Anya Parker-Lentz - The Giving

Anya Parker-Lentz - The Giving
2012, Anya Parker-Lentz

The first time you see Anya Parker-Lentz you might think she’s a typical American teenage girl.  You would be wrong.  Parker-Lentz has an understanding of link between art and life that extends far beyond her sixteen years.  Her debut EP, The Giving, shows the growing pains of youth, but also the powerful talent that causes people who have never heard her before to stop and listen.

The Giving opens with "Staredown", a modern teen pop love song with a quietly memorable chorus. Parker-Lentz' voice is a wonderfully enigmatic alto that calls to mind a mix of Stevie Nicks and Alexa Ray Joel. "Not Trying To Hurt You" is a maudlin ballad with solid pop sensibility. Derived from a simple piano riff into a minimalist arrangement, this number feels heavy and never manages to soar in spite of an appealing chorus. "Stuck In Limbo" is an emotionally drawn ballad of longing and pain. The song is well constructed but feels forced lyrically.

"The Giving" explores a martyrdom concept of love in stilted, awkward turns of language. Parker-Lentz manages to achieve an AAA radio sound here; if she can smooth out the lyrical struggles she just might have a hit on her hands. "Wake Up Alice" begins as a dark and chaotic waltz but quickly resolves into a sing-song take on teenage angst seen through the eyes of Lewis Carroll's most famous protagonist. Parker-Lentz calls out a dysfunctional love in "Walking Out". She's fully on the mark this time out, with a strident melody and catchy hook. The Giving comes to a quiet close with "Lullaby", which is too dark and full of shadows to be restful. This is the best track on the EP, showing a growing maturity in Parker-Lentz as a songwriter.

Anya Parker-Lentz is still quite young at the tender age of 16. Her enigmatic voice can make that easy to forget at times, even as her awkward lyrical stumbles serve as a reminder. The Giving is a mix of blessings and blemishes, but clearly shows a burgeoning talent struggling to break free from the chains of adolescence.

Rating: 3 Stars (Out of 5)

Learn more at www.anyaparkerlentz.com. 

Jeannine Hebb - Whileaway

Jeannine Hebb - Whileaway
2011, Jeannine Hebb

Jeannine Hebb has one of the best pure voices in Indie Rock. Her stunning debut EP Too Late To Change Me announced the Brooklyn based singer/songwriter to the world four years ago. It wouldn't have been surprising to see Hebb regress a bit on her second recorded effort, but Whileaway finds Hebb leaping forward rather than stepping back. Her penetrating voice, distinctive melodies and emotionally intelligent lyrics make for an unforgettable combination. Comparisons to Fiona Apple, Alexa Ray Joel and Tori Amos may seem appropriate at times through Whileaway, but it becomes eminently clear before long that Jeannine Hebb's sound and style are entirely her own.

Whileaway opens with "Call Him Out", a cute number written early in heartbreak. She wonders why no one intervenes. The effort is intriguing, and has the feel of a pop-opera or new Broadway composition. Hebb creates and enlivens a character here that's entirely believable in her self-pity and self-victimization. The melody is entirely memorable, and Hebb sings with a voice that could grace any stage. "I Believe" is a soulful ballad that shows off the many colors and gorgeous tone of her voice. "Back To Me Again" is written from a position of power, with a former, misbehaving beau trying to his way back into her life. The edgy rock arrangement almost seems to hide a country heart, but Hebb builds a wonderfully intricate chorus that will keep your toes tapping.

"Tell Me No" shows a wonderfully human bit of dysfunction, wrapped up in a theatrical aria that's absolutely unforgettable. The combination of neurotic need and honest vulnerability plays out perfectly against the simple piano-based arrangement. "Heartache" deals with the darkness that follows a relationship, with the resolution that she won't make the same mistake again. Once again, Hebb carries a stage presence into the song, and a diva-like voice that wends its way through the vaguely Mediterranean melody. Edge and beauty come together here, like the brittle, icy rim of a puddle on a frosty morning. "Don't" continues to dance on the emotional ledge, in that dark place between capitulation and recovery. Strength grows in the chorus, where she fights back against the causes of her heartbreak. Hebb's sense of composition here is amazing, using all of the instruments in her palette to build sound in waves that crash over the listener much as the emotions that inspired the song might once have engulfed her.

"These Days" is a melancholy exploration told in the form of a personal ballad. Hebb's (or her character's) personal thoughts born into song alongside a lovely, fluid melody, offer a wonderfully quiet yet powerful moment of pure emotion, and allow listeners a glimpse into Hebb's upper vocal range as well. "Goodbye" takes on a slightly edgier feel, as Hebb begins to separate herself from the source of her heartache. Unlike the songs that came before, there's more of an analytical slant this time around, as Hebb explains her reasons for going. In the process she builds gorgeous song architecture that befits the sprouting of new chutes into a bare emotional spring that must follow every winter.

"Tragedy" is a relationship post-mortem in the medium of bluesy pop. Hebb belts and croons her way through the moment, speaking not out of anger but out of fact. The dynamic arrangement is too complex for pop radio, but is very appealing nonetheless. "Low" alternates a workman-like verse with an airy, one-word chorus. The split is interesting, and the neo-baroque glue that holds the two distinctive pop styles together will keep listeners very much on their toes. Hebb closes with "Make It Right", a dark confessional that throws all of the previous resolution in doubt. What's appeared to be a general migration toward healing is left in the emotional turmoil of one who almost made it through, but is on the verge of getting sucked back in to the relationship that started it all. The personal appeal here is compelling, and Hebb delivers it with a voice and presence that combine all of the personal glamour of a big-time pop star and all of the pastiche of a veteran of the stage.

Whileaway is the sort of album you park in your CD/MP3 player and play again and again. Jeannine Hebb shows that her debut EP was anything but a fluke with a performance that is subtle and complex beyond her years, both musically and lyrically. With a voice that would be welcome on any stage, anywhere and an amazing depth of songwriting ability, it's hard to imagine Jeannine Hebb as being anything less than a star one day. Whileaway is nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Jeannine Hebb at www.jeanninehebb.com or www.myspace.com/jeanninehebb. 

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Review: Myra Flynn - Crooked Measures

Myra Flynn - Crooked Measures
2009, Myra Flynn

Vermont's Myra Flynn was writing songs before she ever thought to take the stage herself. Leaving home at the age of 16, Flynn found her way to New York City where she worked with Wyclef Jean's Refugee All Stars both in the studio and as a student for three years. She has opened for Ivan Neville, Alexa Ray Joel, Slick Rick and Lee "Scratch" Perry, and has been compared to Erykah Badu, Adele and Norah Jones. Flynn released her debut album, Crooked Measures in mid-2009, blending R&B, Soul, Folk and Rock into an intriguing mix of songs.

Flynn opens with Feels Like The Sunshine, mixing soulful vocals and a classic singer/songwriter pastiche into a melody that feels familiar right from the first listen. Long Fall Down is representative of the sort of relationship insecurities that can evolve from a simple look or tone of voice. Flynn is incredibly vulnerable here, and some of the deeper textures in her voice come shining through. Imagine if Tina Turner, Fiona Apple and Dionne Warwick were somehow combined into one DNA set; the voice might sound a bit like Myra Flynn. Flynn offers up something of a non-traditional love song on So It Goes; an introspective and self-aware examination of her own state of mind. Flynn's vocal here is outstanding as she emotes every crest and trough of the emotional roller coaster she's on. Bones, on the other hand, highlights some of the harder edge qualities of Flynn's voice and just doesn't work in this light.

Flynn dives into some torchy Blues/Folk on Small Talk, the best and most vibrant songwriting on Crooked Measures. This song will get your feet tapping and draw you in. What Am I is wonderfully minimalist, highlighting Flynn's vocals and harmonies in a compact arrangement that uses a very familiar chord progression. Where Do You Go is a lonely, melancholy tune in a dark Americana arrangement. The melody here is absolutely gorgeous, and Flynn gives a performance that's award-worthy. Flynn goes the a Capella route on Miss Independence, creating a very balanced intriguing arrangement that's a pleasure to listen to. Flynn closes out with the electronica/dance influenced Fragile. Fragile doesn't have the depth or sense of gravity that accompanies may of Flynn's songs, but is decent enough for what it is. On a positive note, the chorus is gorgeous.

Myra Flynn has a compelling voice, able to go from nearly-whispered vulnerability to full-out belting at the drop of the hate. Her band is solid and the production is deft. Crooked Measures ultimately lives and dies on the songwriting itself, which is mixed. Myra Flynn is the product of a very small music market, and her sound suggests a bending/blending of R&B styles with the local flavor. Flynn seems very comfortable with her sound, but it seems at times as if she might be holding back some other musical impulse. It would be quite interesting at some point to hear what that is. In the mean time, Crooked Measures is a strong introduction to a very talented singer/songwriter whom out to be on your "to check out" list.

Rating: 3 Stars (Out of 5)

You can learn more about Myra Flynn at http://www.myraflynn.com/. You can purchase a copy of Crooked Measures on CD from CDBaby.com. You may download the album through iTunes or Amazon.com.