Kate Miller-Heidke - Liberty Bell

Kate Miller-Heidke - Liberty Bell
2011, Sony Music

Australian singer/songwriter Kate Miller-Heidke is an enigma. Classically trained, Miller-Heidke can sing folk ballads, electric dance tracks or classic opera arias with equal grace. Her rise to world-wide eminence was fueled by a viral video on YouTube for the song "Are You F###ing Kidding Me", but Miller-Heidke is a talented songwriter who doesn't let humor get in the way of great songwriting (and vice versa). Her quirky approach has been lauded around the world, and caught the ear of Ben Folds, whom Miller-Heidke spent a large portion of 2010 opening for. Miller-Heidke recently returned with Liberty Bell, the follow-up to Curiouser.

Liberty Bell kicks off with "Are You Ready", an infectious little tune that gets stuck in your noggin and bounces around for hours. It's a date night song that's sweet and quirky at the same time, and has been picked up for a NYS Lot commercial. Don't let that impugn the song however; this is a legitimate pop hit - light, fluffy and a lot of fun. "The Devil's In The Details" is a distinct change of pace; a lyrically minimalist dance track that's novel ear candy. Miller Heidke's songwriting partner and husband Keir Nuttall rips it up here with some intriguing guitar riffs and an energetic dance track that might just spawn its own dance. The pair keeps it simple on "Liberty Bell", an infectiously catchy and fun track that's danceable but retains enough organic pop sound to make it a potential pop hit. The brief chorus is reminiscent of They Might Be Giants in sound, right down to the angular guitar work and simple lyrical scheme.

"The Tiger Inside Will Eat The Child" is surprisingly bland dance-oriented pop, not the sort of material you'd expect from Miller-Heidke based on her previous releases. "Holloway Park" is cut from similar cloth, but Miller-Heidke recovers nicely with "Let Me Fade". While not her most engaging pure vocal performance, "Let Me Fade" is heartbreaking and powerful. The song is an apology and goodbye from a parent who loved imperfectly and rests at death's doorstep. The simple, piano-based arrangement enhances the power of the song. "You Got The World" is a catchy pop/rock number set to an incessant dance beat; a solid album track that might fit well on a movie soundtrack.

"Better In Spain" is a gentle rumination on a slower pace of life. The vocal harmonies on the chorus will catch your ear first, but this quietly well-written tune is more likely to grow on you over time than grab your attention the first time through. "Fatty Gets A Stylist" is an infectious novelty dance track that is likely to well in the clubs and would fare well in a Farrelly Brothers movie. The song is entertaining, and the vocal harmonies are stark and appealing, but fans of Miller-Heidke may feel as if this tune is below the level of her musical talent. "The Flasher" under-uses Miller-Heidke's impressive voice in another dance track sourced on loops and riffs. The arrangement is catchy, and is likely to do well in the club set, but is bit inane aside from the dance beat. Liberty Bell closes with "The Plane Went Down", a somewhat obtuse and dramatic narrative on a plane crash in the first person. Miller-Heidke is impressive on vocals, and the arrangement is well constructed, but the tune itself is likely to leave listeners scratching their heads.

Kate Miller-Heidke is a singular talent, as is her partner in crime Keir Nuttal. However it's not clear what the musical motivation is on Liberty Bell. Miller-Heidke's is a rare gem in the world of pop music, and her quirky sense of humor and personality allows Miller-Heidke to tackle traditional subjects in a non-traditional fashion. Her previous album, Curiouser, was full of heart, wit and several instances of pure pop magic. Those elements aren't exactly missing on Liberty Bell, but their clarity has been muddled by the striving for chart success. Liberty Bell is a solid effort that leans a bit too heavily on sound and effect and not enough on the natural musical talents of Miller-Heidke. This could have been so much more.

Rating: 3 Stars (Out of 5)

Learn more about Kate Miller-Heidke at www.katemillerheidke.com or www.myspace.com/katemillerheidke.  Liberty Bell is released under Kate Miller-Heidke's name in the US. In Australia, the album is considered a side project for both Miller-Heidke and Nuttall, and is released under the band name Fatty Gets A Stylist.

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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.

Marian Call - Something Fierce

Marian Call – Something Fierce
2011, Marian Call

When we first received Marian Call’s 2007 debut album, Vanilla, in the mail three years ago we knew we were hearing something special.  The Alaskan transplant evoked thoughts of Joni Mitchell, Jewel and Nellie McKay with crisp songwriting, honest lyrics and a voice that lights up the night like a beacon.  Even in the commissioned project, Got To Fly, Call showed an evocate and quirky personality with sweetly geeky tendencies and an impressive songwriter’s command, but nothing Call has done before can amply prepare you for Something Fierce.  Call’s third album, a 19-song, 2-disc effort, shows a transformation from the burgeoning singer/songwriter of 2007 to a master of her craft.  The leap forward in presence, command of her material and pure creative magic is absolutely stunning.

Something Fierce is broken into two distinct albums.  Volume I: Good Luck With That and Volume II: from Alaska show two disparate yet interwoven sides of Call.  Volume I shows the emergence of a confident, mature and appealing songwriter; while Volume II is an introspective and personal affair.  Each volume is a complete work in and of itself, but together they create a picture of the artist as person that is indelible.  Marian Call opens Volume I with “Good Morning Moon”, a wonderfully catchy number full of distinct pop sensibility.  Call’s imagery here is simple and appealing, yet deep in meaning; the song flows like water and is a marketer’s dream without sounding anything like the pop music you’re likely to hear on the radio.  “The Avocado Song” displays Call’s funky, bluesy, soulful side and shows a confidence and presence that has grown by leaps and bounds over the last four years.  “Dear Mr. Darcy” is a funky folk/rock song of unrequited love.  Call inhabits your head space on numbers such as this, making a deep impression with both her voice and pure presence.

Pedal steel accents prove a perfect counter-point to Call’s voice in “All New (Heart Shut Tight)”, a gorgeous confessional about the conflict of wanting to fall in love but not being able to let go and let it happen.  “Free Bird” has a jazzy feel, and Call dazzles with the range and tone of her voice over a stark, pizzicato guitar.  This is a WOW moment, the first of many.  Call doesn’t make you wait long for the next one, either, launching right into “Temporal Dominos” and unleashing the full power of her voice.  The prog/folk arrangement is ingenious and the run-on style melody becomes analogous with the stream-of-conscious lyrics, making both seem entirely natural.  Call pulls back for “Highway Five”, a Joni Mitchell-esque love song written to the coast that bore and sustains her.  The deeply personal ballad/soliloquy features just Call’s voice and guitar, and speaks to longing for home that never leaves the heart, no matter how far away home might be.  “Press Or Say Three (Your Call Is Important To Us” is a solid album track that paves the way for Volume I closing track “Ina Flew The Coop”.  This one has been kicking around Call’s live set for some time; a song about moving on and the mix of new-found freedom and captivity that follows in the wake of a relationship.  The story is told in third person with a gentle mix of envy and fear; an amazing observation that has a vaguely autobiographical feel.

Volume II opens with “Whistle While You Wait”, a personal exploration of confidence, reticence, and making the most of each moment.  Call’s mix of intellect and heart hear is stunning, moving beyond singer/songwriter pastiche into the realm of pure art.  It becomes difficult to imagine the singer separated from the song, or vice versa.  “Early Is As Early Does” looks at life as a journey or series of side trips, deeply shaded by an intellect that spends much time in self-conversation on such subjects.    This is among the most intriguing works on the set, showing Call reaching for an ever-higher level in mind, heart and song.  Such depth deserves a lighter turn, and Call doesn’t disappoint.  “I Wish I Were A Real Alaskan Girl” is an ode to the hearty women born of the 49^th state that pokes gentle fun while offering respect for those who live close to a hard land.  This song could go either way, depending on the listener, but Call weaves an entertaining and humorous narrative you won’t soon forget. 

“The Underground (One Bird At A Time)” explores the anachronism of losing your senses in a state of perpetual light.  It’s a gorgeous turn that makes the most of the colors of Call’s voice, and the sense of dislocation that comes from living in a land where (albeit temporarily) the sun never goes down.  “Coffee By Numbers (Faon’s Song)” is a jazzy piano-driven number about personal collections and taking the time to nurture them.  Coffee is the focal point of the song, but it’s Call’s voice that carries the connection.  “Equinox” is a personal soliloquy on turn the page.  Hope for the future and hesitation mix in intriguing fashion in a darkly, lovely tune that will leave an impression.  “E.S.B.” is most memorable for Call’s voice.  You simply have to listen to this one for yourself.

“Perilous Road” uses personifies the human experience of putting yourself out there for the world to see as a difficult drive.  The image of cliffs and blind turns brings to mind the concepts of faith and self-confidence, darkening the sky with doubts that seek to blot out the light of hope.  Despite the seemingly simple message, there are many layers here that will reveal themselves over successive listens.  “Aurora Borealis” features a simple, roiling beauty in a guitar-driven arrangement that swells and fades like deep water.  Call’s vocal performance is nothing less than entrancing.  Volume II concludes with “Anchorage”, a gorgeous quasi-duet between Call and cello.  The song has a quiet center, and Call fills it up with her heart and her voice.

There is a power in simplicity.  Marian Call harnesses that power and burnishes it with heart, honesty and deep intellect on Something Fierce.  Call’s presence grows by leaps and bounds on Volume I, displaying a persona that’s fun, powerful and eminently real.  Volume II encompasses more of Call’s inner dialogues; delving into mature insecurities born of past failures, new successes and a hope that one of these times will be different.  The compositions and arrangements on Something Fierce are absolutely stellar; Call seems to have a knack for marrying the perfect lyrics to the perfect melodies, and encompassing them in arrangements that fit like gloves.  The usual superlatives don’t seem to apply here, but it’s fair to say that when the year-end lists come around, the smart money is going to be on Something Fierce being highly placed.  Marian Call has created a masterpiece.  Something Fierce is nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Marian Call at www.mariancall.com or www.myspace.com/mariancall.  You can order Something Fierce directly from Marian Call.  Ordering information is available on Marian Call's website.  If you want to hear the full album, you can stream it on Wildy's World, or on Call's website.

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.

Flo Anito - No Dustbunnies

Flo Anito - No Dustbunnies
2008, Flo Anito

Flo Anito, a Washington, D.C.-based singer/songwriter who has garnered comparisons to Ani DiFranco, Fiona Apple and Nellie McKay, has been charming fans in the DC area and throughout New England for a couple of years now.  Her jazzy, piano-driven pop songs show off poetically prolific story-telling style with theatrical flair.  A graduate of Wesleyan University, Anito is classically trained in piano, voice and cello, and has a background in musical theater as well.  All of these facts offer hints of what is to come when first sit down to listen to Flo Anito's latest album, No Dustbunnies.  Anito worked with Chris Keup (O.A.R., Erin McKeown); Stewart Meyers (Lifehouse) and Brian Jones (Dave Matthews Band, Mandy Moore) to bring No Dustbunnies to life.

Anito opens with "Man Of The Year", a simplistic piano-driven arrange with a lace of strings added for atmosphere.  The song explores the angst of a new or prospective relationship; of wanting in but being afraid of getting hurt.  It's an intriguing start, and shows off a voice that's both gritty and pure; a sweet alto with a bit of tough-girl rasp.  "Uh Oh!" is catchy, stripped-down rock n roll that wouldn't be surprising in the background of a prime-time drama.  Anito's theatrical background comes out to stay for a while, starting with "Work!".  The song explores the complete thought process about a failing relationship, in a wordy yet well-flowing presentation that sounds like a modern Broadway/rock soliloquy.    If "Work!" is the internal conversation, the "Change My Life" is the external one that follows.  The melody is memorable, and the chorus in particular could get lodged in your head for days. 

"Mean" continues in the same vein, a catchy rocker with blues in its ancestry that explores the petty offenses and responses that dot a dysfunctional relationship.  This one is delivered in two acts: the first an early wakeup call that she didn't appreciate; the second her scheming for revenge.  Revenge and pathos make for an entertaining and tuneful trip into the dark reaches of the relationship psyche.  Country, blues and gospel blend on "No Good", a musical revelation that the relationship needs to go.  Anito gives you the entire rundown in lyrics that give you everything you could want to know while somehow avoiding the trap of too much information.  The chorus will stick with you, and you'll still feel the Broadway vibe that's run throughout much of the album to this point.

Things on No Dustbunnies have gone so well to this point that the coming slowdown is both expected and disappointing.  "dRuNKen LetTeR" is morose and self-serving, as it should be, but really dampens the entire mood that Anito has set to this point, and sounds very much out of place.  "Afghanagain" and "Valentine's Day Blues" are solid story songs, but lack the pizzazz and energy of what's come before, while "What You Don't Know Can Hurt You" serves as a placid transition to the close.  Anito sails off into the sunset with the jaunty, tongue-in-cheek Leave It To Beaver pop of "No Dustbunnies", funneling the frustrations of an old-time housewife into the cleanest home in town.  Rather than playing the song dipped in irony, Anito gives listeners the story in an authentic, time-stamped voice, which in its way is more ironic than the sarcasm often passed off as irony in pop culture.

The key to great pop music is simplicity.  Flo Anito appears to have learned this lesson well, constructing simple-yet-catchy pop tunes that are literate and fun.  Half of No Dustbunnies mines the culture of relationships for dysfunction and real emotion, presenting it all in a storytelling style that is equally at-home in the theater as it is on a pop record.  Anito manages this all in engaging fashion, wrapping you up in the web of strong narrative and infectious melodies that simply won't leave you alone.  The other half of the album is less winsome; functional in nature but lacking the pizzazz and charm that Anito is capable of.  All in all it's a worthwhile effort, but there are certainly some weeds in the flowerbed.

Rating: 3 Stars (Out of 5)

Learn more about Flo Anito at www.floanito.com or www.myspace.com/floanito.  No Dustbunnies is available on CD from Amazon.com. Downloads are available from iTunes.

Debbie Miller - Fake Love

Debbie Miller - Fake Love
2010, The Debbie Miller

Debbie Miller is a New York City-based singer/songwriter who encompasses the quirky wit and style of an East Village folk singer and the avant-garde style cultivated south of the Brooklyn Bridge. A classically-trained pianist, Miller is a stylish story-teller who mixes wit and wisdom in songs that slice at the truth from angles you might not expect. Miller's debut album, Fake Love, presents eleven finely crafted tunes that vacillate from frank to farcical without ever losing sight of the essential humanity that inspired each bit of musical observation.

Fake Love opens with "Tippy Toe", a demented and tuneful song about worming your way into someone's heart. There's a vaguely obsessive tone to the song, but it's delivered in such cute fashion this predilection may slip by you. "Tippy Toe" is the song that got Debbie Miller "discovered" and led to the recording of Fake Love, and gives you a solid picture of the dynamic persona behind the piano. "Eclipse" is a daydream about falling love and all of the magical moments that can happen in the beginning weeks. Miller takes a ham-handed stab at innuendo here but makes up for it with a delightful little twist at the end of the song.

Miller engages in an intriguing piece of European style Baroque pop with "Kindly Remove", dropping some serious piano work and orchestration on a tune song with a bratty, moll-like vocal line. It's a brilliant juxtaposition you have to hear to believe. "F Train" is a straight-forward tune about the inanities of hooking up. Miller is dead on for observation and commentary, flashing wit in a life lesson that is best learned without the lonely subway ride home in the morning. Miller turns vulnerable with "I Rise", a tune about falling in love and placing your heart fully in the hands of another; and the magic that can arise from that decision. It's a pleasant turn and helps broaden the listener's understanding of Debbie Miller's depth as a songwriter.

"Lite Brite" laments the reality that often waits at the end of the chase, recounting her acquisition of a Lite Bright at the age of twenty-four after wanting one for years and realizing how lame it actually is. It's a funny tune with solid life lesson in the lining. Miller seemingly takes on domestic violence and the idea that victims bring it on themselves in "Made You". Not so much outright humorous and sardonic, Miller lambastes the idea in song without ever really contradicting it. It's a neat trick; one that could be easily misunderstood by those who don't listen carefully. "Did You Ever Wonder" is the last official track on Fake Love, a dreamer's queries about all-encompassing belief and/or faith. It's the questioning of one who wants to believe but can't quite commit to the childlike faith of another; not so much cynical as uncertain. It's a neat bit of songwriting. Miller gives listeners a real treat with the untitled bonus track, a tune about obsessive fandom that turns into a real laugher when Miller forgets a verse. The song is recorded live-in-studio, and Miller has fun with her gaffe, offering yet another positive glimpse at the artist behind the songs.

After listening to Fake Love, you're likely to decide that Debbie Miller would be the perfect friend to have over to dinner parties. The songs on Fake Love are smart, heartfelt, and sometimes uproariously funny. Miller takes the approach of a classic troubadour, peeling the layers of life to show you new perspectives using moments both earnest and amusing, alternating between a piano style that calls to mind Tori Amos and singer/songwriter guitar. Fake Love never really falls flat, although there are quiet moments. Nevertheless, Debbie Miller gives listeners their monies worth with Fake Love. Make sure you check it out.

Rating: 3.5 Stars (Out of 5)

Learn more about Debbie Miller at http://www.thedebbiemiller.com/ or www.myspace.com/thedebbiemiller. Fake Love is available in various formats from CDBaby, Amazon and iTunes.

Review: Kate Miller-Heidke - Curiouser

Kate Miller-Heidke - Curiouser
2010, SIN/SONY Music

Folks who have taken in one of the shows on Ben Folds current tour have been confronted with a highly intriguing opening act in Kate Miller-Heidke. The platinum-selling Australian chanteuse of the golden hair and platinum voice has wowed crowds here in the US. This is not news in her native Australia, where Miller-Heidke has been a chart presence for some time now. In March of 2010, SIN/SONY dropped Miller-Heidke’s Curiouser on an unsuspecting American populace. The album was released in Australia in 2008 and has subsequently gone platinum there, shooting as high as #2 on the ARIA charts and #1 on the iTunes Australia chart. The reasons for Miller-Heidke’s success are many; the classically trained vocalist can blow out your eardrums with her coloratura soprano sounds as well as twist your mind with some of the quirkiest sounds in either hemisphere. Her songwriting, aided by husband/guitarist Keir Nuttall, runs the gamut from deeply personal emotional fare to absurdly funny observations about the world. Produced by Mickey Petralia (Beck,eels, Dandy Warhols), Curiouser has been hailed as one of the best Australian albums in some time. Don’t be surprised if that conversation drops the “Australian” going forward.

Curiouser opens with the quirky and danceable "The One Thing I Know", a highly unusual and eclectic love song that could easily be classified as a rocker, a pop tune or even club music. At the center of it is Miller-Heidke's beautifully eclectic voice; the one that bends at angles that don't always seem possible. "God's Gift To Women" is certain to become an anthem for the bar set; or anyone else exposed to the unwanted advances of a maroon so full of himself he can't see how deep he's waded in. Miller-Heidke plays like a cross between Gwen Stefani and Nellie McKay in a tune that should be a huge hit if it were ever released as a single. Barring that, you can be certain you'll hear this tune in syndication somewhere. "Caught In The Crowd" is an apology in song; recognition that our behavior as kids is often not what we might hope for as adults. It's a great pop tune that will resonate with most listeners regardless of where they're from.

Miller-Heidke displays some of her trademark humor on "Can't Shake It", bemoaning her own lack of rhythm on the dance floor. The song is funny without stooping to the level of a novelty tune, but also has the temerity to be a high-quality pop tune with a serious dance beat. Things quiet down for the resplendent end-of-the-world daydream that is "The Last Day On Earth". Miller-Heidke shows off a softer side and some serious range in a number that shouldn't be soothing but plays like a lullaby, as the protagonist gains all she's lost in the final moments of creation. "I Like You Better When You're Not Around" takes to task that friend we all have who just can't keep her attention off the details of other's lives. It's a humorous song with some serious songwriting chops behind it; Miller-Heidke displays a deft touch with rapid-fire lyrics and a vocal sound that is truly unique.

"Motorscooter" is a fun tune that may border on novelty and is likely destined for a national advertising campaign. It's Miller-Heidke at her quirkiest; a highly entertaining song you simply have to hear to believe. "The End Of School" is a gentle remembrance of the days of youth and leads into the acerbic social commentary of "Politics In Space", which takes to task the political power structure and particularly the baby boom generation for the political and social misadventures of the world. "Supergirl" is an entertaining and highly danceable bit of pop fluff that could turn into a monster on the dance floor. This is another tune that's likely to be tapped for licensing. "Our Song" is a sweet and rambling tune written out of love. It's the most introspective song on Curious and works as a nice foil to the rest of the album. "No Truck" makes eclectic use of a phrase that's fallen somewhat out of fashion. You'll love the music on this song, even if the lyrics don't necessarily add up Curiouser closes with "Stars", a bonus track for the US release that was included in Miller-Heidke's iTunes exclusive self-titled EP this past winter.

For readers in Australia, Kate Miller-Heidke is old news, but here in the Western Hemisphere she is a new phenomenon. It's too early to say yet whether Miller-Heidke will catch on, but it's hard to imagine how she can't. Curiouser has it all; great songwriting, a one-in-a-million voice and a sound that's mainstream enough to become a hot commodity and eclectic enough to stay one. Miller-Heidke's sense of humor illuminates her songs without becoming the driving force, and her story-telling ability and rapid-fire lyrical sensibility are perfect for a generation raised on sound bytes but longing for something a little bit deeper. Miller-Heidke's music is danceable pop you won't feel ashamed of in the morning mixed with more lyric tunes you'll be happy to sit and listen to all day. And whether her voice is in operatic mode or going through kitschy gyrations most vocalists couldn't even imagine, Kate Miller-Heidke will mesmerize you. Curiouser is a Wildy's World Certified Desert Island Disc. Do. Not. Miss. This. One.

Rating: 5 Stars (Out of 5)

Learn more about Kate Miller-Heidke at http://www.katemillerheidke.com/ or www.myspace.com/katemillerheidke. Curiouser is available on CD from Amazon.com. Downloads can be purchased from Amazon.MP3 or iTunes.

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: Lisa Jaeggi - Demo(nstration)

Lisa Jaeggi – Demo(nstration)
2008, Lisa Jaeggi

Brooklyn-based singer/songwriter Lisa Jaeggi describes her style of music as skateboard acoustic soul. The daughter of Swiss and Japanese parents grew up in the suburbs of Washington, D.C. and attended Guilford College in North Carolina on her way to New York City. In spite of referring to Justin Timberlake as a genius in her media bio we still think she’s pretty cool and talented. Jaeggi’s CD Demo(nstration) is self produced and very compelling. Let’s check it out.

Jaeggi draws from disparate influences including Lauryn Hill, Citizen Cope, Jack Johnson, Sam Cook and Bob Marley; it’s fair to say that you should leave your expectations at the door. Jaeggi marches to her own drummer and you’re better off just trying to keep up with her rather than getting bogged down in pre-conceived notions. Jaeggi opens with Oh Lady You Shot Me!; a gritty folk-pop song reminiscent of Fiona Apple. Up next is You Can’t Spell Believe Without Lie, a lyrical wonder supported by just Jaeggi on guitar. Empirical Science is performed in a talk-sing style similar to that practiced by Nellie McKay but with a darker depth. Men-Like Gods is a compact and catchy song that would greatly benefit from additional instrumentation. The recording offered here is great for a demo, but this song begs for a fuller sound.

Vendetta is a bit of acoustic hip hop that wants desperately to be a big time Rock N Roll anthem. This may the breakout song that Jaeggi needs. With a good band behind her this could become a monster. The CD also includes Tell His Mother, Somebody Else and The Bard, all of which are fine compositions but perhaps not as dynamic as the rest.

Lisa Jaeggi is lyrically brilliant, mining every day topics like a true story teller. Jaeggi finds that nugget in a topic that either you didn’t think it, or finds a different light to shed on it than you might have considered. Vocally she exudes a strong, warm voice that stands up to anything you’ll hear on the radio. The musical arrangements on Demo(nstration) are spare, with Jaeggi providing guitar or keys are need. The base arrangements are excellent, but some of the material here would definitely benefit from the fuller arrangements a band could provide. Pay attention to Lisa Jaeggi, you’ll be hearing from her again. Talent like this doesn’t stay hidden for long.

Rating: 4 Stars (Out of 5)

You can learn more about Lisa Jaeggi at www.myspace.com/lisajaeggi. Perhaps you can talk her into selling you a copy of her CD, Demo(nstration). It’s worth having.

Review: Boggie - Seeing Angels

Boggie - Seeing Angels
2008, Boggie Music

Boggie Dimitrova is very difficult to pigeonhole musically. The pianist, vocalist, music teacher and choir director is a musical dynamo that appears to have the ability to write and play in almost any musical style imaginable. Boggie writes, arranges and produces of all her music in her own home studio, and currently performs in the Greater Metropolitan New York area with regularity. She holds a Masters in vocal performance and has a unique vocal sound that is atypically beautiful. Her Slavic roots and accent help to form this sound, but her voice is singularly unusual; sharp yet enjoyable in a way that is simultaneously lovely and just slightly unsettling. Boggie's third album, Seeing Angels, is a low-key 1980's pop rock affair that displays strong songwriting/arranging skills, and a distinct sense for melodic interplay between voice and piano.

Seeing Angels opens with Thought About It, a swaying ballad that is lovely in composition. Thought About It is perhaps a bit cliché lyrically, but could easily fit on the soundtrack of a Brat Pack movie. Winter Blues is a gorgeous mellow blues tune that will make Norah Jones fans perk up their ears in interest. Drunk And Dizzy is an entertaining number that is reminiscent both vocally and stylistically of Nelly McKay. Seeing Angels is the first track to really embrace the 1980's radio sound. It's a sweet love song about the new feelings at the beginning of a relationship. The song is delightfully honest and unfettered with sappy cliché.

Tell Me About It may be the most commercial song here, turning from a cascading piano opening to a straight ahead rock ballad that is radio ready. Someday Somehow embraces a lite-jazz sound that doesn't quite work. Sunday Somehow is presented as an easy-listening, adult contemporary work that would really work better as a rock ballad. The song carries a lot of natural tension, but that tension is washed out a bit here by the easy-going arrangement. Cheesecake Blues is a tongue-in-cheek song about the narrator's favorite significant other. The song is well written and well performed, and destined to be a concert favorite.

Moonwalk is a darkly beautiful song. There's not a lot more I can say about it, just listen to it. To Dad is a sweet paternal ode that will hit home with listeners who have lost a parent or loved one. Other highlights include Summer Blues, Waiting, Inside My Heart and Can I Say I Love You. Boggie has certainly saved the best for last here. Can I Say I Love You is the sort of song that artists line up to put their own stamp on. It's quite conceivable that if Boggie never writes of performs again that she could make a living on the proceeds from this song.

Boggie slips seamlessly from rock to jazz to blues to neo-classical and back throughout Seeing Angels. She is an incredibly talented and versatile pianist and composer, with a distinct vocal sound that will make her instantly memorable. As with any particularly distinct vocalist (Kate Bush, Nellie McKay, Neil Young) there will be some who just won't get her voice, but it has a singular odd beauty and sweetness that gives real credibility to her daringly honest and open songwriting style. Seeing Angels is a very strong debut, and definitely worth your time.

Rating: 3.5 Stars (Out of 5)

You can learn more about Boggie, as well as purchase a copy of Seeing Angels at http://www.boggie.net/ or www.myspace.com/boggiemusic. You can download Boggie songs at www.itunes.com/boggie. Seeing Angels appears to be currently available only as a download.