low-key, but high energy rock n roll fight song that's part Chrissie Hynde and part Sara Bareilles. Featuring a memorable chorus, the song shows off Barrett's distinct voice, which is distinctly beautiful but contains a formidable toughness that's not to be ignored. "On The Range" is a drearily ethereal spaghetti western in song. Barrett's voice and the vocal harmonies of her band help to create a distinctive sound that is both uplifting and haunting. The EP closes with "Draw Me In", an elongated and smooth ballad that sounds like Hope Sandoval singing along to Pink Floyd. The ultimately sad feel of the song holds its own unique beauty, and avoids the neuroses that pervade "sad pop" music.

Abbie Barrett is a distinctive voice in Indie Pop music. Together with The Last Date, Barrett has created three memorable and likeable songs that run the gamut stylistically. The Triples: Volume 1 is a wonderful introduction to an artist who shows a lot of promise. This EP will ensure that careful listeners are likely to be waiting for the release of the other two volumes in the series.

Rating: 4 Stars (Out of 5)

Learn more about Abbie Barrett & The Last Date at www.abbiebarrett.com or www.myspace.com/abbiebarrett.  The Triples, Volume 1 was scheduled for a November 8, 2011, but as of this review does not appear to have made it to market yet.  Keep checking Barrett's website for release details.

Bess Rogers - Out Of The Ocean

Bess Rogers - Out Of The Ocean
2011, Bess Rogers

Some people write great melodies.  Others craft lyrics that leave you breathless.  There are even some in the music world who build arrangements that go beyond day-to-day to comprehension.  Any one of these talents can make an artist a household name.  Any two may well make them a legend.  On her prior EP, Bess Rogers Presents: Bess Rogers, we found an artist who showed flashes of these types of brilliance.  Fourteen months later, Rogers returns with Out Of The Ocean, making unbelievable strides as an artist, and transforming herself quickly from a singer/songwriter with big talent and tremendous potential into a maturing, brilliant artist you simply can’t ignore.

Rogers has built her reputation on several fronts.  The Brooklyn-based multi-instrumentalist has been involved in numerous projects over the years, playing nearly every style of music imaginable.  A few years back she was picked to be Ingrid Michaelson’s guitarist, and has earned a well-deserved reputation as a dynamic performer with a flair for the dramatic and the technical chops to back it all up.  Rogers began building her name as a solo performer through her web presence and technical savvy, but it’s the music that speaks for Rogers.

Out Of The Ocean opens with "One Step Free", the song snippet that gives the album its name. Rogers makes an impressive start here, although it may leave you wishing she'd finished the song. "Standing Tall" opens with a plaintive verse that resolves into a beautiful, lush and lustrous pop chorus. Roger's voice is pure ear candy for those with rich musical tastes, and she bends and shapes the melody line here like a true artist. The song itself is one of safety and confidence in love - a nice change of pace from the glut of starry-eyed pop songs and anguish filled navel gazing ballads that fill up the airwaves. "Weak Link" is an anachronistic invitation from one who views her own imperfections as the perfect complement to the object of her desires better qualities. There's a romantic, tongue-in-cheek element here that's charming, and the full, active arrangement makes it a pop gem.

Rogers bemoans the relegation of romance and attraction to chemical processes on "Math And Science", yet indicates a continued willingness to play her part. Rogers draws you in here with a chorus that simply will not get out of your head. "Anchor" goes up-tempo, running along at a gallop while Rogers keeps pace with a flawless vocal line. The melody line here is brilliant, and once again, Rogers will stay in head for days. Don't be surprised if this is a break out hit. Rogers slows things down a bit with "In The Waves", a utopian invitation from a mermaid to a broken man that parallels immersion in water and falling in love with artful delicacy. Rogers creates a gorgeous sonic landscape here with layered voices and synth over a sparse arrangement. The song closes in haunting fashion, fading away into the depths.

 

Water And Dirt" is another wonderfully catchy pop/rock rumination on love. Rogers plays with the theme of elements, and the almost hopeless part we play in the human dramas of love throughout the album, but here she creates a bit of musical and lyrical magic that's impossible to ignore. "The Fittest" is another example of the sort of diluvian, edgy pop that Rogers is capable of creating. The arrangement is beautiful and lush, but with a backbone as hard as iron. Rogers rocks out on "I'll Be Gone", throwing down the gauntlet in a relationship where the sharing is no longer equal. This is done not in angry tones, but in a driven melody with honest lyrics that are more intelligently questing than spiteful. "Second Chance" is the most stripped-down and personal of the offerings on Out Of The Ocean, showing off Rogers' voice in a more open arrangement that reveals its simple beauty in broad daylight. Similarly, "Brick By Brick" sticks to an unfettered musical formula, whereby Rogers explores the minutiae of relationships in affecting and intelligent imagery. Rogers builds the intensity of the arrangement back to where she started in a conveyance of the building process, before falling back to the simple strains of a guitar string that fades as if leaving a story in progress.

 

Bess Rogers showed herself to be a special talent with her debut EP, Bess Rogers Presents: Bess Rogers, but Out Of The Ocean is light years ahead of first effort, showing a fast-maturing talent for melody, lyrics and song construction, all wrapped up in a voice that resonates in your mind. Rogers shares the love of lush arrangements apparent in the work of Sarah McLachlan, as well as the willful, independent narrative lyrics found in Aimee Mann's work. This all comes together in a fashion that is comfortingly familiar yet excitingly original. Very quietly, and without warning, Bess Rogers will knock your socks off. Out Of The Ocean is a Wildy’s World Certified Desert Island Disc, and figures to be featured heavily in year-end lists.

 

Rating: 5 Stars (Out of 5)

Learn more about Bess Rogers at www.bessrogers.com or www.myspace.com/bessrogers.

           CD                       MP3                   iTunes

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Check out with current tour-mate Allison Weiss in the first episode of "Van Jams", below:

Aoede - Affair With The Muse

Aoede - Affair With The Muse
2011, Aoede Muse Music

Dermatomyositis is a rare connective-tissue disease that weakens the immune system, muscles and skin.  When this disease struck Lisa Sniderman, AKA Aoede, in 2008, it came from out of the blue.  Aoede was still basking in the recognition generated by her debut album, Push And Pull, which won Aoede recognition for Top Artist of the Year and Top Album of the Decade from WomenRadio.com.  In September of 2010, Sniderman's condition worsened, requiring a 24-day hospital stay and intensive treatment and therapy.  Aoede made music a part of the therapeutic process, and the result is a new seven-track album entitled Affair With The Muse.

Aoede opens with "Fairy Tale Love", a 1950's pop vocal number dressed up in modern folk/pop clothing.  Party Disney and part dysfunctional romance movie, "Fairy Tale Love" explores wanting that perfect love story.  Aoede's sweetly anachronistic voice dances with the melody line to create a sweet opening moment.  "Does Your Heart Ever Stop Feeling" starts with an 'oom-pah' beat, much like a parade march.  Aoede will remind listeners of Kate Bush and Tori Amos here, with an intriguing vocal line that makes up in character what it occasionally loses in pure tone.  "Crave Me" speaks from the midst of a comfortable relationship, asking to be placed ahead of the day-to-day considerations of the world, even if for a little while.  This heartfelt number is honest and real, written from the heart of someone who just wants to be seen as she once was.  Off to a great start, the album slows down somewhat from there. "If You Already Know" has a bit of a cabaret feel, but is otherwise somewhat bland.  Aoede creates an interesting characterization of love in "Love Proof", but "Fall On Your Deaf Ears" is a bit too close to cliché in trying to save a relationship tilting into the wind.  Aoede closes strong with "What You Got".  Part pep talk and part motivational aid (i.e. kick in the rear), the song is entertaining and impassioned and full of heart.

Just like people, sometimes music soars and sometimes it survives.  Aoede does a bit of both here, which is incredibly fitting given the circumstances under which Affair With The Muse was born.  Aoede's quirky folk/pop sensibilities mix with both light and dark on her latest album, sometimes throwing up glorious sparks of song, while at others simply documenting the passage of time and the survival of creation; of life itself.  While Affair With The Muse may not stand as Aoede's best work in time, it might be her most compelling.  You can't help but think, listening to Aoede's occasional brushes with magic, that there's an album in her down the road that's going to blow a lot of people away.  Affair With The Muse isn't that album, but it's the first step on the path there.

Rating: 3 Stars (Out of 5)

Learn more about Aoede at www.aoedemuse.com.  To learn more about Dermatomyositis, please visit www.myositis.org.  Affair With The Muse is available digitally from Amazon.com and iTunes.

Abi Robins - For Luck Or Lie

Abi Robbins - For Luck Or Lie
2010, Morningbird Records

Abi Robbins is back with her third album, For Luck Or Lie, on her own Morningbird Records. Like on previous efforts Hey, Sunshine! and A Conversation With Myself, Robbins goes for highly personal subject matter delivered in matter-of-fact lyrical and musical marriages. Her delivery and style may remind you of Rachael Sage, Amy Mann or even Dana Wells, although Robbins may have sacrificed some of her more dynamic style this time around. For Luck Or Lie is essentially a breakup album, or perhaps more about the psychological process that leads to the breakup. Rather than surfing over the light and dark spots of her own psyche, Robbins dwells almost solely in the darker rooms of her memory palace on For Luck Or Lie, examining how one gets into a hopeless relationship and all of the energy that gets wasted trying to save what we've put so much time and effort into.

The result is a litany of frustration in music, tempered at times by hope that Robbins buys into but never truly believes. For Luck Or Lie opens with a song of self-sacrifice, "Buried". This is the starting point of realization, but it comes slowly. "Well Cut Dead Grass" is highly metaphorical, as if Robbins' mind turns slowly to the idea of getting away, introducing the concept in very vague terms that are slow to take root and blossom. Initial doubts are met by resolution, "Soldier" and justification, "The Art Of Forgetting". The steps down begin with "At Least For Now", the first acknowledgement that the end may come. "520325" is the best songwriting on the disc, although the meaning is shrouded deep in numbers that may mean much to Robbins but may be elusive idols to listeners. Stylistically, Robbins sounds a bit like Ron Hawkins here.

"Small Voice" is perhaps the turning point of the album, and as Robbins transitions into "Now You Know", Robbins begins to come to terms with what must happen. It's a song about the misgivings that grow inside misguided love like a cancer and the toll they can take. "Fool" and "Plans" presage the end, while Robbins regains control of her life with "Any More". Robbins uses the musical canvas to paint a grander picture than lyrics alone could tell. The strings are a nice touch, expressing new growth and a freedom from all of the mess that's been running around her brain up until now. "Pray Tell" is the album's epilogue; asking, essentially, "what's next?" It's clear that she still finds value in the person she's just left behind, enough to hope she'll be forgiven for doing what she needed to do. One senses a slippery slope here however; as "Pray Tell" perhaps leaves a crack of hope that something may bloom again one day.

Lyrically, For Luck Or Lie is among Robbins' best work, but the relentless tone of the album can be a bit tough to take. If you're not listening carefully, a few songs may run by you without really distinguishing themselves one from another. The dynamics and tone really don't change much until the last couple of songs, and this may turn off some listeners. It's a solid effort, but perhaps a bit too consistent to really grab your attention.

Rating: 3 Stars (Out of 5)

Learn more about Abi Robins at http://www.abirobinsmusic.com/ or www.myspace.com/abirobins. For Luck Or Lie is available as either a CD or Download from CDBaby.com.

Christa Gniadek - No One's Dolly

Christa Gniadek - No One's Dolly
2010, Maiden Brain Music Productions

Bostonian Christa Gniadek jumped into the music game officially in March of 2009 with a highly personal EP entitled Alone Or Lying, a personal treatise on the people, places and events that had touched upon her life up to that time. Gniadek returned in January of this year with No One’s Dolly, continuing in the highly personal vein (ala Rachael Sage or Aimee Mann) but with a bit more polish. Gniadek is already working on her next album, also due in 2010, but for now we’ll focus on No One’s Dolly. Gniadek is highly independent, starting her own production company in 2009. Did I mention that Gniadek is all of nineteen years old? Gniadek took classical piano lessons for nearly a decade before picking up a guitar as a high school junior. She hasn’t looked back, writing songs at a prolific rate ever since.

No One's Dolly opens with "Awake", where Gniadek shows a songwriting sensibility familiar to fans of Hope Sandoval. "Awake" isn't depressed or even melancholy, but is thoroughly at ease. "Sweetheart" is a powerful (yet low-key) declaration of self-assurance. The song is highly tuneful with real energy contrasted by an easy-going approach and speaks to the comfort and strength the lyrics imply. This is great songwriting. "Lonely Girl" is an amusing tune from someone who is very cynical about relationships; sparkling with wit and intelligence and the premise that the narrator is difficult to love. Gniadek raises the bar here with a highly personal story in song married to a melody that will recur to you throughout the day.

"Cold Daydream" is sleepy, as you might expect, but hardly listless. "Cold Daydream" floats past you, taking you along for a ride with perhaps the prettiest melody on the album. Melancholy does assert itself on "After All", but it's wrapped in such beauty you might miss the pre-text. Gniadek is at her most pensive here, and listeners will be drawn in. The wheel turns on "Stronghold" as Gniadek explores the sudden flush of love that often takes us by surprise. It's a gorgeous tune offered with a low-key delivery that results in a powerfully emotive listening experience. "Like You Do" is a sweet, plain love song that may border on being a bit too low-key given the subject matter, but Gniadek brings the song to life with emotions that are both powerful and subtle. Gniadek picks an apt closer in "Who's To Say", a song all about letting go. A minimalist arrangement highlights the sweet melody as Gniadek sends listeners on their way.

Christa Gniadek surprises with No One's Dolly. On first blush you might dismiss her low-key style, but if you listen closely there is a great deal of life in the still waters of Gniadek's muse. No One's Dolly may not be Gniadek's debut, but it will certainly serve as a worthy introduction to a young artist whose only going to get better. Christa Gniadek will charm you if you let her.

Rating: 4 Stars (Out of 5)

Learn more about Christa Gniadek at http://www.maidenbrainmusic.com/ or www.myspace.com/christagniadek. No One's Dolly is available as a CD or Download from Amazon.com. Digital copies are also available via iTunes.

Review: Isaboe - Love Son

Isaboe - Love Sun
2008, Ninjagirl Records

Australian singer-songwriter Isaboe had her first musical indoctrination at the age of 5, learning to play paradiddles on her father's 1950's Ludwig drum set. The days of youth quickly ran away with Isaboe, but the music beckoned her back and at the age of 14 Isaboe discovered The Police, bashing her way through Stewart Copeland's manic percussion and finding a sense of utter joy. Next came the guitar and saxophone and the discovery of jazz. Before long Isaboe was writing up a storm. In 2006 she set out to record an album. Two years later, after re-writes, a hiatus and time off from work to complete it, Isaboe released her debut album Love Sun. Full of personal reflections and empowering images, Love Sun serves as a powerful yet frustrating introduction to the world of Isaboe.

Love Son opens with "Brightest Love", an upbeat-yet-mellow rock love song with orchestral undertones. Listeners may be reminded of a blend of Aimee Mann and The Moody Blues here. The orchestral pop continues on "Calling To You", a song about seizing the moment where love is concerned. "Future World" continues unfettered with a light electro beat beneath Isaboe's ethereal vocals. Isaboe draws on themes of universal consciousness and connection in a somnolent piece that lingers across four-and-a-half minutes. Isaboe gets too caught up in prose on the title track; "Love Son" plays more like a diary entry than a mellow pop song.

"Golden Year" is a mildly upbeat song of reminiscence that seems to shake Isaboe out of her torpor. The energy carries over into "Revelation", an acoustic/electric track that decries the state of humanity and aims toward a more spiritual state for mankind. Isaboe's prose gets the best of her again on "Stellar Child", a song so caught up in Isaboe's new-age lyrical wash it forgets to grow and flourish as a song. Isaboe saves her best work for late in the album; "Home" is a love song that sits a bit outside the traditional love song box but carries a lovely, ethereal arrangement and melody and is likely to be a favorite for most anyone who comes across it. Love Son closes with "For All Our Days", a more traditional love song that sinks back into Isaboe's complacent, ambient pop arrangement style.

Love Son is something of a confounding album. Isaboe has a wonderful voice, and a keen ear for melody, but her tendency to arrange most everything with a monochromatic acoustic/orchestral pop style makes the bulk of her songs sound like one long cycle. There's a lot of potential displayed on Love Son, but Isaboe really struggles to maintain her pop sensibility under the weight of ambient but not energetic songwriting.

Rating: 2.5 Stars (Out of 5)

Learn more about Isaboe at http://www.isaboe.com/ or www.myspace.com/isaboeofficial. Love Son is available digitally from e-tailers such as Amazon.MP3 and iTunes.

Review: Dana Wells - The Evergreen EP

Dana Wells - The Evergreen EP
2010, Dana Wells

Growing up in a Washington, D.C. area household where top-notch musicians regularly come to record in your basement has to have an effect on someone. For Dana Wells, it served as a breeding ground for a subtle mind and a voice that are both mature far beyond her nineteen years. The Berklee College Of Music student is the daughter of prominent Beltway band leader Wayne Kilentz and was composing her own songs by the age of three. As the bass player, songwriter and lead vocalist for Lemonface, Wells transcended the usual high school band experience, becoming a top draw in the Baltimore/DC corridor as well as playing clubs in New York City and Los Angeles. As wells transitioned from high school to college, she also transitioned into the role of solo artist. The first official document is now available, as Wells has released her solo debut, The Evergreen EP.

Wells opens with "Anyone But You", a love song that avoids convention and sap to explore potential. Wells makes great use of imagery here and throughout the EP, wrapped in a simple arrangement and strong melody. Dana Wells has a voice that's clear and sweet with just a hint of amber; shaded but not dark or desolate. "We Come Undone" is a forthright and insightful look into the human condition and the chaos we seem to breed. Wells shows herself to be a serious songwriter with a gentle delivery that's eminently pleasing to the ear. "Evergreen" is a song about faith; not so much religious faith per se, but a faith in things working out for the best. Wells sings with her heart; showing an ability to commit to a song fully and in the moment without over-performing

"Leave Me", which Wells co-wrote with guitarist Mark Williams deals with the aftermath of a relationship. The song takes a pragmatic approach to looking back, yet betrays a deeply emotional vein beneath the surface. On "The Benefit" Wells acquires a country/Americana flavor that suits her well. The song is highly poetic and well-written; a wow-moment that illuminates the aftermath of a relationship in highly personal terms. All of this is build-up to "Watching Winter Melt Away", a virtuosic songwriting endeavor that uses both seasons and geography to illuminate the cycles of love and loss. Wells uses the song to uncover a realization that a relationship is simply not meant to be. "Watching Winter Melt Away" is the sort of song that other artists hear over time and cover because the song is so compelling and well written it needs to be heard. The Evergreen EP winds down with "Into Air", rumination on loss that's full of melancholy and regret. "Into Air" is poignant, skipping self-pity for an attempt to better understand how something good fell apart.

It's hard to know where to start. If you saw Dana Wells busking on a corner somewhere you'd keep throwing money in her case all day so she wouldn't stop. Add to this a songwriting talent that quickly paces the bulk of her contemporaries and shows the potential to someday be discussed in awed tones and it's hard to imagine Dana Wells doing anything other than making music for a living. Wells doesn't aim for such lofty goals as being a rock star, but she does want to be a working musician. Music fans everywhere benefit from that decision (or they will over time). This is talent that's meant to shine, and Dana Wells has made an excellent start of it on The Evergreen EP.

Rating: 4.5 Stars (Out of 5)

Learn more about Dana Wells at http://www.danawellsmusic.com/ or www.myspace.com/danawellsmusic. The Evergreen EP is available as either a CD or Download from CDBaby.com.

Review: Jean Mann - Daisies And Fire

Jean Mann - Daisies And Fire
2009, Jean Mann

The Emerald City houses a number of musical gems. Jean Mann has been a fixture on the Seattle scene and across the northwest US since 2002. A favorite of Cyndi Lauper and Jacqui Naylor, Mann uses her angelic voice and cultured, urban tales to put listeners at ease like an old friend weaving stories over a cup of coffee. Mann's latest album, Daisies And Fire, combines an urban sophistication with melodic simplicity in an alt-folk mix comparable to that of Aimee Mann or even Ani DiFranco's less acerbic work.

Daisies And Fire opens with The Path, a pleasant, innocuous Folk/Pop confection that pleases but fades away like the afterimage of a flashbulb. Blue Soul offers a bit more to chew on; "I wonder what it's going to take to climb out of my heart". It's a song of mourning and loss peppered with the surety that better is to come. The melody and arrangement are both quite lovely. Daisies And Fire is vaguely reminiscent of Norah Jones' I Don't Know Why in the base arrangement, but differs thematically. It's a pleasant listen, although the ghost of Jones was there throughout for me. Two Birds is a heartfelt, melancholy tune that comprises Mann's darkest moment on Daisies And Fire. I expected there to be more tension in this song but it never quite materialized.

Blue Sky is dreamy Jazz/Pop that would have been right at home on 1970's AM radio and is among the better songwriting on the disc. On Pull Over, Mann explores the need to "stop and smell the roses", as it were. It's a well-written affair, high on the pleasantries meter but continuing in a vein that's perhaps a bit too consistent. Side By Side revels in the comforts and magic of established love, again going to the 1970's AM sound and blending it with hints of Country flavoring. The rest of the journey is relatively as it has been before, with the lone exception being Tide. Mann is the same, but the cello and guitar work some magic in this tune that would have been welcome elsewhere.

As a songwriter/performer on Daisies And Fire, Jean Mann is eminently likeable. Her voice is sweet, and even the darker moments in song seem harmless. There lies the rub. I'm not sure whether Mann challenged herself in the process of creating the album, but as a listener there was no challenge here. It's good to hear a songwriter who's comfortable with who, what and where they are, but the occasional risk would add some much needed spice to a pleasant but conventional folk/pop album.

Rating: 3 Stars (Out of 5)

You can learn more about Jean Mann at http://www.jeanmann.com/. You can purchase Daisies And Fire as either a CD or Download from CDBaby.com.

Review: Abi Robins - A Conversation With Myself

Abi Robins - A Conversation With Myself
2009, Morning Bird Records

Most people fall into one of two categories in life: those who follow the rules and those who break them. There is a third category that generally holds select company: those carefree enough to simply make their own rules and their own way. Abi Robins is of the latter ilk, choosing an Indie path that not only has served her well but has become a resource for other independent artists as well. Originally of The Winter Wakeup with singer/songwriter Jess Parsons, the Kansas-born Robins started her own record label, Morning Bird Records in 2008, releasing her Hey, Sunshine! EP as well as four EPs from other artists in less than one year. Robins now returns with her first full-length album, A Conversation With Myself, trading on a blend of Folk and Rock N Roll that's immediately comfortable without forfeiting an ounce of originality.

Robins opens the conversation with The Blue Waltz, a disarmingly honest anti-love song with passive-aggressive tendencies. It took a few listens but I really came to like this tune; it's a bit out of the box but very well written. Robins gives a delightful turn on The Drive, a quasi-escapist musical fantasy with melody that's to-die-for. The autobiographical quality of Robins' writing is noteworthy, wielding disarming candor with a deft touch that's part subtlety and part artistry. God And Science reflects a level of self-knowledge and a mix of disgust and acceptance at the narrator's inability to change in a great Folk/Pop arrangement that shows maturity well beyond Robins' years. If The Shoe Fits is a highly catchy tune about a relationship that's not working out; the peppy arrangement is the perfect foil to lyrics that are less than happy. You won't be able to get this song out of your head.

Robins treats listeners with a gentle instrumental entitled Battman, mixing Latin elements with Jazz and Psychedelia to create a pleasant sonic interlude. On This Easy, Robins follows an Americana path that's part Blue Rodeo and part Aimee Mann in a song about frailty and vulnerability of relationships and the sort of fear and bad decisions those states can engender. Once again, Robins displays a maturity and sense-of-self well beyond her years wrapped up with an ability to create a picture in song that's not only clear but lasting. Someday addresses the dichotomy of having an uncertain future with a certain end; mortality being set in stone but moveable in time and unpredictable. Robins examines this loosely from within the bounds of a relationship, applying the principle of uncertainty from life to the relationship and questioning the mortality of the same. The song is highly personal and honest, displaying ambivalence between hope and hopelessness that is striking. Robins closes out with Wanna Stay, a song of hope and resolution that counters the dark thoughts that run throughout A Conversation With Myself. Robins has spent the past forty-two minutes spilling the guts of her thought process for the listener's pleasure, including all of the dark uncertain thoughts that accompany being young and uncertain in a world full of questions and dangers that are only half-glimpsed and less understood, but ends with a resilient note that asks for more even if she isn't entirely sure what it is yet.

A Conversation With Myself shows distinct growth from Robins as a songwriter over her Hey, Sunshine! EP, delving into the dark nooks and crannies of her mind and baring insecurities and shadows that most people never see. For raw honesty and artistry the album is a 5-star effort. The writing and arrangement of music on A Conversation With Myself are top-notch, too, although there are some out there who will struggle a bit with Robins' vocals. Technically speaking there is a tendency for Robins to play fast and loose with pitch, particularly on the end of phrases. Robin's is never fully out of tune but certainly flirts with the concept consistently on A Conversation With Myself. Add to this Robins' voice, which has a dark beauty to it but isn't necessarily what you might describe as "pretty", and some folks will be turned off by this aspect of the disc. But Robins has a uniquely personal style that comes through that voice, and as a whole these vocal qualities add up to more than the sum of their parts, ala Bob Dylan or Neil Young. The end result is a listening experience that is unique and enthralling for its mix of artistry, beauty, and yes, it's flaws. A Conversation With Myself is a dazzling effort from Abi Robins; make sure you check it out.

Rating: 4.5 Stars (Out of 5)

You can learn more about Abi Robins at http://www.abirobinsmusic.com/ or www.myspace.com/abirobins. I was unable to find an online outlet for A Conversation With Myself, although you can stream tracks on her Robins’ MySpace page. Contact Robins there if you’d like to buy a copy, I’m sure you can work something out.

Review: Dune Tran - Heart Anchors

Dune Tran - Heart Anchors
2009, Dune Tran

Edmonton, Alberta, Canada native Dune Tran relocated to San Francisco in 2001. Getting a late start on a music career, Tran never learned guitar until the age of 21, and piano until she was 24. Tran has wasted no time putting her skills to use, spending some time singing backup vocals for San Francisco’s Leilujh before taking the solo route. 2009 sees Tran’s hard work come to fruition with the release of her debut album, Heart Anchors.

Heart Anchors has some great moments, from Tran's Tori Amos-inspired piano playing to the occasional sprinkling of gorgeous pop moments. Tran sings with raw emotion and a sweet voice with just a bit of an edge. On songs like All, Tran has an essential likability that comes across in the music. All is a sweet love song, ready for mix-tape exposure, but on the vocal side Tran shows the occasional big flaw (like pitch issues here and there). One gets the idea that Tran doesn't care, she just enjoys singing. That joy is infectious enough that the listener will overlook some of these small things and really get into the songs. Silence is a gorgeous and emotionally raw bit of personal biography about a relationship that's caught in between two phases. On songs like Daydreams, Tran proves herself to be an apt painter of human emotion in song, laying out the emotional landscape of a relationship in musical forms you can understand.

Tran's loveliest composition on Heart Anchors features Tran, piano and cello. Fading Into Black has a stark beauty and loneliness woven into the instrumentation that is more telling than any lyric. Elements of Tori Amos and Sarah McLachlan can be heard here, but Tran sinks into an original voice that is between those two and yet not of either one. Trans says goodnight with the bruising piano driven song Safety Nets. Fans of early Tori Amos will dig this song, which is extremely well-written aside from any stylistic similarities. Other highlights include Love Underwater and Cannot Reach You.

Dune Tran's Heart Anchors is an intriguing if uneven first effort. Tran show obvious influence from artists such as Tori Amos and Sarah McLachlan. Her best moments come when she plays out those influences into something of her own style. Where Tran tries to be a bit more mainstream the songs lack real personality and fall a bit flat. Dune Tran's voice has a sweetness to it that hides an edge you can never quite put your finger on. My suspicion (and hope) is that this is just the beginning for Tran. There's a lot more music in there, and over time she'll hone her skills further. For now, Heart Anchors is a great start.

Rating: 3 Stars (Out of 5)

You can learn more about Dune Tran at http://www.dunetran.com/ or www.myspace.com/dunetran. You can purchase a copy of Heart Anchors at www.cdbaby.com/cd/dunetran.

Darrelle London - Wildy's World Artist Of The Month, June 2009

Darrelle London is one of the biggest surprises of 2009 for us at Wildy’s World, and we just couldn’t resist making her Wildy’s World’s Artist Of The Month for June, 2009. London is one of those artists who will continuously surprise you. With a voice that recommends an innocent sweetness she can hit you with an acerbic lyrical rush that will leave you breathless; all done with the impish smile of a child. London could be ultra-subtle younger musical cousin of Nellie McKay. Both artists have expansive musical and songwriting talent; employ wit in their songs and can deliver knockout blows with a smile, but where McKay is in your face London is subtle and refined.

With classical training in both piano and voice, Darrelle London quickly began to write her own material. Conquering the restaurant circuit in southern Ontario, London quickly became a force on the Toronto Indie scene. She has since gained significant airplay on college radio in Canada, and has made appearances at WinterFolk, International Pop Overthrow and IndieWeek Canada. London draws audiences in with her cute demeanor and blows them away with a distinct pop musicality and thoughtful and incisive lyrics that keep listeners on their toes. There is no such thing as a boring performance when it comes to Darrelle London; she enjoys performing and writing and it shines through on every note of every song.

Darrelle London gave up law school to pursue a career in music. It won’t be too long before that decision is officially vindicated. It’s rare for a talent of this magnitude to come along, encompassing songwriting, performance, personality, charisma and a pop sensibility that may just rival that 60’s quartet from Liverpool. Check out Darrelle London’s debut CD, Edible Word Parade, and you’ll see what I mean. Darrelle London currently has a handful of shows scheduled for Toronto and London, Ontario throughout the summer. Keep checking her website for more dates. We’ll be talking more about Darrelle London as the month progresses, so make sure you take the time to check her out. Learn more at http://www.darrellelondon.com/ or www.myspace.com/darrellelondon. You can also check out videos for her songs Understand and Two Roads on YouTube.

Review: Darrelle London - Edible Word Parade

Darrelle London - Edible Word Parade
2009, Darrelle London

Sometimes a CD will come along and just blindside you with how good it is. Darrelle London’s Edible Word Parade is just such a CD. The Toronto resident (and former farm girl) is classically trained in both piano and voice, and was smart enough to get into Law school. She was also smart enough to know that music is where she belongs, and has garnered a lot of attention in a short time on the Toronto circuit. With a sweet voice that belies her sophistication, London will disarm you with her charm, butter you up with her wit, and drive her message home with an unmerciful sweetness accompanied by melodies that make you want to sing along.

London uses her personal brand of quirky, piano-based pop; combines it with a sweetly beautiful voice reminiscent of Lisa Loeb and an almost child-like simplicity to disarm listeners and create a listening experience you'll never see coming. London writes honest words about honest emotions and events with glibness that is compelling, telling stories about adult relationships with a child's candor and grace. Her songs are a melodically ecstatic segue into musical neuroses of the type caused by human relationships.

Edible Word Parade opens with Understand, a request for patience from someone who is falling in love but needing to go slow and grow into what she's feeling. Selfish is a wonderfully written song about two people who are together in spite of sharing the same bad qualities; a lesson in attraction for all the wrong reasons. Bad is a revelatory pop song, and one of the peppiest songs of heart break you will ever hear. London flashes songwriting brilliance on The Game, calling out someone who plays in relationships rather than participating in them. The Game is brutally honest, but delivered with a sweetness that is so counter-intuitive it makes perfect sense.

Crystal Clear is something of a tactile love song, told in terms of moments, experiences and sensations. The song is sweet, uncomplicated and full of love, and it's built around an unusually charming bridge and chorus that will stick in your head for days. Two Roads is a remarkably mature and subtle look back at a failed relationship. The protagonist begs her former partner not to ask her to come back, fearing she won't have the strength to say no. You're The Star is one of those songs that most people will find a connection because we've all known someone like the person described within. London displays her ability to capture emotions, moments and people in song with pitch-perfect clarity here. These Days is a deeply melodic exploration of someone living in the midst of heartache. London seemingly finds hope amid the vortex of emotions of a life torn asunder. London closes with Work Out Fine, another sweet love song expressing hope based on the ineffable quirks of a couple. The ability to understand one another without saying a word is the example London keeps coming back to, and she lays it out in a way that's both artistic and emotionally sincere.

No, I didn't see this one coming. Darrelle London has created an amazing album full of sweetness and light, wrapped up in near-perfect pop confections. Her voice is has qualities of sweetness and beauty that make you want to listen to her all day, and the brutally honest yet child-like and innocent quality of her lyrics will draw you in. Edible Word Parade gets our highest recommendation, as a Wildy's World Certified Desert Island Disc. Put this one on the top of your "get" list.

Rating: 5 Stars (Out of 5)

You can learn more about Darrelle London at www.myspace.com/darrellelondon or http://www.darrellelondon.com/. You can download Edible Word Parade from iTunes without difficulty, but getting a hard copy on CD is a little more challenging. Indie Record Stores in Canada may have it, specifically SonicBoom, SoundScapes or Criminal Records, all in Toronto.

Review: Tamara Hey - Miserably Happy

Tamara Hey - Miserably Happy
2008, Miserably Happy Records

Tamara Hey is a product of New York City. All the humor, intelligence, sarcasm and soul searching that goes with being a New Yorker is reflected perfectly on her latest album, Miserably Happy. Her press materials site influences such as The Beatles, Fleetwood Mac, The Rolling Stones, Suzanne Vega and Aimee Mann, and you can hear shades of each within her songwriting, but Tamara Hey would appear to have a musical progenitor in Christine Lavin. Hey is a bit edgier than Lavin perhaps, but carries that same sense of intelligent wit and mischief that infuses the best of Lavin's material. The subtle essence of wit is ever-presented on Hey's most recent album, Miserably Happy. No subject is devoid of opportunity in Hey's capable hands.

Miserably Happy opens with You Wear Me Out, a reflection on a boyfriend whose amorous intent is based more in his own insecurities than affection. The arrangement is peppy pop sweetness that encapsulates the quiet angst that runs through the song. Round Peg is contrasts the distaste or discomfort some people feel with regards to an acquaintance or friend with a real weight issue, and yet it contrasts this feeling against the feelings of inadequacy engendered by the struggle for the perfect body. The narrator ends up deciding the less than perfect body and fun life are more desirable than the pursuit of elusive perfection. Umbrella is a humorous song that residents of any large pedestrian metropolis will understand. It's cute and understatedly funny.

Somebody's Girl reflects an almost neurotic sense of hope or knowledge that the perfect person it out there somewhere. It's a sweet song with a great pop arrangement. Isabelle incorporates subtly beautiful Spanish guitar licks into a song about how friends sometimes change once they get married or seriously involved. It's as much a lamentation of friendship lost as it is a passive or internal exhortation for the friend to see the truth about her choice. Drive is probably my favorite song on the record, nailing the angry urgency with which New Yorkers live every single day. Drive is about the need to get away from time to time to refresh yourself, and is delivered with a wink of wit. Other highlights include David #3, Long Dog Day and Miserably Happy. Tamara Hey closes out with October Sun, a musical painting of images and understandings drawn from the sun in decline. This is the prettiest and most poignant song on Miserably Happy.

Tamara Hey is quite the songwriter. Intelligent and funny lyrics back up against strong country/folk/rock arrangements that serve as perfect vehicles for Hey's sweet voice. Tamara Hey is just quirky enough to be instantly memorable/recognizable. Once you've heard her sing you'll always know Hey's voice right away. That is a quality most singers would die for. Add to that the obvious talent and you have quite a package. Miserably Happy is well-written and well-performed, and an indication that Tamara Hey should be a viable force in folk and rock for some time to come.

Rating: 4 Stars (Out of 5)

You can learn more about Tamara Hey at www.myspace.com/tamarahey or http://www.tamarahey.com/, where you can purchase a copy of Miserably Happy. You can also pick up a copy at www.cdbaby.com/cd/tamaramusic3.

Review: Duane Large - Stories In The Last Year

Duane Large - Stories In The Last Year
2008, Duane Large

Duane Large is one of the more enigmatic performers in popular music: Influenced by everything from Croce to Dylan; The Decemberists to The Beatles; George Gershwin to Franz Schubert. Large has played with many groups over time, including The Philadelphia Orchestra. His debut CD, Stories In The Last Year, runs the gamut from rock to folk to Tin Pan Alley without losing direction. It's one of the most musically involved pop/rock albums of 2008.

Duane Large has a straight forward Folk/Americana delivery that is without pretension. His songs are written in a crisp, clean, economical style that is both refreshing and fun. Stories In The Last Year opens with Jillian. Jillian bears a strong stylistic resemblance to Jim Cuddy (Blue Rodeo). Your House is a classic singer/songwriter folk song. Large's sweet and mellow voice rings clear throughout and his guitar work in exquisite. Abide is my favorite song on Stories In The Last Year, a love song that doesn't stick to the usual formats or cliche, Abide is a powerful and appealing song that probably has major licensing potential.

Ligeia (Poe) has a European sound to it and a gorgeous melody that you won't be able to get out of your head. The Road Less Traveled uses a classic 1960's guitar emulating a doo-wop chorus to back up a classic sound. Large is very convincing here. Other highlights include Tucked In The Seams, the Celtic The Ballad Of Nelly Holland, and All You Are. All You Are is a classic folk song right out of the gate. This is the sort of song that other artists pick up on and record or perform live.

Stories In The Last Year is aptly named. If Duane Large continues on the path he's on he may well end up as one of the more prolific and talented songwriters of the new century. Every song is crisp and clean with well-defined melodies and intelligent, expressive lyrics. Large is likely to find a big audience with the right break.

Rating: 4 Stars (Out of 5)

You can learn more about Duane Large at www.myspace.com/duanelarge or http://www.duanelarge.com/. You can pick up a copy of Stories In The Last Year at www.cdbaby.com/cd/duanelarge.

The Wildy's World Top-40 of 2008: #20-26

Ah yes, the dreaded end-of-year lists have begun. Not being able to resist the call of annoying pop-culture end of year lists, we here at Wildy's World thought we'd tear our hair our trying to present you with the top 40 albums we've reviewed in 2008. The albums had to be released in 2007 or 2008 in order to be considered, and a total of 537 albums were in the mix. This means the forty albums we'll present over the next 10 days comprise the top 7.5% of submissions in 2008!Each listing will give a very brief statement about the album, and the artist name/title will serve as a hyperlink to the original Wildy's World review, where you can also find links to the artists' website and links to purchase their CDs.

Today we are covering #'s 20-26. We're creeping our way towards #1...

#26 - Autumn - Velvet Sky

The Texas singer-songwriter's second album is full of quiet grace and fortitude. A songwriter's songwriter, Autumn paints velvet sky like the master artist that she is.


#25 Stephanie - Stephanie
Contemporary Christian Pop music that's good enough to break out into popular radio. If you want to see what the future of Christian Pop looks like, take a listen to Stephanie.


#24 Blue Rabbit - Separate

Delightful Baroque Rock from San Francisco! Cello, drums and Celtic Harp supporting the angelic harmonies of Heather Anderson, Arami Reyes and Sarah Rocklin make this a sparkling listen.

#23 John Taglieri - Everything We Are EP

Great pop/rock songs that are intelligent in lyric and catchy enough to warrant serious attention. Taglieri is a rare combination in today's music world.

#22 Katie Haverly - Around The Bend

Somewhere between Joni Mitchell and Aimee Mann is where Katie Haverly lives. Around The Bend is as much a musical declaration of self as anything else, and it's brilliant. One of the best kept secrets in the Northeastern US.

#21 O.L.D. - I Live In A World

Former Huffamoose front man Craig Elkins is back with this eclectic and tasty set of pop/rock gems. It'll take a few listens to get this one, but you won't regret the effort.

#20 - SPiN - Spin EP

Theatrical Rock N Roll at it's finest. Big guitars, soaring harmonies and inerrant pop sensibility land this Philadelphia DIY band at #20.