Charlotte Sometimes - By Request

Charlotte Sometimes – By Request [EP]
2014, MRI Associated

Charlotte Sometimes, AKA Jessica Charlotte Poland, is a NYC-based native of New Jersey.  Her singing and songwriting talents have seen her as a featured performer on The Warped Tour and a contest on Season 2 of The Voice.  Get beyond the popular acclaim, however, and Charlotte Sometimes is a fairly talented singer and songwriter.  Afflicted with Condylar Resorption during her teens, Charlotte had her jaw bone replace by two of her ribs.  None of this seems to have had the least effect on her voice on By Request. 

Charlotte opens with “Magic”, showing off an intriguingly full-bodied voice full of unusual and interesting timbres.  This is a great introduction; a catchy-folk/rock number with an urgent chorus.  You could imagine Charlotte as something of a cross between Chrissie Hynde and Dolores O’Riordan and not be far off the mark.  “Paint The Sky” finds Charlotte exploring more of a country flavor while describing love as a difficult road.  There’s a plaintive sort of hope that underlies the text here.  It’s a great bit of songwriting, fractured with insecurities and question marks and a delicious musical sensibility. 

“Pumped Up Kicks” is a disturbing musical monologue that would fit nicely in a post-modern off-Broadway production.  Charlotte offers up a powerful vocal performance punctuated by an almost violent disaffection, making a defining impression in the process.  “Losing Sleep” is a complete 180, with Charlotte exploring an intimate vocal style with compelling intensity.  This is not a pretty song, per se, but it’s beautiful in its loneliness and distinctive sound.  When Charlotte goes into her belt she’ll blow most any room away.  This is a powerful musical attempt at becoming featuring just voice and guitar – A “wow” moment.

Charlotte Sometimes shows off many facets across the four songs on By Request.  You’ll be left wanting more, regardless of where your musical mores take you.  By Request is a break out effort that should (in a perfect world) make Charlotte Sometimes a nationally known performer.  Spread the word.  Down the road you can remind everyone else when you first told them about Charlotte Sometimes.

Rating:  4 Stars (Out of 5)

Learn more at www.charlottesometimesmusic.com.  

Mental Monkey Ballet - Breaking The Law [EP]

Mental Monkey Ballet – Breaking The Law [EP]
2014, Applehead Records

Swedish rockers Mental Monkey Ballet are driven by the combination of songwriter/producer Jan Fretman and singer/songwriter/producer Vivi Lundstrom.    Their mix of tribal dance and post-punk/garage sounds is unique and opens up a host of creative possibilities.  Lundstrom and Fretman are joined by Anna Wennesten (keys/backing vox); Nino Prekratic (guitars);Hakan Englund (drums); Maxa Fron Pashayeva (bass); and Linnea Simon (backing vox).  Mental Monkey Ballet’s debut EP, Breaking The Law, will be released in the early part of 2014.

Breaking The Law launches on the esoteric sound of “Into The Open”, with lead vocalist Vivi Lundstrom sounding like a wayward cross between Dolores O’Riordan and Chrissie Hynde.  Full of energy and a pending sense of chaos, “Into The Open” is an announcement, a dropping of the musical gauntlet, if you will that announces Mental Monkey Ballet to the world.  “Club 27” is an edgy alt-rocker built around a serious pop hook.  Mental Monkey Ballet falls prey to the song’s sense of repetition a bit, but this tune has the potential to cross the rock/pop/dance divide. “Different” is a forlorn ballad that matches sonic and lyric sensibilities.  The arrangement is well crafted, but the pacing is tough and the track simply lasts too long.  Lundstrom’s voice is impeccable, but even she seems to falter under the weight of the material.

“Chemical” is similarly weighted.  Mental Monkey Ballet seems to explore the various ways people try to find a higher mind, whether through drugs or religion.  This turns into a tired and drawn out piece that’s more naval gaze than anything else.  The energy level here is proof.  There’s sort of a messy monotony to “Breaking The Law”, as if Mental Monkey Ballet is trying to blend a messy, almost garage-like feel onto what is essentially a dance tune.  “You’re More Trouble Than You’re Worth” is a classic kiss-off song with a killer back-beat.  Mental Monkey Ballet are thoroughly in their element here, and Vivi Lundstrom shines.  Breaking The Law winds down with the “Get Around This”, a ballad about trying to move on.   The song is deeply melancholy, with the energy to match.

Mental Monkey Ballet wends their way through the seven songs on Breaking The Law with an almost lackluster feel at times.  There are some very bright moments here, and it’s clear to see that the band has the potential to be a major player on the international music scene.  Vivi Lundstrom has a classic alt-rock front-woman’s voice.  Unfortunately, Mental Monkey Ballet spends much of the EP wallowing in low-energy, low yield arrangements.  When Mental Monkey Ballet breaks out of their torpor, you’ll be glad you’re along for the ride.

Rating: 2.5 Stars (Out of 5)

Learn more at www.mentalmonkeyballet.com. 

Sirsy - Coming Into Frame

 

Sirsy – Coming IntoFrame
2013, Funzalo Records

Sirsy is one of the hardest working bands in rock androll.  The Albany, NY based duo hastoured relentlessly since their inception in 2000.  Along the way, Sirsy has opened for such actsas Grace Potter and the Nocturnals, Maroon 5, Blues Traveler, Collective Soul,Cheap Trick and Lifehouse.  Fully independentuntil their signing with Funzalo Records in 2010, Sirsy has the distinction ofbeing the only Indie band to crack Soundscan’s Top Ten.  Last month Sirsy released their first albumcompleted while under label influence and 10^th overall.  The title, Coming Into Frame, suggests a band coming into their own.  The truth is not quite as clear as theimplication.

The fact that is that one of the qualities that has madeSirsy so appealing to fans over the past 13 years is their raw rock and rollsound.  Coming Into Frame takes that edgy appeal and puts a fine polish onit, under the watchful hand of producers Paul Kolderie (Hole, Belly, The MightyMighty Bosstones) and Sean Slade.  Thatfine polish curdles the sound a bit, however, as the pure personality of frontwoman Melanie Krahmer gets waxed over for the first time in the band’scareer.  The soulful sneer of the openingtrack, “Cannonball” is whitewashed in this setting.  Likewise the bluesy touch of “Lionheart”,which ends up much less vital than it should be.

Sirsy gives in to label sensibilities on tunes such as “BraveAnd Kind” and “Lot Of Love”, which don’t have the raw edge of their earlierrecordings.  Melanie Krahmer still hasstar power with a voice that shows shades of Chrissie Hynde and Joan Osborne,and guitar/bass man Rich Liburdi helps to keep the ship steady.  There are some fine moments here, such as thecatchy pop/rock of “Red Letter Days” and the memorable “Killer”, but Coming Into Frame just doesn’t seem tohave the same spark and fire as earlier Sirsy recordings.

Rating: 3 Stars(Out of 5)

Learn more at www.sirsy.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.

Carley Tanchon - Leave The Light On

Carley Tanchon - Leave The Light On
2011, Carley Tanchon

New York-based singer/songwriter Carley Tanchon has made her success the old fashioned way.  She’s earned it with relentless touring and hard work.  The Cleveland, Ohio native has lived in Boston and Nashville, with a side-trip to Australia, but settled in NYC in 2010.  For her latest album, Leave The Light On, Tanchon enlisted the production and songwriting assistance of Felix McTeigue (Lucy Wainwright-Roche, Katharine McPhee, Madi Diaz, Anais Mitchell).  The result is a mixed blessing, with Tanchon finding a solid sound but getting too caught up in her own musical safety zone.

Leave The Light On opens with "Missing You", a regretful, down-tempo pop ballad that finds Tanchon yearning for someone from the past. Tanchon has a pleasant voice, although she sounds a bit breathy on the higher notes here. "The Great Unknown" is an apologist, multi-level love song, written in a classic singer/songwriter style. Tanchon gives an intriguing vocal performance here, and the emotional Diaspora that characterizes the song is amazingly clear. "I Guess I Know" is a soulful pop number, stripped down and wide open in arrangement. Tanchon's voice inhabits the middle as if it was born there, and the funky rhythm that underlies it all will get your toes tapping.

After a strong start, Tanchon settles into a comfortable zone that's aurally appealing but doesn't really stand out, and stays there for much of the rest of the album. "Blues In C (Fearlessly)", is a minor exception, and the almost country strains of "Walk Away" are appealing. Tanchon is almost at albums end with "On The Road" before she breaks out of her rut with the almost peppy, yet absolutely catchy tune. Tanchon takes her leave with "Love Will", an optimistic love song that's solid enough, although once again Tanchon struggles a bit with her tone when she ascends the scale.

Carley Tanchon gives fair effort on Leave The Light On, but gets too bogged down in a sense of musical complacency that is likely to wear on the listener. Tanchon starts strong, but just cannot maintain the momentum across the full album. Even in the lull the album suffers in the middle, Tanchon's voice is enjoyable as long as she doesn't try to go too far up the scale. This is a solid effort that is pleasing to the ear but never really distinguishes itself from the pack of indie singer/songwriters.

Rating: 2.5 Stars (Out of 5)

Learn more at www.carleytanchon.com or www.myspace.com/carleytanchon.  Leave The Light On is available digitally via iTunes, or on hard copy directly from Carley Tanchon.

Cowboy Junkies - Sing In My Meadows: The Nomad Series, Volume 3

Cowboy Junkies - Sing In My Meadows: The Nomad Series, Volume 3

2011, Razor & Tie/Latent Recordings

Canadian mellow-rock mavens the Cowboy Junkies offer up a different sound beginning on October 25, 2011, with the release of Sing In My Meadows, the third release in The Nomad Series. Going well off the beaten path of their past works, Cowboy Junkies venture into a world of low-fi, fuzzy electric blues and folk. The result is their most compelling album since The Trinity Sessions, full of the bluesy, breathy alto of Margo Timmins, minimalist arrangements and a lot of distortion. The bare bones approach to song construction allows for stark contrasts between Michael Timmins' fuzzy guitar work and sister Margo's unforgettable voice.

Breaking out with "Continental Drift", the band spends the first two minutes exploring the open spaces in the arrangement sans vocals before Margo Timmins slips in the back door with an icy, metallic vocal line that's both warm and cold at the same time. The blues influences come fully to the fore on "Sing In My Meadows", a dark and conflicted invitation that's both beautiful and disturbing at once. "Hunted" is perhaps the most wide-open song on the album, allow room for Margo Timmins to rant and wail and show a much more carnal vocal character than fans might be used to. The closer, "I Move On", sounds more like Chrissie Hynde jamming with Junkhouse than anything you might expect from Cowboy Junkies.

Sing In My Meadows has its ups and downs, but is a thoroughly compelling left turn for a band that honed its reputation on a smooth, mellow brand of anti-folk. Sing In My Meadows plays like the band's dark secret, hidden in a closet for all these years and finally let into the light. It's compelling; aboriginal and full of a dark energy that draws you in.

Rating: 3.5 Stars (Out of 5)

Learn more about Cowboy Junkies at www.cowboyjunkies.com or www.myspace.com/cowboykjunkies.  Sing In My Meadows drops on October 25th, 2011 on CD.  The Vinyl edition will follow on November 15, 2011.  Digital versions will be forthcoming through Amazon.com and iTunes, but are not yet available for pre-order.

            CD                     Vinyl

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.

Imelda May - Mayhem

 

Imelda May - Mayhem
2011, Decca Records

Dublin native Imelda may is just too good to not be noticed.  Her self-released debut album, Love Tattoo, went triple platinum in Ireland, and she has already shared the stage with the likes of Eric Clapton, Chuck Berry, Meatloaf, Van Morrison and David Gilmour.  Imelda May’s blend of surf, indie, rockabilly and pop is distinctive, and dare it be said, original.  Imelda May’s voice makes you want to drop all that you’re doing and simply listen.  Perhaps most important in a performer, however, is personality.  Imelda May is a whirlwind, sweeping listeners along on her journeys with a blend of intrigue, sex appeal and pure, unadulterated chutzpah.  May’s U.S. debut album, Mayhem, is the sort of album you simply cannot put down.

Mayhem opens with the infectiously danceable rock n roll of "Pulling The Plug".  The simple arrangement offered here works perfectly, allowing Imelda May's gritty/sultry voice a proper introduction that will captivate listeners.  May sounds like a zesty blend of Chrissie Hynde, Tina Turner and Nellie McKay.  "Psycho" is driven by biting surf guitar, exploring a relationship with one scary dude.  May's enigmatic vocal lights up the irrepressible quirk pop number that builds into its own sort of madness in the end.  "Mayhem" is the sort of song that simply won't leave you alone.  Don't expect to sit still, and you'll be drawn to hit replay over and over again.  There's some excellent guitar work here, and an urgent energy that's impossible to ignore.

Imelda May changes pace with "Kentish Town Waltz", a song of true love and perseverance.  If you haven't realized it before now, the song drives home the fact that Imelda May is not just another pop wannabe.  Her take on the perfect state of imperfection that is love is insightful and authentic.  It's an amazing piece of songwriting and performed with a touch of class.  May revs things up again with the sexy come-on of "All For You".  Steeped in a blend of jazz and 1950's rock sounds, the song is a star vehicle that allows Imelda May's personality and charisma to blow up bigger than life. 

Mayhem takes a breather with the light rockabilly of "Eternity", a quiet celebration of love that follows the long wait for the right one to come along.  It's a nice, upbeat love song that avoids schmaltz while digging into a quietly effervescent joy.  "Inside Out" is a catchy, nightclub style love song.  Full of gentle humor and a positive vibe, this is an intimate musical moment that shows depth as a performer and interpreter of songs.  "Proud And Humble" is an urgent bit of urban folk and blues with a memorable chorus; one side of a conversation with God trying to reconcile pride in making good choices with the humility required to make them.  The theme here is a classic contradiction of the human condition; one that has been pulled apart and reconstructed by philosophers, poets and songwriters since humans first put paint to rock.  Imelda May comes along and imparts a brief musical soliloquy in everyday terms that makes it all seem like child's play.

Things get wild and crazy on "Sneaky Freak", the ultimate stalker anthem for the digital age.  With the tongue-in-cheek humor of a Nellie McKay, May lampoons both the obsessives in the crowd, and those who make themselves so available to be stalked.  "Bury My Troubles" is a pleasant little surprise hidden in the back half of the album, an intriguing blend of jazz, pop and swing that's quirky, sexy and fun without being over-the-top.  "Too Sad To Cry" is a blue dirge in a stylistic arrangement that includes the martial rhythms of a funeral march.  Imelda May tops it all off with a great, pure vocal effort that will raise your respect for her and cement your intent to run right out and buy anything she releases. 

May turns for home with the country-tinged pop of "I'm Alive", even enticing a vague Caribbean flavor out of the mix.  "Let Me Out" is a catchy, urgent and upbeat bit of fluff that's worth the aural effort, and leads into a brilliant cover of Soft Cell's "Tainted Love".  May's version is a bit grittier than the original, but work so well you'd swear she wrote it herself.  Mayhem closes with "Johnny Got A Boom Boom", an incredibly catchy bit of rockabilly that you won't be able to get out of your head.  Lyrically the song is pure fluff, but it's the sort of fluff that gets trapped in your head and rattles around for weeks.  May wrote this number early in her career, and first released it in Ireland and the UK back in 2009.  It's become a fan favorite, but never managed to make much of a stir on the charts.  The song is included here as an introduction to US audiences.

Imelda May has got it all.  Tremendous pop hooks, a stunning voice, a quirky, bigger-than-life persona and the ability to write songs that stick with you.  Mayhem is aptly named, running the gamut from sweet and sentimental ballads to pop insanity, all steeped in rockabilly, surf and classic singer/songwriter motifs.  Along the way, Imelda May shows the poise and humor of Nellie McKay, the ability to surprise you musically of Kate Miller-Heidke, and the pure star power of Madonna.  Get used to hearing the name Imelda May.

Rating: 4.5 Stars (Out of 5)

Learn more about Imelda May at www.imeldamay.co.uk or www.myspace.com/imeldamay1.  Mayhem is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Emily Zuzik Band - The Wild Joys Of Living

Emily Zuzik Band - The Wild Joys Of Living
2011, Emily Zuzik Band/Maenades Music

Emily Zuzik has been known in the Indie world for over ten years, first for her work with Sexfresh and then as a solo artist.  Having toured throughout the US and UK, Zuzik has seen her stock rise at a slow and steady pace over the years.  Over the past couple of years, however, Zuzik's in-demand status has hit critical mass.  First there was the collaboration with Moby, and then Zuzik was chosen to sing the theme song to NBC's Love Bites.  Zuzik gets back to work with the release of her seventh album, The Wild Joys Of Living.  Produced by Chris Cubeta, The Wild Joys Of Living blends Americana and pop in a sound reminiscent of Sheryl Crow.

 Emily Zuzik has a voice you simply want to listen to, but she seems to get overly comfortable at times on The Wild Joys Of Living.  “You Want To Go Out Tonight” is a buoyant, 1980’s style pop/rock number; catchy yet reserved.  The chorus here is a real winner, based on a hook so pervasive you can’t avoid it.  “Feels Like Rain” is similar in design, with a chorus you won’t be able to get out of your head.  The dark feel of “Motels” is intriguing, but Zuzik slows down and gets stuck in a bit of a rut over the next couple of songs.  “How Did You Get So Good” is a return to form, however; a fun and provocative number where Zuzik’s voice shows the gritty sexiness of Chrissie Hynde.  The last two tracks, “Step back” and “You Know When You Know” are low key and light on energy.

Emily Zuzik has the sort of voice that will keep listeners engaged even if she’s simply vocalizing.  The material of The Wild Joys Of Living is better than simple vocalizations, but is very up and down.  At her best, Zuzik sounds like a superstar with all the tools, but it seems like Zuzik may have gotten a little too comfortable at times on The Wild Joys Of Living.  This is a solid effort with some great moments.

Rating: 3.5 Stars (Out of 5)

Learn more about Emily Zuzik at www.emilyzuzik.com or www.myspace.com/emilyzuzik.  The Wild Joys Of Living is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Red Abbey - Bulldozer

Red Abbey - Bulldozer
2011, Red Abbey

Red Abbey started out as a New York City Duo, but has expanded their influence to Las Vegas in the last couple of years.  Thien-nga Palmer and Trey Ordaz have built a singular blues/rock sound from guitar and violin.  Red Abbey first came to our attention in March of 2010 with their debut EP, On My Way.  The duo returns this year with an updated sound in the form of Bulldozer.  Produced by Ken Hertz (Beyoncé, Michael Jackson, Missy Elliot), Bulldozer takes a band with a viable sound and tries to turn it into a commercial enterprise.

Bulldozer opens with the title track, a muscular alt-rock number that marks a new intensity of sound for Red Abbey.  Thien-nga Palmer flashes her unusual, sultry voice, which comes across as a mix of Joan Jett, Chrissie Hynde and Mick Jagger.  Palmer shines on the verses, but the chorus does her no favors.  Red Abbey gets points for attitude and flash in spite of the sonic uncertainties here.  "Life's Avenues" plays like a cynical attempt to craft airplay out of a mix of alternative rock and 1980's hair metal.  The arrangement is catchy, but Palmer's vocal here is more about effect and sound than melody.  "One Way Ticket" starts out with a time-worn rock riff, turning into a funky rocker with blues in its genes.  Unfortunately the transition to a breakneck chorus is jarring and gives up the ghost on any melodic sensibility.

"Broken Heart" shows distinct improvement.  The first of three holdovers from the band's On My Way EP has great pop sensibility and allows Palmer to use her voice for singing rather than trying to craft sounds. Red Abbey spruced up the arrangement a bit but left the song essentially unchanged.  "Me", also from On My Way, is an energetic rocker that will have you dance and jumping around.  This anthem for self-sufficiency is the catchiest song on the album, and the most likely on the album to challenge for airplay.  "Over And Done" is vibrant, guitar-oriented rock with a driving beat.  The chorus fails to keep up with the energy and sound of the verses, with Palmer slipping into a stylistic sound again that sells her voice short.

The other carry-over from On My Way, "What Can I Say", is funky rocker that doesn't live up to the original.  "Breakout" goes for more of a punk aesthetic.  Palmer handles the sound well enough but is capable of much more vocally.  It's a solid active rock number that's all about attitude and edge.  "Pleasure Pain" is the epitome of the stylistic choices that seem to form the backbone of Bulldozer, and it is the least listenable song on the disc.  Red Abbey closes with the bluesy "Beat", and Thien-nga Palmer brings the sultry back with her best performance on the album.  Unfortunately it took ten songs to get here.

Red Abbey's debut EP set the bar high for the band as a whole, and a vocalist, in Thien-nga Palmer, who can hold her own on most any stage, anywhere.  Bulldozer would be a solid effort for a whole host of Indie rock acts, but falls far short of Red Abbey's capabilities.  The search for a more muscular sound isn't necessarily a bad idea, but Palmer tries to accomplish with affectation that which she can flat out do with her voice.  The former restricts the latter and the end result is a performance that is simply less than.  There are definitely some things to like about Bulldozer underneath the shellac of radio-ready sound.  Hopefully Red Abbey will get back to their base sound and build it up naturally the next time around.

Rating: 2.5 Stars (Out of 5)

Learn more about Red Abbey at www.redabbeyband.com or www.myspace.com/redabbeyband.   Bulldozer is available digitally from Amazon.com and iTunes.  CDs are available through Red Abbey's webstore.

Mancie - Mancie EP

Mancie - Mancie EP
2009, Mancie Music

New York City post-punk posters Mancie dropped their debut EP last year after spending half a decade making music. The formerly Boston-based band blends punk attitude and energy with pop hooks but their debut EP lacks the energy you might expect from such a concatenation. Mancie opens with "So Well", an catchy/edgy rock tune that seems ripe for radio or licensing. "Say Say" is a bit more garage in presentation; a simplistic call out on a relationship with no future. "Don't Even Try" fizzles from a lack of drive, while the closing number, "Second Best" finds Mancie recovering a bit with a low-fi sound that has a modicum of pop sensibility. Mononomous vocalist Andrea occasionally sounds a bit like Chrissie Hynde, but struggles with pitch on a regular basis throughout the EP. Mancie doesn't have a gimmick that grabs you. While Andrea may have personality galore on stage, it doesn't translate on the EP, and with less than prime vocals and at-best average songwriting, there's little here to drive sales. If the personality is there live, then Mancie would do best to find a producer for their next product that can bring that out in the studio and on CD.

Rating: 2 Stars (Out of 5)

Learn more about Mancie at http://www.manciemusic.com/ or www.myspace.com/manciemusic.  Mancie is available as a CD or Download via CDBaby.com.

Review: Jessica J - Jessica J

Jessica J - Jessica J
2009, Jessica J

Los Angeles singer-songwriter Jessica J. Felman has spent a fair amount of time working behind the scenes at Warner Music and Univision, but she’s been making her own music since self-releasing her debut album, Barely There in 2000. Jessica J plies her looks, a smoky alto voice and in your face lyrics on unsuspecting listeners; creating a musical milieu that’s hard to recreate. Jessica J returns in 2009 with a self-titled, 4-track EP.

Jessica J opens with Sometimes I Never, a rousing rocker that features big guitars and Jessica J's husky, vaguely Chrissie Hynde sound-a-like voice. The song is built on a powerful hook that drives the chorus. Pieces Of You plods along in a depressed state. The piano part of this song wants to soar, particularly leading into the chorus, but the energy just isn't there. Who Are You relies on shock value in the chorus. The energy level is a bit better here, but the low notes of the song are beyond Jessica J. Closing out with Fall Down, Jessica J. hits us with a heartfelt slow rocker with a lot of sentiment but little apparent feel/emotion/enthusiasm with it.

Jessica J. has a pleasant voice; a bit deep for pop music but not unprecedented. From a songwriter's perspective, Jessica J. has highs and lows, but Jessica J puts her heart into the four songs on her self-titled debut EP. Take some time to check it out!

Rating: 2 Stars (Out of 5)

You can learn more about Jessica J at www.myspace.com/jessicajfelman. Jessica J isn’t currently available for purchase, but you can stream tracks at her MySpace page.

Review: Jessie Torrisi - Brûler Brûler

Jessie Torrisi - Brûler Brûler
2009, Wild Curls

Jessie Torrisi is a drummer/journalist turned Singer/Songwriter who moved from New York City to Austin, Texas for a different perspective on the world. Torrisi served as a drummer for several NYC bands; including Les Fleurs Tragiques, Laptop and Unisex Salon before making the switch to front woman (she’s vowed to never go back). Torrisi’s debut solo album, Brûler Brûler, drops October 28, 2009, and is a musical breath of fresh air that never forgets its musical past but looks stridently forward.

Brûler Brûler opens with Hungry Like Me, a musical wish list of the qualities of a perfect man in Torrisi's terms. The easy Americana arrangement is the perfect setting for a song full of longing and desire. As you get further into the song you realize Torrisi's not just casting a wish list but speaking to someone she hopes fits the bill. There's an ambivalence between hope and melancholy here, like a world-weary woman who hopes he's the right one but who's been burned a few too many times to believe it. X In Texas, on the other hand, is a breakup song of epic proportions. Mature and quiet in its tenor, Torrisi tells him why it's over, sounding like she has cause to be angry, but forgives him and wishes him well. She just asks to be left alone, even though it's clear she still cares. Cannonball is pure desire in song; it's the queen of come-on songs, like a cross between Patsy Cline, Chrissie Hynde and Martina Sorbara.

Breeze In Carolina is an amazing tune. Torrisi is singing to someone who's trying to run away, telling him that no matter how far he runs he's going to miss her. This is one of those rare songs that come along with the potential to be a classic. I could hear this being the melancholy keynote tune for a character in a musical or a movie. It's not your typical Country/Americana tune. The song is substantial in both content and emotion. Runaway Train is another song of longing, this time in an unrequited or inattentive love. Torrisi's vocals are on fire here, full of heart and a sultry country sound that's unlike anyone on Country or Pop radio.

Storm Clouds takes on a pop sway that's highly appealing. The melody here is highly memorable, and Torrisi gives a vocal performance not to be forgotten. It's yet another song of loss, but this time Torrisi decides she's had enough. There's a hopeful ending this time, with Torrisi looking to the skies and what is coming rather than behind. So Many Miles takes on an almost 1980's AM Radio R&B sound mixing with the Americana feel. I didn't enjoy this tune quite as much as the rest of the album, but it's still decent. Brûler Brûler closes out with The Brighter Side, a piano-based tune about the hope and outlook love can bring. It's a gorgeous tune, highly personal in presentation and heartfelt in delivery. It's the perfect ending to the album.

Jessie Torrisi is a bit out of the ordinary. She's a Country/Americana singer with an Alt-Rock sound mixed in with her Country Twang. Her lyrics are intelligent and nuanced; full of sensuality and a personal voraciousness for life that can be startling and then endearing. Torrisi's voice isn't what you'd call classically pretty, but you know you'll stay and listen as long as she keeps singing. The songs themselves are off the beaten track, full of a beauty and singular personality that could become a trademark. Brûler Brûler is a thrilling introduction for us here at Wildy's World, and we are excited to see what Torrisi does next.

Rating: 4 Stars (Out of 5)

You can learn more about Jessie Torrisi at http://www.jessietorrisi.com/ or www.myspace.com/jessietorrisi. Brûler Brûler drops on October 28, 2009, but you can get is now as a download from Amazon MP3.

Review: TAT - Soho Lights

TAT – Soho Lights
2008, Red Wagon

London, England’s TAT is a power trio led by the incomparable Tatiana DeMaria on vocals and guitars. With a distinctive rock voice that can smash-and-grab you or and melt butter on successive lines, DeMaria might be one of the best new female rock vocalists of the last few years. Add in Nick Kent on bass/vocals and Jake Reed on drums/vocals and you have a powerful power trio that mixes Classic, Punk and Melodic Rock sounds and strong harmonies. TAT’s debut album, Soho Lights was good enough to land them a spot on The 2009 Vans Warped Tour. They’ll be coming soon to an amphitheater near you. Be ready.

DeMaria has a penchant for lyrically dense, vocally dynamic songs that sound like they should be impossible to sing; DeMaria makes them look/sound easy. As a vocalist she has it all: Great tone, tremendous breath control and an ineffable front-woman quality that you see in big name artists such as Gwen Steffani and Chrissie Hynde. DeMaria could front most any band or go solo and make it big. In TAT she has an incredibly tight and talented rhythm section and backup vocalists who fill out the sound in dynamic and impressive fashion. Soho Lights opens with Road To Paradise, a lyrically dense Punk/Mod anthem that you won’t be able to get out of your head. Sympathetic Lies has an almost wall-of-sound quality in what I can only describe as a melodic Punk tune.

Pessimist may be one of the more amusingly pathologic songs on the album (“I’ll sit on your face and say I love you and leave you the next day for someone reminds me of you”). The energy here is off the charts. I Don’t Want To (Love You) is DeMaria at her most amazing, running off several phrases in a row, seemingly without a breath, without ever losing her sound or tone. A-maz-ing. Here’s To You is a pitch-perfect representation of ambivalence that features one of the best bass lines you’re likely to hear. Sandra D is an interesting bit of self-affirmation in song, while Take You Home pays tribute to Nirvana in sound. The album closes out with Live For Rock, which deserves to be the anthem for the next generation of rock/punk musicians. This is what Rock N Roll has always been about.

Wow. TAT will seriously blow you away. Soho Lights isn’t perfect, but even on the few more average songs the energy level is anything but. If you’re going to the Vans Warped Tour this year, make sure you check out TAT’s set. TAT alone might be worth the price of admission. In the mean time, be sure to check out Soho Lights. Rock is back, and its name is TAT.

Rating: 4 Stars (Out of 5)

You can learn more about TAT at www.myspace.com/tat or http://www.tatness.com/. You can purchase a copy of Soho Lights at Amazon.com, or you can purchase the download through iTunes. You can catch TAT live as part of the 2009 Vans Warped Tour between June 26, 2009 and August 23, 2009.

Review: Fugitive Kind - You're Being Watched

Fugitive Kind - You're Being Watched
2009, Fugitive Kind

Fugitive Kind lead singer Lydia Marsala sounds like the mid-point of a triangle between Milla Jovovich, Chrissie Hynde and Johnette Napolitano. Her voice is alternately deep and sultry or high and heavily soaring. No matter what range she's in she's distinctive, and she is the perfect balance for the heavy guitar rock that supports her on You're Being Watched. Comparisons to Queens Of The Stone Age, Muse, and Live should be expected, but there is a pulsing mix of energy that develops between Marsala's vocals and the instrumentation that is more than just friction.

You're Being Watched opens with a funky guitar rocker called Little Piece. Marsala throws herself into the vocal line like it’s her life's only purpose; the band answers in kind in a performance full of anxious, nervous energy. This is perhaps the catchiest opening track I've heard yet this year; a great rock song that would get airplay on chutzpah alone. It's been a while since a female rock vocalist could push this much personality through a song (think Gwen Stefani before she went Hip-Hop/Pop). Over-Thinking It has a big, Modern-Rock sound and a vocal style that has a shade of Tanya Donnelly to it. Don't Waste My Time, my second favorite song on the CD, is a great Modern Rock anthem with an almost punk/dance vibe going on. Break Now is my favorite, and the by far the heaviest song on the disc. This song should be a Modern Rock hit. Wait has an interesting heavy ethereal rock sound that is a great change of pace, and Good-Bye Song is a nice closing song, bringing out all of the best qualities in Marsala's voice.

Fugitive Kind is a great rock band musically, filling tight arrangements with layers of sound that are interesting, rhythmic and, if not original, at least well done enough to make them worth listening to. Lydia Marsala's voice woven into the instrumental net built on You're Being Watched elevates them to something special. Marsala has a great voice, but there's something about the mix here that pushes everything up a notch. The album itself is a bit uneven in its flow at times, but well done throughout. In the old days of LPs you could have done a heavy and soft side with this material. For now, You're Being Watched is a great start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Fugitive Kind at www.myspace.com/fugitivekind or http://www.fugitivekind.com/. You can purchase a copy of You’re Being Watched at www.cdbaby.com/cd/fugitivekind2, or you can download it from iTunes.

Review: Babe Gurr - Chocolate Lilly

Babe Gurr - Chocolate Lilly
2008, Elan Records Canada

Babe Gurr. What a name. The folk/rock singer-songwriter from Vancouver Island, British Columbia has been turning heads for years with her blend of roots/blues/pop. Shaped by intelligent, sometimes funny lyrics, memorable melodies and strong arrangements, Gurr lights up her songs with an engaging presence and a sandy and sultry voice you won't forget. Gurr's latest release, Chocolate Lilly, continues in the vein of her earlier works. It's a stunningly beautiful and poignant musical experience.

Gurr starts with great songs and one of the tightest backing bands south of the arctic circle. Chocolate Lilly opens with Hard To Get Over Me, a soulful warning that's part Lucinda Williams and part Bonnie Raitt. If you ever want to court Gurr or a woman like her, listen closely to Love Is Tough. It's a statement of terms for a relationship, and probably one of the most commercial songs on the album. I Give Myself To You is destined for weddings, mix-tapes and scenes involving young men with box radios below the windows of ladies they adore. This is one of those classic love songs that with the right bit of commercial exposure would become the wedding theme of a generation. It avoids cliché while making an honest and forthright statement of devotion. The melody is memorable and won't leave you anytime soon. Gurr also pulls back a little back here vocally, sounding more like Shawn Colvin than Bonnie Raitt.

Babe Gurr is absolutely inspired on her cover of Ray Charles' Unchain My Heart. The song drips with soul and desire driven by Gurr's sultry voice. Larger Than Life frames a philosophy centered on taking life by the horns and having no regrets. It's a great Americana arrangement with real pop hooks. Make sure also to check out Understanding, a poignant look at inequality and the ultimate remedy. Other highlights include the title track, Chocolate Lilly, Now You're Gone and Break Thru.

Babe Gurr is the sort of talent who doesn't come along all that often, and her star is on the rise. Her music has already been tapped for the US television show Higher Ground, as well as being a guest on Canadian shows Canada AM and The Jim Byrnes Show. It's only a matter of time before Gurr's star rises above the Canadian Content Rule and she truly becomes an International artist. Chocolate Lilly is the clearest sign that she is ready, taking everything Gurr has done so well to this point in her career and raising her game another notch. It's an inspired performance.

Rating: 4.5 Stars (Out of 5)

You can learn more about Babe Gurr at http://www.babegurr.com/. You can purchase a copy of Chocolate Lilly at www.cdbaby.com/cd/babegurr3.