Review: Tyler Blanski - Out From The Darkess

Tyler Blanski - Out From The Darkess
2008, Ezekiel Records

Tyler Blanski is a Minneapolis born and based singer/songwriter whose goal is telling stories in his songs. His muse seems to stem from the inspiration of artists such as Bob Dylan, Neil Young, Elliott Smith and even Jeff Tweedy. Blanski’s debut album, Out From The Darkness has been a work in progress since his earliest demo in 2006. Released in 2008, it may be a bit dated at this point, but is a fair representation of Blanski as an artist finding his voice.

Out From The Darkness opens with Two Inches Apart, the highlight of the album. Blanski's strong guitar intro serves as the backbone of the entire song, and is a beautiful thing heard through the ears of a guitar player. Blanski's lyrical style appears to be stream of consciousness and takes on a bland consistency early on. Out From The Darkness is a messy tune done in the style and tenor of Bob Dylan. It's a decent effort that gets bogged down in its own weight but shows some of the songwriting potential of Blanski. Hard Water is a tasty lilting tidbit that has a vaguely whiney feel (think REM meets Wilco). Whippoorwil is upbeat and driven with a lot of finesse shown on the acoustic guitar. It is also the musical outpost of the album, leading into a monochromatic and monotonous diaspora of songs lost in their numbing monochromatic sound. Much of the rest of the material on Out From The Darkness ranges from bland and innocuous to plodding cliché. The Sparrow tries to break free and fly with solid songwriting but gets lost in its own monochromatic sound. Laydee similarly tries to break the mold, picking up a more clearly Americana sound, but ultimately can't escape the inertia of the 2nd half of Out From The Darkness.

Tyler Blanski shows flashes as a writer, although lyrically he might benefit from collaboration, but he tends to get so mired in a single sound and style that he isolates himself from a lot of potential listeners. I'd love to hear Blanski take the songwriting talent that clearly exists and put it into use under slightly less serious and strident circumstances. Until then, Out From The Darkness is an interesting start.

Rating: 2.5 Stars (Out of 5)

You can learn more about Tyler Blanski at http://www.tylerblanski.com/ or www.myspace.com/tylerblanski. Blanski recently re-released Out From The Darkness digitally. It is available for free download from Blanski's web page, but donations are welcome. There is also an option to purchase copies on CD.

Review: Greg Dember - I Don't Know I Think I Fell From The Sky

Greg Dember - I Don't Know I Think I Fell From The Sky
2008, Hieronymus Records

Greg Dember is a Seattle-based singer/songwriter with a slightly different perspective on the world. This comes across in his quirky songwriting style. Dember has been a part of numerous Seattle projects over time, including Chiefly, Lavish Cat and Tim And The Time Machines. Performing solo under the name Greg Dember allows the artist to bring to take the stage on his own or with the help of a large group of musical friends as the night or venue might suggest. Dember’s album, I Don’t Know I Think I Fell From The Sky is quirky, original and a little out of step, perhaps, with current mores in music, but may carry a distinctive charm for certain discriminating music fans.

I Don't Know I Think I Fell From The Sky is a musically interesting but lyrically lackluster effort. Dember ranges from Ben Folds style Rock ballads to fully orchestrated and vaguely morose chill-fests in song. The dynamic range of the recording never varies too significantly, meaning I Don't Know I Think I Fell From The Sky has a tendency to sound a bit homogenous at times. Lyrically, Dember is out there, writing in a mix of biographical and allegorical terms that becomes so enmeshed it becomes difficult to sort the reality from dreams. The album opens with Parachute, with the narrator caught up in the euphoria of new love. The song is quite interesting although it does get a bit stuck in the chorus. Boxes approaches a stream-of-consciousness songwriting style that is very quirky. The narrator here is in love with someone who is moving; he just hopes she doesn't move too far. Transportation takes on a Ben Folds approach in a dreamy song more or less about love. Dember doesn't have the spark or chutzpah of Folds and the song gets overly flacid at times. Imaginary Friend is an odd tune. Dember seems to count Quentin Tarrantino and Uma Thurman in this category. From here things just seem to drift, with Dember occasionally finding the ground but generally floating through songs about dashed expectations, unrequited love and all sort of naval-gazing topics.

After listening to I Don't Know I Think I Fell From The Sky, I have the distinct impression it could be the soundtrack to the life of the kid in school that everyone thinks is weird. There is a social disconnection that runs through the songs that is at times charming and at times bordering on creepy. Dember captures this persona in song as if he's lived it. From that perspective the album borders on genius, although the music, in general, just isn't really compelling. It’s a decent listen, but not one that will inspire you to come back again and again.

Rating: 3 Stars (Out of 5)

You can learn more about Greg Dember at www.myspace.com/gregorydember. You can purchase I Don’t Know I Think I Fell From The Sky as a CD or download from CDBaby.

Review: John Brodeur - Get Through

John Brodeur - Get Through
2009, Mr. Duck Records

John Brodeur has been a fixture of the Albany, NY rock and pop scene since before his 2000 debut album, Tiger Pop, started getting serious notice from outlets such as Performing Songwriter, PopMatters.com and Indie-Music.com. While based these days in New York City, Brodeur has a laid-back writing approach wrapped around edgy melodies and deeply ensconced pop sensibility. Brodeur's latest album, Get Through, started out as a band project with his previous cohorts, The Suggestions. That band essentially fell away in the process of writing and Brodeur soldiered on with the help of Pete Donnelly (The Figgs, Candy Butchers) and Ryan Barnum (Strange Faces). The end result is Brodeur's most well-rounded effort to date.

Get Through opens with Make A Change, a positive song about taking the reins of your life and making things happen. Make A Change is upbeat without being over-the-top and has a great pop hook buried in the middle. I'm Bad is a big, fuzzy rock song built on a great melody, pleasing melodies and the self-story of a bad boyfriend. Wit and a self-deprecating charm are the heart and soul of I'm Bad, which has some real potential as a single. Brodeur slows things down a bit with Flame, a moody and almost mournful look at a friend who's out of control. Shades of Elvis Costello can be heard here.

Security suggests a sound that could take Brodeur a long way. There's a Classic Rock element here in the harmonies, and the Costello-esque songwriting is evident, but Brodeur just shines through his songs, even on CD. Security is a musical rocket that soars, and Brodeur just has a Je-ne-sais-quoi that makes you want to hit repeat again and again. Silence, Please takes on a relationship doomed by the emotional instability of both participants; each living in fear of upsetting the other and dooming themselves to eternal misery instead of setting each other free. Listeners may hear echoes of Ben Folds here with the strong piano presence in the arrangement and the neurotic, self-destructive relationship archetype, but Brodeur's creation is wonderfully unique and his own.

Fight dances around the roots of the Grunge sound propagated by Nirvana and deals with addiction in very blunt terms. Meltdown is a straight-up down-tempo rock tune that begs to be let loose into the Americana/Country arrangement it wants to be become. Hints of this appear, particularly in the guitar part, but Brodeur keeps things on the guitar side of the scale with passages and phrasing that almost suggest late-stage Beatles compositions. Love And Misery is a great rock tune, complete with compelling harmonies and a melody line that just won't quit. Of all the songs on Get Through, Love And Misery is the one I would pick for a lead single, and with the right break you'd be hearing it coast to coast all summer long. Get Through recalls Folds again, in a surreal and melancholic song about surviving. The album closes out with Home. Home is a dedication of sorts; with home not being a physical place but the person to whom he has cleaved. The arrangement is the most bare on the album (Brodeur and guitar) and is quite engaging. The song itself has a slightly neurotic sense driven by the narrator but is a great listen.
John Brodeur is one of those artists that you might not get on the first listen, but the more you listen the more drawn in you become. He's kind of like that kid from high school who seems a bit odd or stand-offish when you first meet him but then it quickly becomes apparent he's the most interesting kid in the class. Get Through is a wonderfully varied collection of songs that range through Rock, Grunge and Alternative styles without ever losing a distinctive pop appeal. Brodeur writes intelligently, conveying thoughts and stories in a personal style that make the listener feel a part of the show. He might take a listen or two to dig into, because his style isn't exactly the flavor of the month, but careful listening brings great rewards. Brodeur is capable of writing big Pop/Rock songs (see Love And Misery), but is more likely to be the sort of artist who builds a stellar catalog for a not-so-small and appreciative fan base over time. For now, Get Through is brilliant.

Rating: 4.5 Stars (Out of 5)

You can learn more about John Brodeur at www.johnbrodeur.com or www.myspace.com/johnbrodeur. You can purchase a copy of Get Through at www.cdbaby.com/cd/brodeur2, or you can download it from iTunes. Be on the lookout also for the debut from John Brodeur's new band, Maggie Mayday, due out in the Fall of 2009.

Review: Reed KD - In Case The Comet Comes

Reed KD - In Case The Comet Comes
2009, Reed KD Music

Reed KD took an unusual path to recording his album In Case The Comet Comes. Spending much of 2007 and 2008 living out of his car, Reed traveled around the west and mid-west taking in the land, the culture and most importantly, the music he encountered. Returning home to northern California, Reed essentially scratched together In Case The Comet Comes with borrowed equipment, a laptop and the help of friends and family. The result is a neo-folk adventure that draws comparisons to Elliott Smith, Simon & Garfunkel and even Beck.

Reed KD has a voice that is at times reminiscent of Art Garfunkel in his Simon & Garfunkel days; strong, clear and with a distinct yet lonely beauty that is striking. The entire album is a sonic wonderland. Reed KD writes like a singer-songwriter with a folk sensibility and enough pop orientation to keep everything flowing freely. The album opens with This Is It, a highly energetic acoustic rock song with shades of Celtic and Country thrown in. This is the perfect album opener; virulently catchy and one of the few full-on acoustic tracks I’ve heard that could make noise in a pop market as is. If The Tide Swings encapsulates that sense of lonely beauty that Reed KD projects in his music. The protagonist is still holding on, not wanting to lose what he has, but almost helpless to do anything other than observe as things play themselves out. The song is well-written and the story flows almost like in a well-crafted movie.

Winding Roads could turn out to be a classic folk tune. The finger-pick arrangement is gorgeous, and the lyrics are well-written and beautifully sung. Don’t be surprised if this song gets covered by someone big in the folk world down the line. Reed KD slows things down with a lazy country tune on In The Grass. The song is as relaxed as its subject and almost meanders from Reed KD’s guitar and lips than anything else. My favorite song on the disc is Cactus Garden. Reed KD again walks the fine line between Country and Celtic music styles here, with a memorable melody supporting wonderful imagery, and the musicianship here is absolutely top notch. Space Vacuums is perhaps the oddest song on the disc; not really consistent with the rest of the material presented here, but ethereal and lovely in its own fashion. You’ll also want to check out Hippie Chicks, Keep M Bags Packed and Sleepless Nights In Bed.

Reed KD is not your typical Pop/Rocker. His songs have a distinctive Pop sensibility, but are rooted in Folk, Country and even Celtic origins. In Case The Comet Comes is a breath of fresh air. The songwriting is distinctive and well crafted; the musicianship is Grade A, and the vocal performances are the sort you’d be happy to listen to all day. In Case The Comet Comes is one of the best “out of nowhere” albums thus far in 2009. Let’s hope we hear a great deal more from Reed KD in the future.

Rating: 4 Stars (Out of 5)

You can learn more about Reed KD at www.myspace.com/reedkd or http://www.reedkd.com/. You can purchase a copy of In Case The Comet Comes at www.cdbaby.com/cd/reedkd3.

Review: Ben Cooley Hall - Owning Up To A Life

Ben Cooley Hall – Owning Up To A Life
2009, Caunounicus Records

Ben Cooley Hall walks you through his own personal journey on Owning Up To A Life, his debut solo album released in April, 2009. The Providence, Rhode Island singer-songwriter grew up in Boston, studying violin and voice from a young age. As co-founder of Boston’s The Mary Reillys, Hall released on well-received EP and recorded an as-yet-unreleased LP. With that band of hiatus, Hall began writing and playing out some of his own material. The end result is Owning Up To A Life.

Owning Up To A Life is a concept album; in this case a series of reflects on events or people past. Hall’s voice isn’t iconic, but has a shy/geeky/shoe gaze quality to it that is endearing; like this kid from school you knew for years who never spoke loud or often who all of a sudden one day you realize has a lot to say. Three Dream Excerpts on the album serve almost as the passages of a narrator, filling in the gaps between songs. Sunny Day has a highly memorable melody and is a bit quirky. It reminds me of some of Kevin Hearn’s (Barenaked Ladies) more pop yet off-the-wall material. Come To Care is awkwardly sweet with a lot of charm. My favorite song on the album is the Americana-based Untrue, which is not only the best songwriting here but also the most emotionally relevant song on the disc. Lot More Caring has potential but comes off a bit flat on CD. The rest of the material here is pleasant but doesn’t leave a strong impression.

Ben Cooley Hall shows the seeds of being a decent songwriter. His style is eclectic enough to not have a distinct commercial flavor, but his brand of repressed, quirky pop is a definite niche with a following. Owning Up To A Life has a couple of memorable moments, and is a decent listen. Check it out.

Rating: 3 Stars (Out of 5)

You can learn more about Ben Cooley Hall at http://www.bencooleyhall.com/ or www.myspace.com/bencooleyhall. You can purchase a copy of Owning Up To A Life at www.cdbaby.com/cd/bch.

Review: Spygirl - Pieces Of Evidence

Spygirl – Pieces Of Evidence
2008, Spygirl Music

Vancouver’s Spygirl took eight long years to release their second disc. Their self-titled debut hit shelves in 2000. The band went through some changes over the years, but re-engaged with producer Tom Rothrock (Beck, Badly Drawn Boy, Sloan, Elliott Smith, James Blunt) to release 2008’s Pieces Of Evidence. Born of a longtime collaboration between vocalist Koralee Tonack and multi-instrumentalist Jane Gowan (no idea if she’s related to Styx’ Lawrence Gowan), Spygirl started out as Time Waits. The band is a collection of incredibly talented musicians, and Tonack’s voice is amazing.

Pieces Of Evidence opens with Come Out To Play, a down-tempo song about coming out of your shell and letting go of your fears, yet it sounds mired in a deep melancholy. Where Did Those Stars Come From has an almost ethereal, Mazzy Starr quality to it. Feeling Fine is ambivalence personified; a self-affirmation that is without real energy or life. The vocals and harmonies here are gorgeous, but the energy just isn’t there. Feeling Fine is, unfortunately, a microcosm of Pieces Of Evidence. Well constructed songs fed by pretty harmonies, a lead vocalist with a great voice, and little or no energy to drive it. Mellow and ethereal music are fine, but even mellow music has life and vitality to it. Spygirl comes across as a very talented outfit that just isn’t challenged by or interested in what they are playing. This is unfortunate because there are some wonderful elements here. And Spygirl even tries to make a late save with Be Lost and Weight Of The World, but it’s too little too late to hold on to the listener. The final track, Dust, is a reserved story song where Koralee Tonack really comes to life on vocals. It’s really a worthwhile performance, but most listeners won’t stick around that long.

Rating: 2 Stars (Out of 5)

You can learn more about Spygirl at http://www.spygirlmusic.com/ or www.myspace.com/spygirlspygirl. You can purchase a copy of Pieces Of Evidence at MapleMusic.com or as a download through iTunes.

Review: Peter Maybarduk - No Hay Pueblo Vencido

Peter Maybarduk - No Hay Pueblo Vencido
2009, Peter Maybarduk

Peter Maybarduk was born to an American Diplomat and a social worker in Mexico City, and has lived in several Latin American countries as well as in various places across the United States since then. His worldview is strongly influenced by his upbringing, and that worldview comes through loud and clear in Maybarduk's music. His second album, No Hay Pueblo Vencido (No Defeated People), will be self-released on January 20, 2009, and offers a glimpse of that worldview set against varying musical styles, ranging from singer-songwriter style story-songs to electronic/organic rock to punk.

No Hay Pueblo Vencido opens with the poignant Darker Days. Darker Days explores Maybarduk's difficulty living amongst people who's real problems are as superficial as their happiness after living among people who truly struggle to live. The song is a subtle framing of his time in California against his background in Central America and is quite ingeniously written. The musical arrangement has a searching quality to it, as if Maybarduk is trying to find a way to balance the two worlds he knows on his shoulders. Maybarduk explores sampling mixed with organic music on Siddartha, a catchy pop tune with real potential as a dance mix.

To Make A Rebel Behave is a lovely guitar ballad that subtly explains the methods a fascist state might use to enforce what it considers to be appropriate behavior amongst its own people. Dom Helder opens with an urgent energy that turns into an almost early Police-style punk tune. Throughout all of these songs Maybarduk explores the world around him with an eye for how he might change things, or perhaps how he has already tried. There is a confidence in his writing that borders on grandiosity at times. Whether is the sort of grandiosity that is necessary to dream of and exact change or the sort that gets in the way of it is a matter of time and observation, but it does weigh down the album a bit at times.

Hey Washington is perhaps the gem of the album, a smart and inquisitive commentary about government and its failings (and potential). Right behind it (both figuratively and literally) is Caught In A Lie, a frenetically performed soliloquy that could be a man speaking to his potential beloved or a politician speaking to the government or office (s)he seeks. The sense of good will entering in here is similar regardless of the scenario, and Maybarduk doesn't fully clear up the question in the course of the song. Other highlights include Capital For Guns, Sundays and Vencido.

Peter Maybarduk is a talented songwriter. His way with words is notable and allows Maybarduk to explore subject matter than most songwriters may never pursue. Because of his experiences and upbringing, Maybarduk views his role in the world as being larger than one might expect. Whether this is reality or youthful idealism and ego remains to be seen, but there is no doubt that Maybarduk works through his music to spread a message about the interconnectedness of life and societies that should be considered by thinking people. No Hay Pueblo Vencido is a stand-out release with something for most everybody. Even if you filter out the messages the music is very entertaining.

Rating: 4 Stars (Out of 5)

You can learn more about Peter Maybarduk at http://www.petermaybarduk.com/ or www.myspace.com/maybarduk. No Hay Pueblo Vencido will be release January 20, 2009. Keep checking Maybarduk’s website for details!