Review: Bec Plath – Unrequited

Bec Plath – Unrequited
2009, Bec Plath

Brisbane, Australia singer/pianist/songwriter Bec Plath has spent the past few years recording and playing with local faves The Bloodpoets, adding her distinctive voice and style to the band's milieu. Recognizing something special when he heard Plath Sing, Brendan Anthony of BAM Music (INXS, Midnight Oil) corralled Bec Plath and helped her shape her sound for her debut EP, Unrequited. Plath has already scored two Hot-100 singles for 2009 in Australia with a huge voice and quirky songwriting style that's bound to catch your attention.

Unrequited opens with "Polka Dots", using a basic R&B progression ala "Stray Cat Strut". The tune is catchy, but it's Plath's voice that stands out. Her reserved but drop-dead gorgeous alto is sultry and warm, and even so-so production values can't detract from it. "Unrequited" is a great mid-tempo rock song with solid instrumentation and outstanding vocals. The production gives "Unrequited" a muddy sound that's a bit distracting, but Plath's voice shines through it all like sunlight. "Faith" is a middle-of-the-road pop/rock song with a solid chorus, leading into "Apologise", arguably the weakest tune on the EP. "Journey" closes out Unrequited as a song of purpose; of living for yourself and moving on from heartache. Plath carries the tune on voice and personality. The song itself is average, and the production, consistent throughout the EP, is less than stellar.

Bec Plath has been an integral part of The Bloodpoets for the past few years, and there's real promise in the singer/songwriter stepping out on her own. As a songwriter Plath is solid, providing consistent song vehicles where her voice and personality can shine. Both shine brightly on Unrequited, even with the production doing its best to get in her way. The sound quality on the EP just isn't consistent with a professional release and unfortunate turn for an artist who really deserves better. Plath is good enough as singer that you'll be willing to put up with bad mixes and less than optimal sound, but it's an issue that deserves real attention next time around.

Rating: 3 Stars (Out of 5)

Learn more about Bec Plath at www.myspace.com/becplath or www.facebook.com/becplath. Unrequited is available digitally from iTunes and Amazon.com. Physical copies may be available directly from Plath. Contact Plath directly for more information.

Review: Paul Turner - Clear Blue

Paul Turner - Clear Blue
2008, White Lotus Records

Sydney, Australia's Paul Turner took the circuitous root to a music career. While backpacking across America, Turner happened to hear Mason Williams' Classical Gas while staying in a San Francisco hotel. Falling immediately in love, Turner vowed to learn to play the song on guitar (he'd not played before). Returning home to Australia, he started guitar lessons. Upon conquering Classical Gas, Turner realized he'd found an avenue of expression he'd not imagined before. Soon Turner was touring as an opening act for bands like Midnight Oil and getting airplay from outlets such as Philadelphia's WXPN. In October of 2008, Turner released his debut album, Clear Blue, in the United States. One word: Wow.

Listening to Turner play guitar is revelatory. He dresses his brand of singer/songwriter rock with incredibly intricate and complex guitar parts, constructing songs that are epic short stories set to amazing guitar-based arrangements. Clear Blue opens with City Lights in a gorgeous finger-pick arrangement. Turner's voice is strong and clear and soars over the music like a bird over the ever moving streets his music seems to portray. Be Happy is a love song of sorts. It’s not your typical romantic ballad but much deeper, expressing a much deeper meaning of love that tends more to the universal than the individual. Turner delves deep again on Angels Cry, a lushly arranged song with deep philosophical roots. This might be the loveliest arrangement on the album, although it kept making me think of Seal's Don't Cry for some reason.

Love Meteorite is a must hear. The complex guitar work, amazingly memorable medley and intelligent lyrics make this song an absolute keeper. This is mix-tape material, but there may also be a religious sub-text here that's quite deeply planted if intentional, or perhaps quite telling if it is not. Room is my personal favorite on Clear Blue. The vocal is haunting on a par with Chris Isaak's Lady In Red, and the guitar/cello/voice arrangement is perfectly conceived and delivered. Other highlights include Come With Me, Carcassonne and the instrumental, Clear Blue.

Paul Turner is a distinctive talent. His writing and guitar play may take a musical background to fully appreciate, but are accessible to anyone with the time and space to listen. Turner's voice is hauntingly beautiful and soars over his songs in unrepentant fashion. It's really hard to think of contemporaries for Turner, because there aren't many writers/performers with the level of virtuosity that Turner shows on Clear Blue. Names like Paul Simon and Sting come to mind, but Turner also calls up folks like William Ackerman for his out-of-the-box guitar style. However you choose to classify him, you'll be happy you listened. Clear Blue is a Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

Learn more about Paul Turner at www.myspace.com/musicbypaulturner. You can purchase a copy of Clear Blue at Amazon.com.

Review: Gisele Scales - 2 Think

Gisele Scales – 2 Think
2008, Gisele Scales

Sydney, Australia’s Gisele Scales is no stranger to European audiences. Her song Mother Egypt, with the band Vega, soared to the top of the European Pop charts. She’s also recorded with the likes of Midnight Oil, Eurogliders and Jeannie Lewis. The vocalist and electronic violinist released 2 Think in 2008, full of sizzling fiddle runs and big dance beats. What struck me most about this CD is that it is amazingly one dimensional for an artist of Scales’ talent. The violin here is more of an accent than an instrument; the album is so over-produced that any real sense of musicality has been reprocessed into an unrecognizable state. This is a heavy electro-dance album more in the line of Kraftwerk than of fellow electric fiddler Lili Hayden. Many of the songs here will do well on the club scene, but much of the album lacks the musical soul I was expecting.
Scales shows flashes of virtuosity (Can U Love 1 Another), but in generally becomes a slave to the beats and production. In the end it is what it is, a dance album made up of mass produced beats, rhythms and electronic sounds that is certain to do well on the club circuit, but there’s no challenge or stretch for either Scales or the listener. 2 Think had the potential to be so much more.

Rating: 2 Stars (Out of 5)

You can learn more about Gisele Scales at www.myspace.com/myspacecomgiselescales or http://www.giselescales.com/. You can purchase 2 Think at www.cdbaby.com/cd/giselescales or download it through iTunes.