Margot MacDonald - Canvas

Margot MacDonald – Canvas
2013, Margot MacDonald

Some folks spend a lifetime figuring out what they are called to; others begin to excel before others are even through puberty.  Margot MacDonald is that sort of artist.  Margot began singing with the Washington National Opera at the age of 10, and released her first album of original material at the age of 12.  In the past ten years she has released a total of four original albums, in the process winning the Washington Area Music Association’s Artist of the Year award (2012).  MacDonald’s latest cycle, Canvas, runs the gamut from dreamy pop to rock, with MacDonald’s amazing vocal orchestrations as the star of the show.

Canvas opens with “Speed Of Sound”, a gorgeous vocal tapestry in the form of a rock and roll song.  MacDonald’s sound is reminiscent of early Sarah McLachlan but with a bit more force.  This song is built on meticulously crafted swells of sound, and MacDonald’s voice is amazing.  “Straight Talk” is a catchy piece of pop/rock songwriting with a memorable chorus.  The hook here is infectious, and will stay with you long after the song has stopped spinning.  “Feel Free” is a catchy, frenetic rock arrangement.  Strings and voices fill out the top over pure rock instrumentation, creating an intriguing sound and style to complement MacDonald’s enigmatic voice.  “Beautiful Strangers” changes vibes in an esoteric song of longing.  MacDonald recalls a young Kate Bush here, but with a more powerful and evocative voice. 

Margot MacDonald is breathtaking on “Call”, creating amazing textures between the layered effects of her voice and the existing instrumentation.  “To The Ground” mixes musical essence and form, with an arrangement not unlike rolling waves.  Amidst this reciprocal rhythm is the cool, clear voice of Margot MacDonald, and the effect is stunning, a true “Wow” moment.  “Changing Times” seems to break the zone that MacDonald has been in thus far on “Canvas”.  It’s a solid enough piece, but perhaps is just not up to the level of the rest of the material on the album.  “Bubble Wrapped Heart” is a speculative and sweet love song.  MacDonald is plainspoken and ultimately real against a gorgeous, full-bodied arrangement.  A key moment here is the interplay between voices and electric guitar on the extended bridge. 

“Pretty Little Cage” is a dreamy ballad about sorrow, recovery and moving on.  The broad and beautiful palate of the arrangement accents the unusual timbres of MacDonald’s voice.  “Someday/Monday” is a melancholic ballad with a bit of bounce to it.  It’s a nice change of pace and highlights the breadth and depth of MacDonald’s growing talents as a songwriter.  Next up is “Colorblind”, an ambitious rock arrangement with tremendous build.  This is perhaps not as accessible as some of the other material on the album, but fortifies the sense that MacDonald’s songwriting strength is still being explored.  This is breaking new ground for MacDonald, and it comes off surprisingly well.  MacDonald closes with “Teardrop”, an eerily beautiful attempt to move on that accents MacDonald’s prodigious lead with a vocal chant underneath.

Margot MacDonald may owe her musical niche and explorations to the like of Kate Bush, Tori Amos and Sarah McLachlan, but her sound is very much her own.  While basing herself in the accessible world of pop and rock, MacDonald takes border crossings into other sounds as a matter of course, following wherever her many-armed muse may lead.  Canvas shows an artist who is perhaps not scratching the surface of what she can do, but is just beginning to explore the complex depths of her talents.  This is one exploration that should be a thorough joy to witness.

Rating:  4 Stars (Out of 5)

Learn more at www.margotmacdonald.com.

Marina V - My Star

Marina V - My Star
2011, Marina V

Moscow-born California gal Marina Verenikina won a scholarship at the age of fifteen and moved to America on her own.  Marina V began pursuing her musical dreams by gigging extensively while attending college in Illinois.  On graduating, she moved to Los Angeles, and has established herself as a favorite in the frenetic pop/rock scene there.  Marina V has composed songs for films such as Fallen Idol and Truth About Kerry, and has had songs placed in Days Of Our Lives, The Good Wife, and the iPhone game Tap Tap Revenge.  Marina V’s 2007 album, Modern Fairytale, announced an artist with a world of potential still learning her craft.  On her latest album, My Star, it’s clear that Marina V has grown in self-awareness as an artist.

My Star opens with "You Make Me Beautiful", a solid Adult Contemporary Pop love song.  Built on a strong musical bed, Marina V's warm, lovely voice is framed perfectly here.  "Thursday Song" is a melancholic ballad with a pretty melody and dreamy air.  There is a grey-scale depth to the song, however, that veers widely away from cliché and into a sort of complicated beauty.  "Blue For You" is a fairly straight forward song of heartbreak, pretty but bland at the same time.  Marina V sounds like a richer voiced Tori Amos on "My Star".  The piano that spurs the song along is supported by a symphonic-style arrangement that is sonically appealing. 

By the time Marina V gets to "Unbalanced", the upbeat quasi-rocker is a welcome change of pace.  Up until this point the music has been very self-involved, and while "Unbalanced" is still an internal conversation, its acknowledgement of a world outside is step in the right direction.  Marina V shines brightest on "Tonkaya Ryabina", a traditional Russian song that is haunting in its beauty and brings out additional textures in her voice.  My Star closes with "Magical Christmas", a modern Christmas ballad about recapturing the spirit of Christmas and of youth.  It's a sweet and positive addition to the modern Christmas pop cannon; low key, but pretty and warm.

Marina V can flat out sing.  Her voice is full of textures and tones that are intriguing and lovely.  The heavy focus on ballads on My Star wears thin, and Marina V shines best on an upbeat rocker and a traditional folk song.  My Star seems an effort to cast Marina V's voice in its best light while adhering to what may be perceived as a highly marketable genre, but the song choices here generally don't do the artist many favors.  The sound is great, but there are obviously musical niches that take best advantage of her stunning voice.  It would be nice to hear more of those.

Rating: 2.5 Stars (Out of 5)

Learn more about Marina V at http://www.marinav.com/ or www.facebook.com/marinavmusic.  My Star is available digitally from Amazon.com and iTunes.

Ali Milner - I Dare You

Ali Milner - I Dare You
2009, Ali Milner

Vancouver, British Columbia’s Ali Milner is making quite a name for herself, surfing the pipeline between the genres of pop and jazz.  With a pure voice that could brighten even the darkest day, Milner enthralls with her voice while engaging listeners with a story-telling style that is intelligent and artful. Milner got her start performing with the Vancouver Children’s Choir and has studied at the Berklee College Of Music.  In 2009, Milner released her debut album, I Dare You.  The album has earned Milner significant critical praise, and was named the Best Adult Contemporary Album at the10th Annual Independent Music Awards.  That doesn’t tell you the whole story however.

I Dare You opens with "Crystal Clear", a brilliant musical soliloquy from one used to playing second fiddle to her best friend for suitors.  Milner uses her warm, sultry, soulful alto voice to bring a great piece of songwriting to life.  "I Wanna Be Loved By You" blends reggae and pop in a memorable turn full of melody and Milner's distinctive voice.  "I Lost My Diamond" is a classic pop number couched in an upbeat arrangement.  Heartbreak is the order of the day, as Milner uses jewelry as an allegory for love lost.   "Secret To Tell" is a pop crush song with Americana elements that manages to be catchy and reserved at the same time.  Milner's voice is amazing; she could sing the square root of pie to one hundred decimal places and people would line up to listen. 

"I Dare You" is an unusually frank entreaty to love Milner that heartfelt and without affectation.  Such brutal honesty in pop music is unusual unless it’s intended to cruel, and Milner handles it all as if it were the most natural thing in the world.  "Gonna Dance" is catchy pop that's part 1950's rock n roll and part Motown.  You won't be able to resist dancing along if you have a pulse.  Milner gets a bit esoteric with "Portrait Of Dorian Grey", an intelligent and infectious piano-driven pop number that reminds you just how deep Milner is as an artist.  "I Can't Wait Forever" sways with the push-pull of heart vs. head in romantic affairs.  Milner's voice is so rich and beautiful you'll want to bottle it and sell it, or more likely save it for yourself.

"Breakaway" is a solid song made better by the artist performing it, while "Don't Forget To Call" is wonderfully catchy and fun pop music at its best.  Milner gets dreamy with the 1970's-style AM radio pop of "Day By Day", with a positive vibe and pleasingly lyric sound.  I Dare You bows with "Can't Change This Girl", a soulful declaration of self that's unforgettable. 

After listening to Ali Milner's I Dare You, you'll wonder how someone so good stayed out of the public spotlight for so long.  In this Indie music day and age, Ali Milner is a small fish in a world of small fish, but her songwriting and voice should place her near the pinnacle of pop music.  I Dare You is brilliant, a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Ali Milner at www.alimilner.com or www.myspace.com/alimilner.  I Dare You is available from Amazon.com as a CD or Download from Amazon.com.  The album is also available via iTunes.

Sasha And The Indulgents - Love In A Box

Sasha And The Indulgents - Love In A Box
2010, Sasha Papernik

Sasha Papernik will surprise you.  The conservatory-trained classical pianist has been winning national and international piano competitions since the age of eight, but Papernik has never been able to shy away from the freedom of rock music.  Lyric ballads have grown into vibrant rockers, or been spiced up with blinding fast piano runs that strike like lightning and disappear just as quickly.  The Boston-born singer/songwriter has been haunting the clubs of New York City and New England for a few years now with unaffected pop music that's a cousin to that of Tori Amos, Kate Bush and Sarah Slean.  Papernik's band, Sasha And The Indulgents, released their second album in late 2010; a quirky eight-song collection entitled Love In A Box.

Sasha And The Indulgents opens with the musical split personality of the title track.  "Love In A Box" opens as a depressed and dreamy rumination, but transforms into a quirky, angular pop chorus that's incredibly infectious.  Papernik displays an animated, vaguely demented and theatrical style here that is hard not to get into.  "Carolina" is an intriguing dream-pop number about someone who is chasing down her dreams in spite of what family and friends might say.  It's an ode to someone who has given up everything to get her deepest wish.  There's a mild country/Americana flavor in this mellow arrangement that is appealing.  "Edges Of Your Mind" is a bit obtuse in imagery, but is built on a wonderfully vibrant piano progression. 

"I Read The Letter" is an interesting bit of piano pop, channeling the manic feel that tends to infuse Papernik's songs into an edgy and vibrant arrangement that dances on the edge of exploding.  "Would You Like Me" is a great pictorial in song of romance from the perspective of an emotional chameleon that is honest in her dysfunction.  The chorus here is highly memorable, and the dramatic sensibility of the narrator approaches a brittle break without ever quite breaching the divide.  "Chasing Hours" is perhaps the cleanest piano-pop song on the album; a gentle ballad that's full of simple beauty and emotion.  Unfortunately the production on this track isn't what it might be.  Love In A Box bows with "Ten Thousand Dreams", a dreamy, sparse number in a quasi-chanson style.  Sasha Papernik's voice is angelic here, and the atmosphere one of heartbreaking beauty.

Sasha And The Indulgents hit listeners where they live on Love In A Box, delivering quirky, unusually placed pop music full of beauty, grace and honest thoughts and emotion.  Without affectation or device, Sasha Papernik dwells on the beauty of human imperfection and nobility in song.  Love In A Box doesn't play by the rules of pop music, speaking of real lives and real people in a real voice.  If you hunger for honesty in art, then Love In A Box is gift-wrapped just for you.

Rating: 4 Stars (Out of 5)

Learn more about Sasha And The Indulgents at www.sashatheband.com or www.myspace.com/sashaandtheindulgents.  Love In A Box is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Katie Melua – The House

Katie Melua – The House
2010, Dramatico Records

Katie Melua is one of the largest selling artists in the UK for the 21^st century, capturing hearts and minds all over the world with her albums Call Off The Search, Piece By Piece and Pictures.  Under the tutelage of composer/musician Mike Batt, Melua found her voice and a sound that is both distinctive original and commercially appealing.  After three albums and seven years, however, it was time for Melua to branch out on her own and explore the avenues of her art.  The resulting album, produced by the legendary William Orbit, is The House.  This is Melua’s most original and dramatic album to date, delivering on an unerring pop sensibility with the sort of musical quirks and originality that can turn a very good artist into an icon.

The House opens with “I’d Love To Kill You”, perhaps one of the most anachronistically sensual songs you’re likely to hear.  Melua mixes images of violence and sexuality in a disturbing monologue that will unnerve or titillate you depending on your disposition.  The stark, simple arrangement serves only to empower the message and paints a picture of a love that borders on insanity.  “The Flood” is dark, mysterious and beautiful.  There’s an almost spiritual theme revealed in Melua’s parallel between the washing away of a great flood and the releasing of bonds on the human spirit as the song moves between a sorrowful dirge and an uplifting new age/pop dance beat.  “A Happy Place” keeps essentially the same rhythm and melodic structure as “The Flood”.  The theme here is about humanity’s constant yearning to find a happy place and is therefore subjectively a complement to “The Flood”, sharing elements of theme, melody and structure.

“A Moment Of Madness” finds Melua exploring the cabaret style familiar to fans of Sarah Slean.  Melua injects a gorgeous dramatic sensibility into a suggestive art house tune with a distinct baroque feel.  Melua explores the juxtaposition of hope and heartbreak as seen through shared experience in a tune that sounds like something John Lennon may have penned where he still alive and working today.  “Tiny Alien” finds Melua communicating with a baby in utero, wondering at who it will become, what it feels and thinks.  It’s an amazing bit of songwriting, highly personal and yet universal in its theme.  “No Dear Of Heights” is a confident love song that revels in faith and certainty that a relationship is meant to last.  Melua’s performance shows a conviction that is compelling.  “The One I Love Is Gone” is bluesy and forlorn but sophisticated.  Katie Melua delivers a true wow moment here with a vocal performance that is starkly beautiful and thoroughly in the moment.

“Plague Of Love” explores the pleasure and pain of unrequited love in a compact and breezy but significant pop song.  This is brilliant songwriting, blending masterful lyrics with the sort of smart, angular pop arrangement that’s outside the box enough to be noticed but accessible enough to garner the attention of radio programmers, licensers and fans.  “God On The Drums, Devil On The Bass” hits the spiritual realm again, using Judeo-Christian imagery as a sort of parallel of yang and yin, and placing human behavior in between.  The song is entertaining with enough of a mid-tempo dance beat to perhaps crack the club scene with the right remix.  Melua’s vocals here are oddly sensual.  Melua closes out with “Twisted”, a solid pop entry, and “The House”, a pensive, dark internal conversation set to music.  This quietest moment evokes Melua’s best vocal performance on the album, including a chilling high note that will ring in your mind well after the last notes fade.

Katie Melua has come a long way since Call Off The Search, expanding upon her folk and pop roots into a truly artistic pastiche of pop, rock and singer-songwriter styles.  Melua embodies the eclectic spirit of such artists as Kate Bush, Tori Amos and Milla Jovovich, while writing intelligent and coherent pop that is atypically accessible.  It isn’t a stretch to say that Melua has one of the most intriguing voices in pop music today, finding its way into the nooks and crannies of your soul.  The House is Melua’s finest work to date, a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Katie Melua at www.katiemelua.com or www.myspace.com/katiemelua.  The House is available from Amazon.com as a CD, LP or Download.  The album is also available from iTunes.

Amy MacDonald – A Curious Thing

Amy MacDonald – A Curious Thing
2010, Melodramatic Records

At the tender age of twenty-two, Amy MacDonald is sitting on top of the world.  Beginning with the release of her debut album This Is The Life in 2007, the onslaught of critical acclaim, airplay and awards has been nothing short of breathtaking.  All of this from a small-town Scottish singer/songwriter who is the antithesis of celebrity-elite culture. This Is The Life was full of ebullient pop songwriting and MacDonald’s amazing voice.  It would be so easy to simply try and re-create that sound, but MacDonald does not sit pat with her sophomore effort, A Curious Thing.  MacDonald dug into her old notebooks for unfinished gems after two years on the road in the company of her highly talented band, and has taken a giant leap forward artistically without compromising her pop sensibilities.

A Curious Thing opens with “Don’t Tell Me It’s Over”, detailing heartbreak in process with an urgent feel.  MacDonald is revealed as a dynamic vocalist with the sultry alto of Cher yet some of the vocal eccentricities of Kate Bush or Tori Amos.  “Spark” is pure pop goodness; an acknowledgement that she’s okay with either spiritual themes or allusions.  “No Roots” is a lonely rumination on all the events of a human life in a sad cast.  “No Roots” becomes a song of searching without a specific goal; it’s well-written and introspective yet simultaneously upbeat.   “Love Love” a dynamic pop/rock number about being in love about an all-encompassing love and an inability to share it with the subject.   In “An Ordinary Life” MacDonald discusses the whirlwind of celebrity lifestyle and takes great pride in maintaining a simple life away from the stage.  MacDonald captures the blend of excitement and angst that comes with living in the public eye in discussing the importance of maintaining a private space for herself and her loved ones. 

“My Only One” is an incredibly mature love song recalling good and bad times and putting them into perspective.  Literate and well-developed, “My Only One” is the sort of song you expect out of a twenty-year vet in songwriting.  “This Pretty Face” gives priority to inner beauty over outer; an establishment of terms about what is truly important in relationships and life in general.  “Troubled Soul” is a song of recognition; of recognizing another who understands you and finding happiness there no matter the circumstance.   “Next Big Thing” has a dark and urgent feel; a driven pop/rock number that explores the darker side of the pursuit of fame.  “Your Time Will Come” is a song of encouragement to a loved one who is going through a period of soul searching.  The message could be trite, but MacDonald avoids the usual pitfalls to find a sweet and heartfelt moment.  “What Happiness Means To Me” is the official closing track, a stripped down moment of reflection that is honest and pure, a step inside MacDonald’s emotional inner sanctum that is nothing short of beautiful.  MacDonald follows this up with a hidden bonus track, an amazing cover of Bruce Springsteen’s “Dancing In The Dark”; A “wow” moment that features MacDonald’s voice with a single acoustic guitar.

Amy MacDonald shows significant growth on A Curious Thing, developing her depth as a songwriter and artist. The leap forward from her debut album, This Is The Life, is nothing short of breath-taking.  This is a significant statement considering the quality of This Is The Life.  A Curious Thing is the sort of album that serves as a career benchmark.  Two years ago you might have been forgiven for wondering if MacDonald would maintain her immense popularity in the UK, given the propensity of pop music fans and programmers toward short memories.  After hearing A Curious Thing, you’ll realize that the sky is the limit for Amy MacDonald.

Rating: 4.5 Stars (Out of 5)

Learn more about Amy MacDonald at www.amymacdonald.co.uk or www.myspace.com/amymacdonald. A Curious Thing is available from Amazon.com as a CD, Deluxe 2-CD Set or Vinyl.

The Jezabels - Dark Storm

The Jezabels - Dark Storm
2010, The Jezabels

Sydney, Australia quartet The Jezabels have had a whirlwind year, landing opening gigs for artists such as Tegan & Sara, Katie Noonan and Josh Pyke while promoting their 2009 EP She's So Hard.  In the process The Jezabels grew into headliners themselves, selling some pretty impressive rooms along the way.  Led by vocalist Hayley Mary, The Jezabels bring an eclectic sound on their latest EP, Dark Storm, the last of an EP trilogy.

The EP opens with “Dark Storm”, a stark and lovely tune with a disturbing edge.  The song has a hidden pop sensibility; it won’t necessarily be your favorite the first listen through but it is the song that will keep you coming back.  Vocalist Hayley Mary intrigues while sounding like a cross between Kate Bush and Stevie Nicks.  “Mace Spray” is crunchy-but-ambient pop.  Hayley Mary’s vocal is distinctive and disturbing, full of an asymmetric beauty and a hard edge that’s sort of like chewing on tin foil.  “Sahara Mahala” is an edgy pop love song with a serious hook and a deep sense of mystery.  “A Little Piece goes a bit too far vocally, with Mary stretching for some soprano notes that were perhaps ill thought.  The Jezabels close with “She’s So Hard”, a vocally intriguing but lyrically obtuse song that shows elements of Sarah McLachlan and Bjork.

The Jezabels show an intriguing mix of rock, pop and Lilith Fair pastiche on “Dark Storm”, one of the more intriguing musical introductions we’ve made this year at Wildy’s World.  The EP itself has its ups and downs, but Hayley Mary has a voice that could become iconic.  Voice aside, there’s enough here to keep you in the loop enough to want to find out what The Jezabels do next.

Rating: 3 Stars (Out of 5)

Learn more about The Jezabels at http://www.thejezabels.com/ or www.myspace.com/jezabelsband.  Dark Storm is available on CD from Amazon.com.  Digital copies are available via iTunes.

Chloe Charles - Little Green Bud

Chloe Charles - Little Green Bud
2010, Chloe Charles

Put all of your preconceptions on hold. Chloe Charles bends them and breaks them. Her blend of folk, soul and classical music isn’t quite like anyone else you’ve heard. You’ll hear elements of Cat Power, Esthero and Portishead, but listen for the roots of Joan Armatrading, Janis Ian, Tracy Chapman and even Nick Drake deep beneath the surface. Charles’ next release, Little Green Bud is due out on September 21, 2010, and is a real charmer.

Little Green Bud opens with "The Heavens", a haunting baroque-pop tune marked by dark strings and atypical rhythms. Charles creates atmosphere with the noble beauty of her voice and vocal effects that add more depth to the sound. It's Charles' voice that stands out the most here, sounding like a wayward cross between Sade and Kate Bush. "Soon On A Snowflake" is a beautiful song of devotion, where Charles' poetry is nearly as striking as her voice. "Progression" is dark and full of angst and anger, calling out another who has caused her harm in mysterious language. "Water" is a lush musical experience that finds Chloe Charles layering vocals in counterpoint to a subversive string and electro arrangement that's a thing of beauty. Little Green Bud closes with "Salamander Red", a highly textured piece of baroque pop and recollection of love that gets lost in a lack of diction. Charles plays fast and loose with hard consonants throughout the EP, but here is very difficult to understand at times.

Little Green Bud shows a lot of promise from Chloe Charles. Her voice is striking; beautiful and atypical, rich and lush while possessive of the sort of vocal anomalies that create interest rather than discord. The compositions on Little Green Bud are highly original, blending pop sensibility with strings and an almost antique musical setting. Chloe Charles has the pipes to go far, and the performances on Little Green Bud indicate an artist who is very comfortable in her own shoes. Be certain that we'll be hearing more from Chloe Charles.

Rating: 3.5 Stars (Out of 5)

Learn more about Chloe Charles at http://www.chloecharles.com/ or www.myspace.com/chloecharles. You can order copies of Little Green Bud directly from Charles on her website.

Review: Red Abbey - On My Way

Red Abbey - On My Way
2009, Red Abbey/BMI

New York City's Red Abbey is made up of Thien-nga Palmer and Trey Ordaz, two multi-cultural multi-instrumentalists who came together after jamming at a party a number of years back. Ordaz has a degree from the Berklee College of Music, and Palmer is classically trained in violin performance, but the eclectic duo make hey with a blend of funk and rock n roll blended around a dynamic stage performance and the electric voice of Thien-nga Palmer. Red Abbey's debut EP, On My Way, features a hungry sound that is full of attitude, sensuality and sx appeal. Produced by Dan McLoughlin (The Pushstars), On My Way puts Red Abbey firmly on the map.

On My Way opens with the empowering "Me"; an unwavering declaration of self that makes some of the best work of violin in a rock song in quite some time. Palmer is part Gwen Stefani and part Kate Bush on a devilishly powerful introduction to the world. "Broken Heart" is a tremendous piece of Pop/Rock songwriting. The chorus is a bit generic, but the verse is powerful and highly memorable. "Red Petals" is an artful monologue on love lost, delivered from the moment of greatest need. The vulnerability in this song is nearly feral in its intensity. Red Abbey unloads a boat load of Funk & Soul on "This Thing", a kiss off song meant to put an end to a bad relationship cycle. It's a tremendous song full of attitude and strength; a must-hear. On My Way closes out with the funky "What Can I Say", a quasi-philosophical song about life circumstances and how they can change without notice. The protagonist here accepts change and rolls with the punches. The song is the weakest one on the EP, yet is a solid tune.

Red Abbey is distinctive. Their stripped-down sound is refreshing, and Thien-nga Palmer's voice is sultry and electric, encompassing a harsh beauty that will keep you on the edge of your seat. Trey Ordaz makes everything work behind the scenes, offering up tight musicianship and co-songwriting that gives Palmer the best settings in which to shine (a sort of Jesse Harris to Palmer's post-punk Norah Jones). On My Way is the sort of debut EP that gets the attention of record execs, radio programmers and new fans. Take some time to check it out Red Abbey while they're still approachable. This duo could rise fast.

Rating: 4 Stars (Out of 5)

You can learn more about Red Abbey at http://www.redabbeyband.com/ or www.myspace.com/redabbeyband. No online purchase points are yet available for On My Way, but if you contact Red Abbey through their MySpace account I'm sure they'll be happy to help you out.

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: Jerin Falkner - Pyro Aesthetic

Jerin Falkner - Pyro Aesthetic
2009, Pyro Aesthetic

Seattle’s Jerin Falkner is just like your typical girl next door. Typical, that is, until she steps onstage and her inner fire lights up the stage like a spotlight. Falkner has written over sixty songs since 2004, release four independent albums and being highly competitive in a host of songwriting competitions across the US. Falkner’s latest release, Pyro Aesthetic, is breathtaking.

Falkner opens with Count Of Three, sounding more than a bit like Sarah McLachlan. The arrangement is simply piano with electronic accoutrements; its one of the gentler, more ethereal kiss off songs I've heard. The melody and arrangement is a thing of beauty. Falkner goes to the other end of the spectrum with the frenetic Dance/Pop of Let Down, which is more reminiscent of the maniacal energy of Devo than any Alternapop chanteuse. Right In Front is back in the middle of the spectrum; a mid-tempo Pop tune that truly highlights Falkner's wonderfully textured voice. All of the songs thus far on Pyro Aesthetic are about or based on a relationship that's fallen or is falling apart. The trend continues on the rhythmically inspired Flight. The mood here is turmoil, and is delivered in a wonderfully upbeat arrangement that will inspire repeat plays. For You has a tragic cabaret feel, sounding like something Sarah Slean might have written. Falkner seems to have a knack for tragic beauty and melancholy in her melodies and it's never more apparent than on For You. Copy Me wanders over the borderlands between unusual and truly bizarre, wrapping Falkner's wonderful bit of madness in the golden hues of Pop Rock. The song is fun and vaguely danceable and breaks into total perspective distortion before returning to its roots. Falkner closes out with Sunrise, a wish for the light after a period of personal torment. It's a recovery and rebirth from the loss of a relationship that's detailed throughout Pyro Aesthetic; layered and multi-textured and beautiful in its singular sense of hope.

I knew nothing about Jerin Falkner when I sat down to listen to Pyro Aesthetic; but this is one amazing artist. Falkner walks to the beat of her own drummer, creating music somewhere in the Outlands beyond Sarah McLachlan where folks like Kate Bush, Tori Amos, Bjork and Sarah Slean frolic and play. Falkner's sense of melody is distinctive, and her ability to emote the tragedies of everyday life through both her piano and her voice is singular in nature. Pyro Aesthetic perhaps isn't perfect, but Falkner is working on her own lattice so even the imperfections become perfect parts of the whole. Pyro Aesthetic is brilliant; a Wildy's World Certified Desert Island Disc, and Jerin Falkner is just getting started.

Rating: 5 Stars (Out of 5)

You can learn more about Jerin Falkner at http://www.jerinfalkner.com/ or www.myspace.com/jerinfalknermusic. You can purchase Pyro Aesthetic on CD from CDBaby, or you can download the album via iTunes.

Review: Anna Madorsky – Incantation

Anna Madorsky – Incantation
2009, Anna Madorsky/ASCAP
St. Petersburg, Russia-born L.A. singer/songwriter Anna Madorsky has been down this path before. Her 2008 Indie debut, Talk Is Cheap was recorded under the name Rouse. Madorsky dropped the stage name and returned to her roots for her follow-up album, Incantation. Written in the vein of 4AD meets Kate Bush, Madorsky digs into metaphysical arguments and subjects of personal and social equality on Incantation, seeking answers in musical parables.

Incantation opens with the lilting anthem Bloom. Madorsky sounds a bit like Kate Bush, with similar vibrato and a vocal aloofness that's distinctive. Madorsky doesn't have the prettiest of voices but it's very memorable. Broken Artifacts wants to be a bluesy song but Madorsky gets a bit too caught up in her own sound. The vocalizations within the song become bland and repetitive, sapping the song of any real compelling nature. Things start to pick up a bit six tracks in with Emerald City. The song is a bit bland but the chorus is memorable and the overall arrangement is decent. Therapist's Office has the first real urgent feel on the album. It's not the best overall composition but might be the most interesting one.

Guillotine is a piano-based opus ala Tori Amos with a jazzy vocal line. The phrasing is a bit awkward at times but overall the song is quite well done. Rhea is edgy and disturbing, repetitive yet intriguing. It's perhaps the most bizarre song on Incantation; I can't say I like it entirely but it's probably the song I listened to the most. Madorsky runs through a couple of bland tunes in Sandbox and Clinic before closing out with Soundbyte, the best bit of songwriting on the album. It's an interesting look at personal chaos and its coexistent compatibility and incompatibility with living in an information-based society. The arrangement is intriguing and Madorsky is in her best voice right here.

Incantation was a very up-and-down listening experience. Many of the songs mentioned here have real merit, but several tracks were simply there; experiences to get through to get to the good stuff. This may be one of those albums where the existence of downloads that allow you to select only the songs you want is a good thing. When Madorsky connects she's quite a pleasure to listen to. When she falls short in a recording it can be a long listen. The balance sheet is pretty even on Incantation. Listeners might go either way.

Rating: 3 Stars (Out of 5)

You can learn more about Anna Madorsky at www.myspace.com/annamadorsky. You can purchase Incantation as either a CD or Download from Amazon.com.

Review: Vienna Teng - Inland Territory

Vienna Teng - Inland Territory
2009, Zoe/Rounder Records

Vienna Teng has truly come into her own. You might think I'm a little late to the game with that statement, as her first three albums have all received critical acclaim and chart attention, but her fourth album, Inland Territory, transcends being and growth into the philosophical concept of Becoming. Over the course of the twelve songs presented on Inland Territory you can hear Teng break free from the bonds on insecurity and fear and fully take flight in glorious musical skies.

Teng starts off in ethereal beauty with The Last Snowfall, giving an almost church-like feel to a representation of the beauty of nature. Think medieval Sarah McLachlan and you have an idea where this is headed. Teng bridges Ethereal and Active rock with unusual sounds on White Light. The song never loses musicality or the warm essence of Teng's voice, but there's a definite wildcard feel here that keeps the listener engaged. Antebellum is a deeply symbolic look at an argument with a loved one. A Victorian meets Broadway flare with Ari Hest sitting in on vocals for a brilliant duet.

Kansas finds Teng painting in broad brush strokes an oil painting in music. It's a scene colored in emotional tincture and deep shadows, wrapped around a gorgeous melody. The stark arrangement simultaneously suggests distance and the intimate touch of memory. Teng continues to surprise and amaze on In Another Life, using the gritty artistic flare of Kurt Weill to explore the concept of rebirth. While there isn't a bad song on the album, the next two are so dizzyingly good you might need to sit down. Grandmother Song is Teng's first real try at touching on her Chinese/American heritage, memorializing her Grandmother in a magical composition where her essence comes to life for the listener. The song is very well written, and Teng's voice is amazing, but it's the force of her personality and her love for her Grandmother that really make this fly.

Likewise, Stray Italian Greyhound has classic written all over it. It explores the fact that sometimes love finds us when we least expect it (or sometimes even want it). Teng's wonderfully poetic imagery explodes in your brain; "Oh no, not now. Please, not now. I just settled into the glass half empty, made myself at home so why now?” Teng goes on to explore redemption and stability in another in theological terms in the intelligently and beautifully written Augustine. No Gringo paints a picture of a border crossing that's so stark and full of angst it can't have been made up. The story is poignant and places the shoe on the other foot, so to speak.

Watershed represents the earth speak back to those of us who live here without all of the cliché and political posturing generally embedded in such representations. Deeply symbolic and layered in orchestration, Watershed contrasts Earth (Teng's voice) and Water (piano) throughout, sometimes peacefully, sometimes in force, but always working together to give life to the song. Perhaps the darkest moment on Inland Territory is Radio, a dark fantasy that involves a bus, a suicide bomber and civil war in the sunny streets of San Francisco. The story itself is veiled in imagery and seems fantastical at first, but the steps that take it there are all too plausible. This story is wrapped in a musical shawl of unusual keys changes and resolutions, with an incessantly rhythmic yet inconsistent accompaniment on water glasses. This disturbing moment is tempered by the loss and then joy buried deep in St. Stephen's Cross; a love story set against the political realities of the fall of the Berlin Wall. Happiness is always balanced by darker forces even in the closing moments of Inland Territory. Whether knowingly or not, Yang and Yin ply their forces throughout.

Inland Territory isn't an album; it's an experience. It's not an easy listen if you want to get the most out of it, but Teng has constructed a musical creation that can be many things to many people. If you're in it for the pure beauty and radiance of sound, Inland Territory will please you. If you want to think with your music, Teng will not only meet your needs but challenge you always one step further. In the process, Teng has created one of the most beautiful, thought provoking and musically complete albums of the year. If you buy only one CD/download in 2009, make it Inland Territory, a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Vienna Teng at http://www.viennateng.com/ or www.myspace.com/viennateng. You can purchase Inland Territory as either a CD or download from Amazon.com.

Review: Kate Miller-Heidke - EP

Kate Miller-Heidke - EP
2009, Sony Music

Kate Miller-Heidke is nothing less than a superstar in Australia. The Brisbane native's album Curiouser has lit up the ARIA and iTunes charts in Australia, going Gold and spawning at least two top-40 singles. Heidke and her guitarist/songwriter/partner Keir Nuttall also won the International Songwriting Competition grand prize, impressing a judging panel that included Tom Waits, Robert Smith (The Cure), Neil Finn and Ray Davies (The Kinks). Categorizing Miller-Heidke is in itself a process. If you took the in your-face musicality and quirkiness of Nellie McKay, the range of Kristin Chenoweth, the charm of Betty Boop and the beauty-to-bombast capability of Kate Bush you'd have someone who maybe sounded a bit like Kate Miller-Heidke. After the initial comparison all bets are off, however. Miller-Heidke strives to make music that makes the listener feel something; Catchy is great but empty doesn't fly. Sony Music will release Kate Miller-Heidke's Curiouser to North American audiences in 2010, but for now they've released the digital only EP through iTunes. It's time to get your feet and get to know Kate Miller-Heidke.

Kate Miller-Heidke is part post-modern Punk/Folk poet and part Flapper showgirl on EP. Her distinctive voice reaches notes not often found in pop music (and she actually hits them head on rather than glazing by them in histrionic runs as with coloratura divas such as Mariah Carey). Her fast, tight vibrato is also a bit unusual in pop, recalling, at times, Glinda The Good Witch from The Wizard Of Oz. These things aside, Miller-Heidke can flat out sing like an angel when she wants to, but she can also get in your face and growl, rap, yelp or roar. The first song on EP is Caught In The Crowd, the song that won the International Songwriting Contest Grand Prize. It's a charming song about what we miss out on by following the crowd in high school. Miller-Heidke gives pictures of some of the folks who were marginalized in high school; and tells her own tale of betrayal in name of being in the in crowd. The song is an apology and a coming-of-age, and is extremely well written with a distinctive melody and strong vocal harmonies.

Miller-Heidke takes on the narcissistic tendencies of the Baby Boom generation on Politics In Space. Her voice is inspiring here, and the message is firmly delivered with flashes of wit as sharp as any stiletto. On The Last Day On Earth, Miller-Heidke offers up a fantastical day dream that illuminates the power and fragility of love against the backdrop of the destruction of the world. The song itself is very pretty and moving in spite of the fantastical setting. Words is a tough affirmation of self. Miller-Heidke goes large here with a touch of glam in a wonderfully entertaining turn. The song is different enough to catch on in the popular realm and inspire a host of copy-cats without giving itself away to popular mores. EP closes out with Are You F#cking Kidding Me, one of the funniest post-modern relationship songs of the digital age. Miller-Heidke is enchanting and rip-roaringly funny in a song that essentially everyone under 30 (and most over-30) can identify with.

Kate Miller-Heidke has a magical touch that can't be ignored. She writes close enough to the popular realm to be accepted by it, but is too much her own to ever be a Pop artist. Miller-Heidke's songs show intelligence, wit and a fiercely imaginative and creative nature that isn't going to go away. EP should inspire a lot of interest in the forthcoming North American release of Curiouser. In the mean time, it is an inspired introduction to an artist who might just turn out to be one of those once-in-a-generation talents. EP a Wildy's World Certified Desert Island Download. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Kate Miller-Heidke at http://www.katemiller-heidke.com/ or www.myspace.com/katemillerheidke. You can download EP from iTunes.

Review: Elin Palmer – Postcard

Elin Palmer – Postcard
2009, Elin Palmer

Denver singer/songwriter Elin Palmer has been around the block of the music business a time or two. The Värmland, Sweden native has played in session or in the road with or in support numerous artists over the years, working with acts such as 16 Horsepower, M. Ward, The Fray, Munly And The Lee Lewis Harlots, Devotchka and Eric Bachman (Archers Of Loaf) among others. Palmer is a multi-instrumentalist with a heavenly voice and mischievous glint in her eye, all of which manage to come across on her solo debut album, Postcard. With an expected release date of October 23, 2009, there’s a lot of hipster buzz about Postcard. Let's check it out.

Palmer is noted as a “longtime hipster crush”. Not ever having been much of a hipster, I can’t tell you what that’s all about. What I can tell you is that as an instrumentalist, Palmer is extremely talented. As a vocalist, she has a quality that is just short of mesmerizing, depending on where in her range she is singing. The title track, Postcard, sounds like Tori Amos, Milla Jovovich and Kate Bush all got together and somehow combined their voices into one superwoman vocalist. The song isn’t bad either; it’s a busy- yet-powerful and emotional song with an old-world Europe feel. Paint didn’t grab me quite so strongly; it’s dark and a bit repetitive and fell a little flat. Stora Stoular captures some of that near-mesmerizing quality that Palmer possesses. The song is sung in Swedish, so I can’t even begin to tell you what it’s about, but the melody is gorgeous and there’s a cabaret feel to it that simply works. Balloons is a song about emotional connections (or the lack thereof). An average to above-average song is made better here by some lovely vocal harmonies. Duvardar is the best composition on the disc, hands down. The song borders on being too busy, but is carried by its sense of vibrant life and positive energy; not to mention a melody you can hang your hat on. Palmer closes out Postcard with Whaleboat, a sea chanty that seems to draw a bit from the Celtic tradition, although this one is dark and a bit listless. It’s actually an intriguing listen, but not my favorite song on the disc by any means.

Postcard is tough to call. There are some great moments here and some so-so ones. On the whole I think it’s a win for Elin Palmer and her fans. I don’t think there are really any bad songs here, but it doesn’t necessarily sound like she was planning to write an album; more likely just a collection of songs she’s written over time and likes for various reasons. There isn’t a good flow to the album. Nonetheless the songwriting is generally strong, and he voice is as intriguing as most anyone in popular music. Make sure you check out Postcard, and maybe send one to a friend.

Rating: 3.5 Stars (Out of 5)

You can learn more about Elin Palmer at http://www.elinmusik.com/ or www.myspace.com/elinpalmer. Postcard will be released on CD on October 23, 2009. If you can’t wait that long and don’t mind renting your music, you can pick up the downloads at Amazon.com.

Review: Jessie Murphy In The Woods - Eight Belles

Jessie Murphy In The Woods - Eight Belles
2009, Rex Records

Sometimes you get into the middle of the recording process and simply realize the sound isn't working for you. That's what happened to Jessie Murphy, then a Masters in Music candidate at Columbia University in New York City. She approached two classmates, Marcia Wood (Wurlitzer, flute, clarinet, harmonica, pan pipes, vox) and Amy Wood (horn, cajon/percussion, flute, melodica, autoharp, vox) and asked them to come along for the ride, not realizing the instant chemistry they would find playing together. From the ruins of one project a primal force of Chamber Pop was born in Jessie Murphy In The Woods. The band has toured the UK (with a feature spot on Cambridge University Radio) and played dates all across the United States. Their first venture into recording together has resulted in Eight Belles, an EP that began making the rounds in mid-2009. Eight Belles holds the magic of a fairy tale and the promise of a troubadour, all wrapped up in the beautiful, gothic tapestry of music woven by Jessie Murphy In The Woods.

Eight Belles opens with New York City Lights, a love-song from Murphy to her constant companion and best friend, the city in which she lives. Murphy's voice is mesmerizing, and the harmonies coming from the Woods create moments so palpable they are almost frozen in time. In The Woods is a song about discovery that could be a metaphor for musical experience of the band, personal experiences, relationships, etc. The lost feeling perhaps implied by the title quickly slips away in the wake of a sense of wonder and an exquisite arrangement that's more Baroque than Pop. Owen Wilson uses a bit of humor to honor all those whose passion or talent drive them to the edge and beyond of societies expectations. When I Am A Horse Again is one of the more unusual musical allegories I've come across, recalling a perfect childhood moment and yearning for the sort of perfection we only know once. Written in a form of lyrical prose, When I Am A Horse Again is strong on imagery and may lose you if you try to get too analytical with the lyrics. Perhaps the biggest surprise on the disc is Eight Belles, a tribute to the horse who nearly took the Kentucky Derby away from Big Brown in 2008 until her ankles gave out. The horse was euthanized but gains immortality in a touching and beautiful song with a melody that's destined to be considered "traditional".

Jessie Murphy In The Woods is a serendipitous coming together of three musicians with singular voices who work together like The Muse's own instrument, creating magic each time they step on stage or in front of a microphone. If there's any basis for a Pop/Classical musical Renaissance, it will start with a band like Jessie Murphy In The Woods. The music presented on Eight Belles is innovative, beautiful constructed and has a distinct air of virtuosity about it. Welcome to the big dance, Jessie Murphy In The Woods. Before the night is over you might just be the belle of the ball.

Rating: 4.5 Stars (Out of 5)

You can learn more about Jessie Murphy In The Woods at www.myspace.com/jessiemurphyinthewoods, www.myspace.com/jessiemurphy or http://www.jessiemurphyinthewoods.com/. Presently there is no online availability of Eight Belles that I could locate, although if you contact Jessie Murphy In The Woods through their MySpace page I’m sure you can work something out.

Review: Adrina Thorpe - Halflight & Shadows

Adrina Thorpe - Halflight & Shadows
2009, Adrina Thorpe

Adrina Thorpe gained a great deal of popular attention from her debut album, Elusive, placing songs in shows from CW and Lifetime networks as well as independent films. Her song Who Will Find Me was proclaimed by DJ Armin Van Buuren to be "his favorite song of the last two years". Thorpe's follow-up CD, Halflight & Shadows, brings no sophomore slump for the performer whose songwriting walks the line between darkness and light. With an all-star band of cohorts including producer Filippo Gaetani; drummer Randy Cooke (Mick Jagger, Ringo Starr, Five For Fighting); cellist David Takahashi (Sting, Sheryl Crow, Kanye West); violinist Chris Woods (Justin Timberlake; Jessica Simpson) and drummer Fernando Sanchez (Luis Fonsi, Charlotte Martin), the classically trained Thorpe has managed to create a true aural experience for the listener. The blending of Classical, Folk and Rock styles dazzles with flashes of brilliance and magical undercurrents of melody and harmony.

Halflight & Shadows opens with Impossible Dream, a mid-tempo ethereal rocker in the style of Sarah McLachlan. Thorpe has a stunning and haunting voice, in turns, occasionally affecting the style of McLachlan or even Tori Amos while carving out a niche that is mostly her own. Impossible Dream carries with it a lost and searching sense that fits the song perfectly. Midnight is a dark and mysterious love song with an interesting mix of instrumentation. You'll hear everything from piano to orchestration to electronic sounds; a gorgeous and haunting mix. Everything Changes is about letting go of a bad relationship and places some of the thought process in song. The song is lyrically dense at times in the verse which is balance by an ethereal yet economic chorus.

Domino highlights the fact that once you know the truth your options are pretty limited. The song is gorgeous and dark and full of a barely contained anger that struggles with the narrator's good nature. This one sounds like it could be a Tori Amos outtake, with a piano style reflective of Amos' work and a vocal style that's almost dead on at times. Driving finds Thorpe in a place that is dark, vulnerable and full of need. The tune is unforgettable, halting and striving in turns with the turn of emotion that drives the narrator. The car ride is simply an encapsulation for a journey the narrator is consumed with. Coming Home is a song about running from what you need; sometimes when the prodigal child returns home facts have changed and people have moved on; A powerful and emotive track with a lush sound.

Walk is very much reflecting of Sarah McLachlan's earlier work. Dark and stormy and full of volatile emotions, Walk reflects a primitive beauty at war with need. Moment To End is probably the most beautiful vocal on the disc; the song gets caught up in the obsessive nature of the moment and repeats the title until it nearly hits a breaking point for the listener. This is either a miscalculation or an attempt to instill the sort of cognitive and emotional dissonance in the listener that the narrator feels. Kiss The Day is a highly melodic and vaguely ethereal Lilith Fair Pop-Rocker. The subject is a bit convoluted but it's sonically pleasing. Give You My Love is a sweet and open love song that holds no hidden traps or equivocations. It's a refreshingly honest and pure love song set to a haltingly beautiful melody line. Thorpe closes out the set with Seed, a six-minute piano and voice odyssey that's part epoch poem and part journal entry. Thorpe keeps listeners on the edge of their seat as she unfolds a story, spoken to another, about the prospects for love, life and happiness. The vocal is drop-dead gorgeous in a song that sounds like it could be the introduction to a stage show. This is the sort of tune that unfolds in concert to utter, unbreakable silence that explodes into a cacophony of applause at the end. It's the perfect close to the album.

Adrina Thorpe is an amazing songwriter. She's obviously been influenced by folks like Sarah McLachlan, Tori Amos and even perhaps Kate Bush. You can hear these influences in her music but at the same time Thorpe has taken those influences and wrapped them up with her own personality and style to create something distinctive. Hers is a voice that would stop people on the streets of a place like New York City, and the arrangements she crafts are perfect frames and backgrounds for the stories she tells in her songs. Halflight & Shadows is brilliant; a Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Adrina Thorpe at www.myspace.com/adrinathorpe or http://www.adrinathorpe.com/, where you can order Halflight & Shadows as either a CD or download.

Review: Clara Berry - Wave

Clara Berry - Wave
2008, Clara Berry

Portland, Maine's Clara Berry is an enigmatic singer/songwriter with a sound and style that's nearly born of another era. The pianist writes with a flourish that recalls early Tori Amos, an intensity reminiscent of Fiona Apple and a dark searching quality that's almost Baroque. In 2008 Berry released her debut album, Wave, earning recognition from The Portland Press Herald as one of "10 Maine Bands To Watch". With songs recorded in essentially one take each with minimal over-dubbing, Wave presents a performance that's practically live. This means you do get the occasional oops, but it's possible that you'll be so intrigued you many not even notice.

Clara Berry has a distinctively dark alto imbued with waves of melancholy wisdom, as if she were an old musical soul trapped in the midst of youth. Wave opens with The Widow's Watch, an intriguing and dark composition that ebbs and flows like the early throes of high tide. Nightwalker is a dark waltz that plays like subtle horror movie in song; Berry's vocals are dark and lonely in a song about the sea taking her toll on those who live near. The Iron Gate continues in this direction, using a lyrical style that's more prose than poetry. The Iron Gate is a sea tragedy like the best of those that come out of the Celtic and Folk music traditions but is offered here as gothic piano pop aria.

Motherless Child is a classic spiritual, and I've heard many renditions over the years, but I've never heard one that sounded sensual to me. Berry manages this trick with a vocal line that's sultry and dark without ever giving up on the spirit of the song. Old Man River makes interesting use of the theme of the classic song as its inspiration. The song inspire deep ambivalence in me as a listener, bring moments where I could lean equally toward liking and disliking the song without ever really finding a resolution after numerous listens. Either the way it's an intriguing composition. The absolute highlight of the disc, however, is Crossroads; there's a Broadway musical behind this song somewhere. It's an amazing piece of writing. There's a certain quality to Berry when she's performing at the top of her game; it's something I haven't been quite able to put my finger on, but it's fully in display here. She's quirky, but that's not it exactly. She's unusual; weird in a darkly wonderful fashion. While there are several folks who may have had influence on her sound over time, Berry is very much her own performer with her own style.

As a listener, I found myself wishing Berry had stopped with Crossroads. It's far and away the best songwriting on the disc and the sort of song that could gain her some real exposure down the road. The songs that come afterward (Doubt, Lizzie Borden, On This Boat and The Doll) are all intriguing but don't quite hit the same heights as the first half or so of Wave. This is truly a first recording and a bit rough compared to what Berry's likely to be doing in the next few years. The material that works shows flashes of brilliance (particularly on Crossroads where the flash runs about 3m 17s. On the last few songs Berry gets a bit stuck in a rut, perhaps, but that latter material just isn't as inspired as the first half of Wave. Ultimately, it's a great introduction to Berry, who's currently attending college to study music and continue to grow in her craft. Artistically, she's already got something special, and those flashes of songwriting brilliance are a strong indication that more will come. Make sure you get to know Clara Berry now, as the time may come when she's become too big to get to know.

Rating: 3.5 Stars (Out of 5)

You can learn more about Clara Berry at www.myspace.com/claraberry. You can download a copy of Wave from iTunes.