Skyler - Long Gone

Skyler - Long Gone

2010, SkyHi Records

In a day and age where celebrity seems to be the most desirable goal for many, the world abounds with self-proclaimed prodigies.  Nevertheless you'll occasionally come across a young artist who doesn't need the label.  York, Maine's Skyler is a prime example; as early as third grade kids were clamoring in the playground to hear Skyler play.  By 6th grade he'd mastered multiple instruments and a year later the recording studio in his bedroom reduced Skyler to sleeping on the couch.  Four albums, twenty professional and repertory theatre productions and several hundred gigs later, Skyler has a year at Berklee College of Music under his belt and a loyal following that's admirable.  With the release of his fifth album/EP, Long Gone, Skyler brings together the distinctive pop sensibility that's been drawing crowds since grammar school with a highly refined but non-constricting polish that's rare. 

Long Gone opens with "Hold My Hand", an incredibly catchy pop/rock number in the style of Elvis Costello.  "Hold My Hand" has the sort of melody that lives in your brain for years and continues to surface long after you've forgotten where it came from.  This tune has hit written all over it.  "This Dream (Nashville)" is irresistibly danceable rock n roll about coming home to his baby after time on the road.  Most any musician whose spent time on the road with a love at home has written some form of this song, but few have done it as well as Skyler has here.  "Stephanie" is a song of infatuation that's cute and catchy with serious vocal harmonies.  The acoustic country arrangement is a pleasant listen, but electrify it and polish it up and it's as close to a sure-fire hit as you can get.  "Any Stupid Thing" is a catchy love song, brilliant as in Beatles brilliant.  By the way, it's probably the weakest overall song on the EP.  Long Gone closes with "It's Just The Night", a true rock n roll 'wow' moment.  You'll have a hard time remembering the last time an album or EP was this much pure joy to listen to. 

Skyler practices the KISS principle as a songwriter, keeping the constructions simple with amazing melodies, strong harmonies, dynamic vocals and an ingenious pop sensibility.  In a perfect world Skyler would already own the pop charts.  In the real world, if there is one artist you need to turn your attention to in 2010, it's Skyler.  Long Gone is pure pop/rock that's not snarky, contrived or cynical in any way.  Skyler appears to be making music for the simple joy of it, and that energy is abundantly contagious on Long Gone.  If there is any justice in the world of music, Skyler will be the breakout artist of 2010/2011.  Long Gone is a Wildy’s World Certified Desert Island Disc.  Don't miss it.

Rating: 5 Stars (Out of 5)

Learn more about Skyler at www.facebook.com/skylertunes or www.myspace.com/skylertunes.    Long Gone is available from Amazon.com as a CD or Download.  Digital versions are also available via iTunes. 

Lily Sparks - Cooper Cobra

Lily Sparks - Cooper Cobra
2010, Lily Sparks

Get out your studded leather pants and oversized shirts. 1980's rock n roll is back with a vengeance, and New York City quartet Lily Sparks is leading the charge. Laying down a classic rock n roll sound is the mission of Lily Sparks, who have been creating sparks on the New York City Indie scene for two years now. Lead vocalist Niamh (pronounced "neev") is a product of Ireland; a classically trained vocalist who can go from a whisper to a scream in nothing flat. Niamh has sung everything from classical to rock to musical theatre, but seems most at home on stage between the two glitter guitars of Lily Sparks. Nikki 7 plays rhythm and lead guitar; the product of The Berklee College Of Music has been seen around NYC in the past with bands such as Cherry Red, Soap Opera Villain, The Mynks and Fluffy. KG* star wields the other glitter guitar in Lily Sparks, and has her roots in the punk scene. In their two years together Lily Sparks have gone from occasional gigging to headlining Webster Hall and even won the East Coast Finals of the Emergenza Festival. This won them a trip to perform at the Taubertal Music Festival in Germany, where Niamh won the award for Best Vocalist. Lily Sparks put their sound on the record for the first time in 2010 with the EP Cooper Cobra.

Cooper Cobra opens with "Stars", a classic rocker about the little things in life ("stars, guitars and muscle cars"). It's a great tune that could have been a top hit circa 1983 and would still get more than nominal interest from classic rock and AOR stations today. Niamh is indeed everything she's billed to be, with an unbelievable voice and the sex appeal of a confident lead singer. "Let Go" dials things down a bit as a charged invitation to intimacy. Niamh projects a sultry and confident vulnerability here that's surprising and adds an extra charge to the song. "Walk Away" is a dynamic rocker that looks back at an old relationship with longing and regret; A wish to return to what once was. Niamh belts and wails her way through this one in fine rock and roll fashion, treading the valley somewhere between Chrissie Hynde and Ann Wilson. "Where Are We Today" is a rueful revisit to where two former lovers are; and is perhaps a follow-up to "Walk Away". It's a solid track, but the weakest one on the EP. "The Girls" is a love song to New York City; and is likely to become a fan/concert favorite.

Lily Sparks has it all. Solid musicianship, a dynamic lead vocalist, a sound steeped in classic rock tradition and a vitality that keeps it fresh. While Cooper Cobra may sound dated to some, it's a sound that still speaks to an awful lot of people. The EP seems to engage the energy of Lily Sparks, but it seems likely that the energy you hear here is just the tip of the iceberg. Lily Sparks is a band you have to hear live to really believe. For those of you not in the tri-state area, Cooper Cobra is a more-than-acceptable stand-in for the real thing.

Rating: 3.5 Stars (Out of 5)

You can learn more about Lily Sparks at http://www.lilysparks.com/ or www.myspace.com/lilysparksrock.  Cooper Cobra is available from Amazon.com as either a CD or Download.  Downloads are also available from 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: Andrei Matorin - Opus

Andrei Matorin - Opus
2009, Armored Records

Andrei Matorin appears to have been born (or at least raised) to be a jazz musician. Studying in such vaunted institutions as the Boston Center for the Arts, the Conservatoire de Geneve and the Berklee College Of Music, its likely Matorin has never experienced the starving artist phenomenon first hand, but his passion for jazz shines through every note and run on his debut album, Opus. The Brazilian-born Matorin was exposed to jazz at a young age by bassist and friend Josef Deas, who introduced Matorin to John Coltrane, Miles Davis, Oscar Peterson, Herbie Hancock and Ray Brown, among others. Matorin has never slowed down since, completing a dual program at Berklee in jazz composition and jazz performance as well as continuing to study and perfect his classical technique.

Opus opens with “Smile”, a friendly discussion between violin, piano, bass and percussion that grows into a near duet between the violin and piano; similar to two Broadway divas taking over the stage from lesser players in a finale. Offered in a wide-open arrangement with tremendous highs and lows; these peaks and valleys are measured more in intensity than volume. “Smile” is highly lyric in both the violin and piano, with Dan Pugach’s polyrhythmic drum part punctuating their conversation like a color commentator while Luques Curtis glues together with a vital-yet-unassuming bass line. “Then And Now” finds Matorin’s violin taking on a slightly darker tone. Melodically reminiscent of some of Sting’s more esoteric forays into Jazz (or at least his band’s), there is a great deal of conflict and loss woven between the lines of the song; a current than runs deep beneath the surface but touches every note even if you never quite see it.

“Coming Home” is full of reverie; joyous moments are recalled in a musical line where echoes of times past weep from Matorin’s bow like a melancholy catharsis. Brighter thoughts ensue and interweave as the listener is turned to and fro by the juxtaposition of past and present in the song. Matorin and his band introduce a slinky, sneaky feel on “Silver Blue”, sounding like a score element from an old mystery film. This is great music for skulking by a pulp-fiction private eye; not dark or ominous but almost with a comic air at times. “Trancoso” is a vibrant dance with Matorin’s violin as the main voice, but Takeshi Ohbayashi steals the show in a supporting role on piano. Chaotic subtexts feed into a classic parlor jazz feel throughout the song. Matorin underscores the chaos in the final moments of "Trancoso" before ascending to sublime ending that marks release.

“One Last Song” is a wonderful change of pace; a daydream in song that inspires images of summer days with lots of sunlight and high fluffy clouds where you can simply drift and let your mind wander where it will. Matorin is the prime mover here, waxing and waning like the breeze, but always present. The only offering on Opus that seems out of place is “Hymn No. 1”. Little about the song would suggest the contemplative or reverent nature of a hymn, and the composition fails any sort of coherency test. The focus here is on numbers: speed and how many notes Matorin can fit into a measure or line. Compared to everything else on Opus, “Hymn No. 1” sounds messy and incoherent. Matorin rights the ship however with the moody violin/bass duet “Sunday Blues”. “Sunday Blues” sounds like pure creation; it wouldn’t be at all surprising to learn that this recording was a one-off live improve between Matorin and Curtis. Curtis’ bass solo in the middle is pure chaos; something of a “huh?” moment but resolves back into the structure of the duet to close out.

Andrei Matorin is well-schooled in the art of Jazz, and his schooling shows throughout Opus, but there’s a quality that shines through here that simply cannot be taught. Matorin has a love of the music he plays that’s unparalleled, and displays flashes of genius born of love and intensity with the violin in his hand. Opus is highly creative, sticking primarily to a classic sense of jazz improvisation, digressing only when Matorin deems appropriate. Opus is an album that fans of modern jazz will be happy with, and even the stodgiest of jazz purists will gladly offer a space in their collection to.

Rating: 4 Stars (Out of 5)

Learn more about Andrei Matorin at http://www.andreimatorin.com/ or www.myspace.com/amatorin. You can purchase Opus as a CD or Download from Amazon.com.

Review: Little Invisibles - Closer

Little Invisibles - Closer
2009, Little Invisibles

Gina Degnars has been a fixture on the New York and Philadelphia music scenes for a number of years (as well as her native Delaware). The songstress, who studied at Boston's Berklee School Of Music, released an album with her prior band, Stygian Veil back in 2001 (Poison Berries), but has continued to create wonderfully dark and textured piano-based Alt-Rock over the years. In 2009, Degnars was ready for a transition, incorporating more distinctly Pop melodies and electronic beats in her music. This change led to the formation of Little Invisibles, and the release of the band's debut EP, Closer. Preferring minor keys and human frailty to the shallow happiness of modern pop or the cynical boredom of most alt-Rock, Degnars climbs through her existential musical angst to generally find the element of hope that drives us all.

Closer opens with the urgent exhortation of Breathless. The song is part fascination and part mourning; the singer still finds her other enthralling but the feeling is no longer reciprocated. The musical canvas gives a desolate, lost feel, and tension in the vocal line is wholly palpable. What Once Was explores the aftermath of a relationship while still yearning for what was. The emotions here are raw and compelling, and earnestly represented in the stark nature of the instrumentation. Gina Degnar's yearning, mournful voice is full of tragic beauty, emoting both the passion and frustration that drive the song. Not One Of You is highly reminiscent of some of Tori Amos' more emotional mid-career musical ramblings; a performance that appears ready to come across at the emotional seams at a moment's notice but never disintegrates. Little Invisibles closes with Headrush, with Lance Davis providing Bono-esque vocals alongside Degnars in a starkly beautiful performance that's enthralling and more than a little disturbing.

Gina Degnar's dark side drives the music on Closer; a diluvial outpouring of mixed emotion and angst against esoteric, keyboard-driven compositions. Degnars falls somewhere in the triangle between Tori Amos, Kate Bush and Bjork vocally, drawing a lonely strength from a sublime combination of vulnerability and certainty. Closer is probably destined to be under-appreciated in light of current mores, and unfortunately so. Degnars is a singular talent as both a writer and performer, and Little Invisibles coalesce nicely around the dark clouds of her muse.

Rating: 3.5 Stars (Out of 5)

You can learn more about Little Invisibles at www.myspace.com/littleinvisibles or http://www.littleinvisibles.com/, where you can purchase a copy of Closer on CD. Downloads are available through iTunes.

Review: Leeny And Tamara - Sharing The Same Stars

Leeny And Tamara - Sharing The Same Stars

2009, Leeny And Tamara

Leeny And Tamara are Ilene “Leeny” Altman and Tamara Hey. Altman is based in Gloucester, Massachussets and is an award-winning children’s artist. Hey is a New York City based singer-songwriter with three albums under her belt and a great deal of respect from critics and fans in NYC. The duo met as students at Boston’s Berklee School Of Music; their first professional collaboration, Sharing The Same Stars (September 1, 2009) is intelligent and catchy children’s music that will appeal to adults as well as children.

Sharing The Same Stars opens with Put On My Seatbelt, a piece of classic 1950's style Rock N Roll that teaches kids about the importance of wearing their seatbelts. The music is very entertaining and danceable, although the lyrics are a bit of a stretch at times and are obviously aimed at a slightly older crowd of kids. Taking Turns is highly listenable (and danceable) Rock N Roll, but again has a vague lyrical awkwardness that seems jarring in contrast to the musical arrangement. The two sides work better on I Used To Be Shy, a story song with a moral about being yourself. Where the first two songs come off as vaguely patronizing, I Used To Be Shy seems to come from the heart and therefore flows much more easily. Hold It will be a chuckle for the parents and perhaps a positive post-potty training reinforcement for the kiddos.

Ladybug, Ladybug, Ladybu-U-ug is entertaining, informational and forward thinking. I learned more about Ladybugs from this song than I ever knew before, and there's even a focus on preservation and Green thinking in the song. The arrangement itself is upbeat and fun and likely to engage children of all ages. My Baby is more for the moms listening along; a sentimental call for the growing up process, even time itself, to slow down. It's a gorgeous ballad written from the heart and is very touching. Your Epidermis Is Showing continues with the highly informational and highly entertaining tunes. Your kids will dance while learning all about their skin (keeps the outside out and the inside in!). It's Cool To Be You is a self-image builder done in a gentle rock arrangement that's a bit cliché in modern Pop children's psychology but has a positive message that's worth hearing.

Vitamin C is again highly informational and entertaining. The only downside to this, and many of the songs on Sharing The Same Stars, is that the music is definitely not aimed at younger kids. The words and concepts presented in many of the songs are so far over the heads of toddlers that it might not connect. The songs are catchy enough to garner interest from the young ones, but anyone not at least of school age might be left behind (which cuts out a large part of the market for a children's album). I Came Out Backwards is an amusing tune that shows how getting off the wrong foot can have long-lasting consequences, and is done as a cabaret tune with a Latin rhythm. This might be the best songwriting on the disc, although it would be considered a novelty tune if done for adults. Leeny and Tamara close out the set with Across The USA, an answer to Johnny Cash's I've Been Everywhere done for children. The tune is infectious and will have both parents and kiddos dancing.

Leeny And Tamara hit mostly the right notes on Sharing The Same Stars. A few instances of lyrical awkwardness early on are forgotten by the end of the CD. The intellectual level of the listeners is bit older than on your typical children's album, covering some words and ideas that will be fully lost on the younger set. Musically and vocally the album earns no complaints. A mix of musical styles and tempos will keep kids and parents involved. I suspect a live performance would be highly entertaining. I'd say Sharing The Same Stars is most appropriate for kids in the 4-7 range, although you might get caught up in the "that's not cool" phenomenon with the school age kids because the music's actually educational. Sharing The Same Stars is a strong album, it just might have a really narrow demographic.

Rating: 3.5 Stars (Out of 5)

You can learn more about Leeny And Tamara and Sharing The Same Stars at http://www.leenyandtamara.com/ or http://www.sharingthesamestars.com/. You can purchase Sharing The Same Stars as either a CD or download through CDBaby.com.

Review: Naree - Dr. Jekyll & Mr. Hyde

Naree - Dr. Jekyll & Mr. Hyde
2009, Naree

Naree's life, to date, could be a Lifetime movie. The daughter of Thai and British parents who grew up in Abu Dhabi, United Arab Emirates creates Alt-Rock that blends Rock, Classical, Indie and J-Pop styles. The heartfelt singer/songwriter has a talented edgy band by her side and the future looks bright for the 22-year old Berklee School of Music student. Looking at her today you'd never know she was diagnosed with Ovarian Cancer at the age of 14. You'd never imagine the 15.4 lb tumor that was removed from her, or the blood clots, heart attack and multiple operations she endured. If you can't imagine any of this, you at least begin to understand why Naree shuns pretense and looks to the future with an optimistic spirit. For all she's been through, every day is a gift, and Naree lives them all to the fullest. This spirit is immediately evident on Dr. Jekyll & Mr. Hyde, Naree's third release and first with a full band (Tony Song - lead guitar; Casey Marks - bass; Jaime Jimenez - keys, synth and Alex Santiago - drums). Dr. Jekyll & Mr. Hyde also marks Naree's first foray into the production booth.

Opening with the title track, Naree sets the tone for the EP with an emotionally honest song about wanting to be out of a relationship because it's not what the narrator needs and yet not wanting to let go. It's a strong Pop/Rock tune with a good melody and could be something of an anthem for a lot of teen (and none too few adult) relationships. Life's Lessons is a more empowering song about not settling for less than what you want. The focus here is a man who is less than what the narrator needs and is given the heave-ho in no uncertain terms. The song is smart, strong and empowering without coming off as shrill or mean. Never Leave You Alone is another empowering tune, encouraging a friend or loved one to not give up on their dreams. It's a song of devotion and faith in another, spoken from the well of experience that Naree has accrued. It's a bit more powerful than your typical alt-rock song and sounds like a highly licensable song.

A Song Written On An Arm is a song of vulnerability in a relationship; Naree ponders walking away but seems trapped in the emotional conflict here. The Cello work of guest Marie Kim is stellar and ads an almost mournful sub-context to the song that is perfect. Deceive Me (Before We Get Too Close) has an element of feat that comes from being burned one too many times. Fearful of getting too involved and then getting hurt, Naree ponders self-protectionism based on this fear yet begins to accept the desire she feels. This is a great Alt-Pop tune with strong hooks and real commercial potential. Glamour Kills is a live recording of a song Naree originally wrote for the Glamour Kills song contest. It's pure Alt-Pop; highly infectious with the sort of chorus that could dominate pop radio.

Naree shows a great deal of range and talent on Dr. Jekyll & Mr. Hyde. She also shows the duality the title describes - a positive and forward looking soul with a dark, suspicious and self-protective side. This dichotomy creates a cognitive tension running throughout the EP that somehow magnifies through the lens of infectious Pop influenced Rock N Roll. The end result is a CD you'll have on repeat for days or even weeks. Naree has already been on a lot of stages, including open for Pink in front of 10,000 people in 2007, but after hearing Dr. Jekyll & Mr. Hyde I think it's safe to say that Naree is one big break from the world stage.

Rating: 4 Stars (Out of 5)

You can learn about Naree at http://www.nareemusic.com/ or www.myspace.com/nareemusic. Dr. Jekyll & Mr. Hyde is a forthcoming release, but an official release date has yet to be established. Keep checking Naree’s website or MySpace for more information. Naree does regular fundraisers for organizations such as the UK's Teenage Cancer Trust and the Terry Fox Run (Canada). Her T-Shirt, pendant and other memorabilia sales fund her own Pick Life Cancer Foundation, which donates funds to Teenage Cancer Trust and other worthy organizations.

(Photo by Helene Norton-Russell)

Review: SE Kim Trio - Moment

SE Kim Trio – Moment
2009, SE Kim

SE, Kim is a graduate of The Berklee School Music with a Masters in Jazz Performance from NYU's Tisch School. He is a regular performer on the greater Metropolitan New York Jazz scene, performing at venues such as The Blue Note, the Plaza Hotel and The Desmond Tutu Center. Kim has played or worked with the likes of John Scofield, Joe Lovano, Kenny Werner and George Garzone. His style of play is mellow jazz, with guitar tendencies not too distant from folks like Scofield, Pat Metheny and occasionally even Bill Frisell. His band, the Se Kim Trio, recently released their debut CD, Moment. Let's check it out!

Moment opens with 150, a mellow jazz guitar journey nearly eight minutes in length. Se Kim plays with mild distortion and a congenial demeanor that shines through his music. Listeners might almost divine that Kim isn't so much as writing or playing on 150 as he is channeling some vital musical communication from the universe. Kim crosses over from his mellow, almost supper-club jazz stylings during longer compositions to try out experimental and acid jazz detours, but generally returns to the more genteel styles before closing out each song. Hope You Know sticks a bit closer to a classic mellow jazz sound.

Night Light has a very active melody line for this tempo. Listeners who've yet to notice might realize here how ever-present Kim's guitar is on his trio's recordings. The guitar is always the primary voice in each phrase of each song, with drums and bass relegated to providing a framework for Kim's noodling. While Kim is very accomplished as a jazz guitarist, it would be nice to hear the other instruments take center stage once in a while, even if it's just to change things up a bit. Maybe It's Better This Way returns to the supper-club sound with a Latin Jazz twist in one of the most melodically pleasant songs on the disc.

West 4th captures the spirit of Greenwich Village perfectly in song. There's a funky "different drummer" feel to this composition that's distinctive compared to the rest of the album. You Are Free To Go ranges a bit more towards a pop sound, with Kim sounding a bit like Eric Johnson stylistically (if Johnson played Jazz). Direction sounds like a song that was perhaps written with a vocal in mind. It's more of a musical frame than a full composition where the melody is implied rather than expressed. The Se Kim Trio closes out with Jam, a musical daydream that noodles along at unexpected and unpredictable lengths.

Se Kim is a highly talented musician with a great ear for melody. I think he tries to do too much on Moment. Kim's guitar is always front and center, turning the trio into a soloist with two backup musicians. The guitar and bass here are more than competent, and with a bit more range in their roles could add significant creative tension and release into the process for SE Kim. Kim is good enough to avoid this most of the time, but there is a tendency to drone on at times for the need to fill space with sound. The interplay of equal roles between musical voices can turn a good album into a great one; a great one into a legend. From a writing standpoint Kim certainly has a gift, and he didn't get through Berklee and NYU as a performer without a certain level of talent, but the ability to share the spotlight will turn Kim into a great songwriter and performer. For now, Moment is a strong listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about SE Kim and the SE Kim Trio at www.myspace.com/sekimguitar. You can purchase a copy of Moment at www.cdbaby.com/sekim or download the album through iTunes.

Review: Summer Mencher - Stranger To Stronger [EP]

Summer Mencher - Stranger To Stronger [EP]
2009, Summer Mencher

Summer Mencher is a groundbreaking Progressive Folk artist who bends the boundaries between genres as easily as breathing. Folk, Rock, Rap, Arena-Rock harmonies and the occasional flirtation with Middle Eastern scales all work together to create a sound that is familiar on the surface and mind-bending in the musical waters than run beneath. Mencher released her Stranger To Stronger EP in January, 2009 as a prelude to her full length release, Break The Mold, due in May, 2009. Mencher won first place in the 2008 Evolve Singer/Songwriter Competition. Mencher holds a degree in Music Therapy from Berklee College of Music in Boston, and performs regularly in orphanages, schools and hospitals.

The EP opens with the title track, Stranger To Stronger, inspired by a music program for troubled youth Mencher worked on during her Music Therapy education. A typo in a search engine reminded Mencher how small actions can affect major changes (Stronger becomes Stranger). The song features Spoken/Word rap verses mixed with a sung chorus and is remarkably fresh sounding. Wish Me Luck is an open faced song about the experience of falling in love. Mencher's voice has a velvety tone that is a pleasure to listen to, although it's not your typical pop/rock voice. Waves parallels the ebb and flow of human emotion with the rise and fall of the ocean. The song weaves its way from still waters to stormy seas and all the fluctuations in between, just like the human heart. More of a sonic painting than anything, Waves is a musical work of art. Hang On is a musical salve that falls halfway between Tori Amos and Sarah McLachlan; piano and strings work together to soothe while Mencher's words act like a tonic to those who have fallen. For all of that there's not a bit of cliché in the song, which surprised me by being better than I thought it might from the artist's description. Cold Wars speaks to the inner struggles that all people endure in the course of day-to-day life and how the tension from these struggles feeds our spirit's sense of play. Cold Wars features some of the most stunning harmonies on the disc (along with Waves) and is a sonic pleasure. Beyond Repair is more of a driven folk/rocker, ala Ani DiFranco, dealing with the human ability to overcome by accepting the past, accepting our part and moving on. The tension and resolution in this song is achieved in unusual ways, with the sonic highs and lows at times running in counterpoint to the lyrical and vocal heights. The song is a very intriguing listen.

Summer Mencher has an interesting take on songwriting. Working from the standpoint of a therapist she sees the world around her in almost clinical terms, yet finds the personal angle needed to truly understand the twists and turns about which she writes. Stranger To Stronger is surprisingly vibrant compared to much of the music that comes out of the Music Therapy field (which tends predominantly toward New-Age fluctuations in pitch and tone that eschew song structure much less personality). Stranger To Stronger gets high recommendations, and gives us cause to look forward eagerly to Mencher's full-length release, Break The Mold.

Rating: 4 Stars (Out of 5)

You can learn more about Summer Mencher at www.myspace.com/summermencher or http://www.summermencher.com/. You can purchase downloads of the tracks on Stranger To Stronger on Mencher’s MySpace page using the SnoCap application. No information on availability of physical CDs is available at this time.

Review: Jeannine Hebb - Too Late To Change Me

Jeannine Hebb - Too Late To Change Me
2007, Jeannine Hebb

Jeannine Hebb is a highly decorated singer/songwriter, graduating with high honors from the Berklee College of Music in Boston and winning practically every award she was eligible for while there. Comparisons that have been made include Fiona Apple, Laura Nyro, Carole King and Norah Jones, but there's really no one to compare Hebb to. Her Pop/Rock sound borrows influences from Jazz, Blues, R&B and Soul and transcends them all into a sound that is just a little bit more than anything you've heard before. Hebb has played with Jazz musicians such as Ben Monder, James Genus, Tim Ries and Clarence Penn, and has graced well-known stages throughout the Northeast US. Jeannine Hebb's debut EP, Too Late To Change Me, is a musical revelation for those tired of the usual tricks of the Pop trade.

Too Late To Change Me opens with Only Ones, a song about the side of ourselves we show only to ourselves or to the ones we love. There's a strong theatrical feel to this song, like it might have just walked off a Broadway stage somewhere. Elements of Jazz and 1970's singer/songwriter pastiche abound in an unusually intelligent and quasi-analytical yet affecting song about the power of love. Things Haven't Been So Bad Lately captures the lost and alone feelings that can overcome someone living in the anonymity of a large city, as well as about the human capacity to adapt to such a harsh environment. Ultimately, the answer is to find others or even one other, but the protagonist is declaring a standoff with loneliness, even if only for the benefit of the listener. All The Way Down is a song about growing up, juxtaposing maturity with falling from a place where our heads are "full of clouds". Once again there is a strong theatrical quality to the song, and Hebb uses blues-style slide guitar to counterpoint the plaintive piano that drives the song.

Too Late To Change Me is more of a straight up Pop/Rock tune, and a declaration of self like one might make in a relationship. The song is unapologetic but sad and self-knowing, and beautifully human in concept and delivery. Just Enough For Me has an almost Bill Withers vibe, mixing the boundaries between Soul, Jazz and Pop. It's a love song from a cynical perspective, with the protagonist layering certainty over fear in a declaration that's as much about loneliness as it is about love. Whatever You Want closes out the set and is easily the most beautiful and simple composition on the EP. Hebb displays vulnerability through certainty, giving in to another's wishes in an ambivalent fashion that speaks words about how unhappy she really is. It's hard to escape the story-like quality with which Hebb writes songs. Whatever You Want sounds like the keynote song for a major character in a musical, but it’s the conviction with which she inhabits these songs as a vocalist that's most impressive. The only comparison I can come up with for this quality is Randy Newman.

Jeanine Hebb's voice is quite possibly one of the most striking in popular music, able to belt with the best of them one moment and break your heart with a soft passage the next. Too Late To Change Me is one of the finest debuts I've had the opportunity to review. It's a Wildy's World Certified Desert Island Disc, for certain. Make sure you acquire Too Late To Change Me, and make every effort to see Jeannine Hebb if she plays in your neck of the woods. The time will come when you won't get anywhere near a show without paying Live Nation prices.

Rating: 5 Stars (Out of 5)

Learn more about Jeannine Hebb at http://www.jeanninehebb.com/ or www.myspace.com/jeanninehebb. You can purchase a copy of Too Late To Change Me at www.cdbaby.com/cd/jeanninehebb.

Review: Melissa Axel - Transition [EP]

Melissa Axel – Transition
2009, Melissa Axel

Denver’s Melissa Axel is a woman with a piano. Following in the footsteps of Tori Amos, Axel uses the piano as more than just an instrument, it is the narrow focus through which she delineates the world using her personal perspective. The Berklee College of Music grad is working on a full length album at the moment, but in the mean time sent along her first EP, Transition, for review.

Axel has an interesting and pleasant voice that is deep and full, with a lot of implied strength. There’s no breathy pop maven quality here, but a sound reminiscent of earth and nature. Consequently Axel puts the listener instantly at easy (la Carly Simon or Joan Baez). The music is quite enjoyable as well, but Axel does run into some issues with the wordiness of her songs. Axel comes across as well spoken in her songs, but is wordy to the point of losing the listener at times. Fall This Hard opens the set with a wonderful piano and violin-sourced Pop ballad. This song is lovely and a joy to listen to and Axel manages to stay somewhat lyrically succinct. On Transition (No More Fairytales), Axel delivers what sounds like a Broadway soliloquy in song. The word count rises here and borders on distraction, but the song is so good it doesn’t quite intrude on the listening experience. By the time we get to Transparency and Madness the verbosity has become too much to bear. This is unfortunate as its somewhere in here that many listeners may choose to turn off the disc; the best song is yet to come. Transition closes out with Out Of Nowhere. Axel has reined herself in here, delivering a gorgeous piano/pop ballad with incredible harmonies.

Melissa Axel has a voice you’ll love listening to, and when she stays in control of the lyrics her songs are a pleasure. Axel appears to have a tendency toward extreme verbosity in her lyrics that detracts from the essential beauty of the music she writes. When Axel controls this tendency the results are sublime. Transition is a pleasure when she does and a difficult listen when she does not.

Rating: 3 Stars (Out of 5)

You can learn more about Melissa Axel at http://www.melissaaxel.com/ or www.myspace.com/melissaaxel. You can purchase a copy of Transition at www.cdbaby.com/cd/melissaaxel3.

Review: Ecotone Refugees - Water Is Rising

Ecotone Refugees - Water Is Rising
2008, Echo Orange Music

Ecotone Refugees come barreling out of the vibrant Brooklyn Indie rock scene with a sound that is reminiscent of Black Sabbath, Pink Floyd and Queens Of The Stone Age without really sounding like any of them. A modern rock psychedelic band with a shredder on lead guitar and a vocalist who sounds like Ozzy Osbourne had a child with Eddie Vedder is going to attract attention, and Ecotone Refugees definitely attract attention. Their debut album, Water Is Rising was released in 2008 and makes quite an impression.

Ecotone Refugees are a conglomerate of true music professions. Johnny Young lends vocals, guitar, Moog and keys. Outside of the band he is also a producer and composer who has provided music for the Oprah Winfrey show. Sean Egan (guitar, Moog, bass) is a shredder in the first degree and loves to play with dynamics and time signatures. David Weise chips in on vocals and bass, and drummer Michael Galante is a Berklee College of Music grad. Suffice it to say Ecotone Refugees aren't your typical rock bruiser. It's no surprise then how varied and complex the songs on Water Is Rising truly are. The album opens with Marathon, an Ozzy-era Sabbath-esque rocker built on some very interesting guitar work. Wake Up is a big, straight up rocker with Moog effects and an anti-war message. This is probably the least compelling song on the album, but still a decent listen.

Losing Your Faith is the sort of heavy rocker that would have ruled AOR radio in the early 1980's. Psychedelic bridges and big driving guitars give this song a distinctive sound that stands out. Lost In You is an interesting mix. There's a pop sensibility in the hook-laden song (even if the hooks are anti-pop). The chorus is classic punk rock and the song is a clear dichotomy that reflects the divergent sounds Ecotone Refugees pursue. Cyclone is a raucous old-school rock tune based on a classic Moog sound and surf-style guitar. B-Squad Brothers is feel good Rock N Roll in a classic 1960's format. Water Is Rising is pure psychedelia, Pink Floyd style. Nine and-a-half minutes of pure rock ambience.

Ecotone Refugees march musical ground that's been covered for years and yet they seem to find a way to sound fresh and new even while paying tribute to some of the biggest names in Classic Rock. Water Is Rising has the same sort of iconic feel about it that Pearl Jam had in their early days. If you love great classic rock sounds with a modern edge, then Water Is Rising (and Ecotone Refugees) is for you.

Rating: 3.5 Stars (Out of 5)

You can learn more about Ecotone Refugees at www.myspace.com/ecotonerefugees. You can purchase a copy of Water Is Rising at www.cdbaby.com/cd/ecotonerefugees.

Review: Curt Mychael - Sketches In Time

Curt Mychael - Sketches In Time
2008, Curt Mychael

Curt Mychael has a gift for writing crisp, clear pop songs. The Milwaukee-based Berklee College Of Music grad steps up with his debut CD, Sketches In Time, full of gooey pop goodness in the vein of McCartney or Folds.

Sketches In Time opens with Sunnyside, a McCartney-esque pop tune with a great melody and a great sense of motion. It's just flat out a great pop song. Bones is a southern rock flavored tune that would fit right in of the old AOR radio format. It's another song with great pop sensibilities. Mychael continues this trend on Could Be You. Don't be fooled by the acoustic guitars, this is pop daydream material. Mychael changes things up on Florence Knows, a more melodic, melancholy rocker than the first three songs on the disc. There remains the tremendous sense of melody that is evident from the start of Sketches in Time, but there is definitely a darker tone here. Maybe continues the more melancholy lean with a mellow rocker that seems to want to break out in the pop magic that Mychael appears to be capable of, but stays wrapped up in complex emotions.

My Moon Your Sun is a quirky love song that's a mix tape pick that retains the almost melancholy feel of much of Sketches In Time. Be sure to check out Something New, a vibrant return to the peppy pop gold that just seems to want to pour out of Mychael at every instant. And make some time to really listen to The Bay. Curt Mychael may have found his magnum opus here. This is one of the most hauntingly beautiful songs you're likely to hear in the near future. I can't recommend this song highly enough. It's the sort of song that could turn a singer-songwriter into a legend. Other highlights include the wonderfully bizarre Circus Nite, You Don't Love Me Anymore and Goodbye Baby.

Curt Mychael has a gift. The ability to write near-perfect pop songs without falling prey to pop gimmicks or chart envy is rare. If early indications hold true, Curt Mychael might be a songwriter on the level of a Paul McCartney. It's high praise, I know, but listen to the CD and you'll see what I mean. Curt Mychael seems to vacillate between upbeat pop and aesthetic melancholy. His concerts must be a wonderful rollercoaster, the sort of performance that mimics the same ups and downs that life brings. Curt Mychael illuminates life as we all know it on the aptly named Sketches In Time. You'll see some of yourself in each sketch; hear the voices of loved ones in each song. Don't pass this one by.

Rating: 4.5 Stars (Out of 5)

You can learn more about Curt Mychael at http://www.curtmychael.com/ or www.myspace.com/curtmychael. You can purchase a copy of Sketches In Time at www.cdbaby.com/cd/curtmychael.