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.

Kree Woods - Talking Underwater

Kree Woods – Talking Underwater
2013, Zodlounge Records

It’s refreshing to find a pop singer/songwriter who doesn’t play to the pretentions of modern pop.  Nashville native Kree Woods is just such an artist.  Her debut EP, Chance Happening, made some waves in the Indie press in 2012, and Woods is wasting no time in moving forward.  On April 9, 2013, Kree Woods releases her first full-length album, Talking Underwater.  It is an album of drawn-out heartbreak, and ultimately, redemption.  This is not a unique tale, but Woods sings it in a voice that is sometimes vulnerable and sometimes strong (with the two states never being far apart).  Her arrangements are subtle and layered, and as beautiful as her voice.

Woods kicks off with the title track, asking for release from a relationship that is going nowhere.  This is a very slick pop offering written in melancholy ballad form, but Woods maintains a wonderful energy in her voice.  “Just Go” is all emotional angst; driven by her love’s desire to save her from the end they both know is coming.  “Flip Flip” sounds like the title to a vacuous pop number, but nothing could be further from the truth.  Here Woods establishes herself as an intelligent and subtle lyricist, with a talent for gentle but persuasive pop hooks.  There is also positivity to Woods’ songwriting that is refreshing.  Even when she is talking about something difficult she is working to be respectful and kind in the way she presents the material; in spite of this Woods is very clear on what she feels.

“Cut My Strings” is a melancholy ballad with a beautiful melody.  Woods brings it to life with her voice, which is equal part Emily Saliers, Joni Mitchell and Sarah Solovay.  “Happiest Day” is a love song that celebrates the little moments; a catchy little tune you’ll be humming to yourself for days.  Kree Woods hits the heights with “Green”, finding a near-perfect pop moment.  The song is about the expectation of a breakup; dreading the moment but looking forward to the release afterward.  It’s an utterly human and heartfelt inner dialogue that’s without rancor.  “Save Her” finds Woods taking a tragic story and lighting it from the inside with her voice.  The effect is a musical bas relief that is stunning to hear. 

“Blink” is beautiful in its simplicity; a friend reaching out to offer perspective during dark times.  It’s a reminder to keep your eyes open for the good things else you miss them.  Woods’ voice is wonderfully attuned to this moment.  Much the same can be said for “Lonely In Chicago”, in spite of the distinct difference in mood.  This is an artful diary entry in song, exploring the loneliness of being half a continent away from you true love.  The verses are well-written, but the chorus and bridge are utterly brilliant.  This is a potential movie soundtrack lead song.  Woods uses her voice as an artistic representation of collapse in “Cave In”, creating a moment of beauty where backing vocals surround her voice like a halo.  The song itself is stark and simple, and all the more striking for it.  Woods closes by shaking free of the emotional baggage with “Fake (Shake It Up)”.  This is a great little pop anthem about being true to yourself, written from the perspective of a nice girl who isn’t going to drag anyone through the mud on her way out the door.  There’s no pettiness or vitriol here, just an eye on a better future.

Kree Woods is a breath of fresh air.  Her positive approach to songwriting shows an inherent respect for herself and others that seems like the product of an earlier generation.  Woods’ melodic sensibilities were made for popular radio, and her subtle compositional style is smooth and sweet to the ear without falling into the slick clichés of the eternal balladeer.  Woods spends the bulk of Talking Underwater telling true stories from her heart in unvarnished yet poetic ways.  She wraps these stories in pop/rock musical blankets that are comforting and complete, but driven by a vibrant heart that strives to bring light into the world.  Don’t be surprised if Talking Underwater makes a star of Kree Woods.

Rating:  4.5 Stars (Out of 5)

Learn more at www.kreewoods.com. 

Anna Coogan - The Wasted Ocean

Anna Coogan – The Wasted Ocean
2011, Anna Coogan

Ithaca, NY based singer/songwriter Anna Coogan is working feverishly on the final release details of her album The Nowhere, Rome Sessions, recorded with Daniele Fiaschi.  While we await the new album, we thought we’d take a look back at Coogan’s previous album, The Wasted Ocean.  Coogan has become one of the most sought after artists in Americana, with a rabid following in Europe and growing name recognition across the United States.  She’s shared the stage with the likes of Alejandro Escovedo, Lambchop, Chumbawumba and Carrie Newcomer, and seems to get better and better with each album.

The Wasted Ocean opens with “The Sons Will Join Their Fathers”, a dark yet lush arrangement that holds elements of Sarah McLachlan and Shawn Colvin.  The futility of the life cycle thrives at the heart of this song, and Coogan paints the hope and hopelessness of the cycle in broad melodic strokes that are stunning to hear.  Thus starts a song cycle based on the sea; those who make their lives upon it and those who wait for them back on shore.  “Streamers” comes from the perspective of the latter, exploring the emotions of the one who is left behind.  Gorgeous is the only word to describe what Coogan has created here.  The song is full of a dark, almost hopeless beauty that is compelling and stirring.

“Blood On The Sails” pastes stark lyric imagery against a lush arrangement laced with theatrical flair.  The dividing line of this song sees Soul Cages era Sting on one side and McLachlan at her most personal on the other.  Coogan drives the wedge between these two iconic sounds with her own distinctive voice as a writer and singer.  “Love Without Strings” is intriguing; a bit more raw than the other work presented here.  There is an unfinished feel here, as if the song is a living, breathing being that continues to develop over time. 

“Life In A Peaceful New World” strays more into the country realm and depicts a Judeo-Christian Utopia.  The song contains an invitation to all of those who search and a promise.  Coogan is more traditional on “Comes The Wind, Comes The Rain”, getting back to the Celtic/Folk roots of the Americana sound she espouses.  Patience and fortitude are the rock-like themes of “Hold Steady, Hold Tight”, which displays some of the most stunning vocal harmonies on the album. 

Coogan raises the bar with “Come Ashore, Love”, a love letter from a sailor’s wife to her love.  The song is an entreaty that anyone who has ever loved a sailor, a musician or anyone else who makes their life on the road will understand.  Poetically, musically and aesthetically, “Come Ashore, Love” is as close to perfection as a song can come.  “The Crucifixion” is a painfully adroit reflection on confrontation and sacrifice.  This powerful song will haunt you long after the last notes have faded from your ears.  Coogan winds things down with “A Little Less Each Day”, exploring the slow fade of love over time, imagined as the vast ocean that lay between them.  It’s a beautiful, sad and moving close that will leave listeners yearning for more.

Anna Coogan doesn’t merely tell stories in song on The Wasted Ocean, she creates moments of words and notes that are so true to life you can practically reach out and touch them.  Coogan is a modern day Dylan Thomas, writing from a perspective that is distinctly female and at the same time universal.  It is impossible to experience The Wasted Ocean and not be touched.  The Wasted Ocean will soon not be Coogan’s latest release, but it’s a tough act to follow: A Wildy’s World Certified Desert Island Disc.

Rating:  5 Stars (Out of 5)

Learn more about Anna Coogan at www.annacoogan.com or on Facebook.

Lauren Edman - It's Always The Quiet One

Lauren Edman – It’s Always The Quiet One
2012, Lauren Edman

At first listen, Lauren Edman’s It’s Always The Quiet One might seem like a musical autobiography that’s full of contradictions.  It that’s your first impression you might want to listen again.  In a world full of superficial pop music, Edman digs deep.  Exploring the worlds perceptions of a ‘quiet person’ in direct contrast to her sense of self, Edman gets deep into her own psyche while navigating the musical pathways between trip-hop and shoegaze.  Sparse, ethereal arrangements both frame the songs and leave Edman’s voice and presence exposed to the world.  It is a brave artistic effort that succeeds on chutzpah and musicality.

Edman has a sweet, plaintive voice with just a hint of edge to it; the high school wall flower that finally speaks during graduation week and makes everyone uncomfortable with how much she’s been paying attention all these years.  Edman’s focus is turned inward on It’s Always The Quiet One, however, examining her own emotions, motives and insecurities.  On “Wasting”, E      dman explores self-doubt in the context of gorgeous ambience.  The vocal harmonies she builds around herself have to be heard to be fully appreciated.   “Slate” sets up an interesting juxtaposition between the arrangement and Edman’s voice.  The almost clockwork piano style nearly sounds programmed, whereas Edman’s voice is passive and sweet.  The theatrical sense here is compelling, as an implication of events out of her control wash by Edmans in her ‘quiet’ state. 

“Be The Light” explores the mindset of a loner who knows how to break free but stays confined to their own inner restrictions.  This is a through the looking glass moment, standing on the precipice of setting oneself free while negotiating the inherent discomforts.  This struggle resolves in “Sweet Girl”, with Edman breaking out of her shell.  There’s an almost apologist air to this, but only for the discomfort she’s caused others.  It’s very clear that the quiet girl is here to stay.  The energy in this song changes as well, an uptick from the quiet aesthetics that span much of It’s Always The Quiet One.  Edman doesn’t so much get louder as she injects more energy into her electronic muse, achieving a sense of dynamic that is too often missing from electronic pop.

Perhaps the big struggle on It’s Always The Quiet One is that the album climaxes too early.  “Sweet Girl” is a being is becoming moment.  In a movie, you would expect such a character breakthrough to lead to the realization of a goal, dream, etc.  There would be some sort of payoff for the main character or narrator.  That payoff never comes on It’s Always The Quiet One.  Edman offers up a series of musical doodles that are more afterthought that aftershock.  “Red Wings”, “Desperate Times” and “Silent” simply slide by the listener.  Edman shows signs of life on “This Is It”, but they are mere sonic echoes.  “She’s Not Here” is an attempt to celebrate the rite of passage that has occurred in “Sweet Girl”, but it is too far disconnected by time and musical experience to have the impact it might have otherwise.

In spite of all of this, there really isn’t a weak song on It’s Always The Quiet One.  It’s simply that Edman starts out with a quietly theatrical sense and the feel of a story in development, but then drops listeners half way through for a series of scattered sidebar illuminations that don’t resonate with the progression she starts with.  It’s clear that Lauren Edman has a talent for building sonically pleasing songs from the electronic ether, and her voice is sweet, but with just enough of an edge to keep it interesting.  There is a talent, however, to building an album that involves more than simply writing songs, but the ability to put them together in a way that flows and makes sense.  Edman loses that sense part way through It’s Always A Quiet One.  It’s not a fatal error, but it does make the listening experience a bit disjointed.

Rating: 3 Stars (Out of 5)

Learn more about Lauren Edman at www.laurenedman.com.  It's Always The Quiet One is available from the e-tailers below, as well as through the Wildy's World Amazon.com store.

Amazon CD                 Amazon MP3           iTunes

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.

Jodi Shaw - In Waterland

Jodi Shaw – In Waterland
2012, Jodi Shaw

Jodi Shaw has always been a bit off the beaten path.  The Canadian-born, self-taught singer songwriter transitioned to songs from poetry, finding that her aural and lexemic muse flowed freely together.  In 2009, Shaw teamed up with fellow Canadian Malcolm Burn (Daniel Lanois, Emmylou Harris, Patti Smith, Bob Dylan, Blue Rodeo) to record her latest album, In Waterland, her most accomplished work to date.  In Waterland (due May 5, 2012) took a long time to make it out into the world.  Partway through the creative process, Shaw discovered she was pregnant.  After the birth of twins, she took some time off from music, but returned to complete the album.  Shaw’s poetry and musical sensibilities intertwine to near perfect on In Waterland, a deeply personal and moving experience that is as subtle as the current, and as deep and unbending as the tide.

Kicking things off with “Swim”, Shaw sinks into a sparse and gorgeous musical medium that flows as freely as an ocean current.  Shaw’s voice is incredibly warm, falling somewhere between the edgy depths of Tori Amos and the enigma that is Leslie Feist, with a touch of Fiona Apple’s edge thrown in.  Shaw goes for shock and awe in “The Witch”, assaulting listeners’ preconceptions full on with deep and esoteric musings on the mutability of beauty.  This could be a message from mother to daughter, perhaps, but it explores the essence of beauty as opposed to the often bollixed perceptions of the world.  This is a wow moment for Jodi Shaw, both as a writer and a performer.

Shaw doesn’t waste time offering up another wow, digging deep for Jack & Jill with ruminations on imperfection and love, and how they interrelate.  Shaw builds offsets her vocal affect with a simple and sparse arrangement that draws equally on the twin beauties of the sonic and silence.  Down through these currents to a more carnal side of human nature, Shaw digs in to “Mystery Of Love”, an utterly poetic yet in your face come on.  There is more here than meets the eye/ear, however, as Shaw shows that even desire has many levels.

Shaw gives listeners a breather with “To The Country (We Go)”, a solid transition that sets up the fantasy/reality of “This Balloon/Ode To Zvezdochka”, a tribute to the last Russian dog cosmonaut, if you will.  Think of this as art deco philosophy, driven in time and place by thought that is not trapped by time frame it captures.  “Fortunate Prince” is once again solid, setting the stage for the utter beauty of the title track, “In Waterland”.  Here Shaw paints with a broad brush, in poetic and graceful strokes that go much deeper than the surface.  Shaw explores the connections we make, the loneliness we feel, and the occasional bits of magic we encounter along the way. You’ll find yourself playing this song again and again; plumbing its depths for deeper meaning that is always just out of reach.

In “Hell’s Bells”, Shaw explores the confusion and pain of being taken in romantically by someone whose intentions aren’t as pure or open as your own.  Shaw leaves no emotional stone unturned, exploring the depths and of personal disgrace in both lyrics and music.  In Waterland closes by turning the game around on those who would toy.  In “Fellas”, Shaw is the huntress and the boys are expendable.  You might expect a tongue in cheek nod here, but if there, it never quite becomes apparent.  It’s a powerful close, one that creates its own suspense without ever answering, or even asking, a question.

It’s a cliché, perhaps, but In Waterland is a revelation.  Jodi Shaw creates music like a master painter creates art, with each single stroke building to something beautiful, ear-catching and raw.  The album is nothing short of sublime, leaving rote ideas and musical schemes by the wayside, in favor of raw honesty, and a musical purity not often approached in popular music.  The same melodic magic that Sarah McLachlan is capable of is here, but in more subtle and vaguely darker tones.  At the same time, Shaw exudes the edge of Amos, Apple and Feist.  The album is nothing less than stunning, a Wildy’s World Certified Desert Island Disc for certain.

Rating: 5 Stars (Out of 5)

Learn more about Jodi Shaw at www.JodiShaw.com or www.myspace.com/jodishaw.  In Waterland makes its way into the world on CD on May 5, 2012.  For those of you who prefer to rent your music, it's already available as a download through the etailers below, as well as through the Wildy's World Amazon Store.

    Amazon MP3          iTunes

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.

Bess Rogers - Out Of The Ocean

Bess Rogers - Out Of The Ocean
2011, Bess Rogers

Some people write great melodies.  Others craft lyrics that leave you breathless.  There are even some in the music world who build arrangements that go beyond day-to-day to comprehension.  Any one of these talents can make an artist a household name.  Any two may well make them a legend.  On her prior EP, Bess Rogers Presents: Bess Rogers, we found an artist who showed flashes of these types of brilliance.  Fourteen months later, Rogers returns with Out Of The Ocean, making unbelievable strides as an artist, and transforming herself quickly from a singer/songwriter with big talent and tremendous potential into a maturing, brilliant artist you simply can’t ignore.

Rogers has built her reputation on several fronts.  The Brooklyn-based multi-instrumentalist has been involved in numerous projects over the years, playing nearly every style of music imaginable.  A few years back she was picked to be Ingrid Michaelson’s guitarist, and has earned a well-deserved reputation as a dynamic performer with a flair for the dramatic and the technical chops to back it all up.  Rogers began building her name as a solo performer through her web presence and technical savvy, but it’s the music that speaks for Rogers.

Out Of The Ocean opens with "One Step Free", the song snippet that gives the album its name. Rogers makes an impressive start here, although it may leave you wishing she'd finished the song. "Standing Tall" opens with a plaintive verse that resolves into a beautiful, lush and lustrous pop chorus. Roger's voice is pure ear candy for those with rich musical tastes, and she bends and shapes the melody line here like a true artist. The song itself is one of safety and confidence in love - a nice change of pace from the glut of starry-eyed pop songs and anguish filled navel gazing ballads that fill up the airwaves. "Weak Link" is an anachronistic invitation from one who views her own imperfections as the perfect complement to the object of her desires better qualities. There's a romantic, tongue-in-cheek element here that's charming, and the full, active arrangement makes it a pop gem.

Rogers bemoans the relegation of romance and attraction to chemical processes on "Math And Science", yet indicates a continued willingness to play her part. Rogers draws you in here with a chorus that simply will not get out of your head. "Anchor" goes up-tempo, running along at a gallop while Rogers keeps pace with a flawless vocal line. The melody line here is brilliant, and once again, Rogers will stay in head for days. Don't be surprised if this is a break out hit. Rogers slows things down a bit with "In The Waves", a utopian invitation from a mermaid to a broken man that parallels immersion in water and falling in love with artful delicacy. Rogers creates a gorgeous sonic landscape here with layered voices and synth over a sparse arrangement. The song closes in haunting fashion, fading away into the depths.

 

Water And Dirt" is another wonderfully catchy pop/rock rumination on love. Rogers plays with the theme of elements, and the almost hopeless part we play in the human dramas of love throughout the album, but here she creates a bit of musical and lyrical magic that's impossible to ignore. "The Fittest" is another example of the sort of diluvian, edgy pop that Rogers is capable of creating. The arrangement is beautiful and lush, but with a backbone as hard as iron. Rogers rocks out on "I'll Be Gone", throwing down the gauntlet in a relationship where the sharing is no longer equal. This is done not in angry tones, but in a driven melody with honest lyrics that are more intelligently questing than spiteful. "Second Chance" is the most stripped-down and personal of the offerings on Out Of The Ocean, showing off Rogers' voice in a more open arrangement that reveals its simple beauty in broad daylight. Similarly, "Brick By Brick" sticks to an unfettered musical formula, whereby Rogers explores the minutiae of relationships in affecting and intelligent imagery. Rogers builds the intensity of the arrangement back to where she started in a conveyance of the building process, before falling back to the simple strains of a guitar string that fades as if leaving a story in progress.

 

Bess Rogers showed herself to be a special talent with her debut EP, Bess Rogers Presents: Bess Rogers, but Out Of The Ocean is light years ahead of first effort, showing a fast-maturing talent for melody, lyrics and song construction, all wrapped up in a voice that resonates in your mind. Rogers shares the love of lush arrangements apparent in the work of Sarah McLachlan, as well as the willful, independent narrative lyrics found in Aimee Mann's work. This all comes together in a fashion that is comfortingly familiar yet excitingly original. Very quietly, and without warning, Bess Rogers will knock your socks off. Out Of The Ocean is a Wildy’s World Certified Desert Island Disc, and figures to be featured heavily in year-end lists.

 

Rating: 5 Stars (Out of 5)

Learn more about Bess Rogers at www.bessrogers.com or www.myspace.com/bessrogers.

           CD                       MP3                   iTunes

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.

Check out with current tour-mate Allison Weiss in the first episode of "Van Jams", below:

Lori Diamond & Fred Abatelli - True

Lori Diamond / Fred Abatelli - True
2011, 5th Chakra Records

Bostonian Lori Diamond and New Yorker Fred Abatelli are a testament to a time, not so long ago, when MySpace was a vibrant community. The two "met" on MySpace in 2007, and began what has turned out to be an extremely successful musical collaboration. Diamond has a golden voice and a gentle touch at the piano that shows itself in the beautiful and fluid songs she writes. Abatelli offers the perfect counterweight to Diamond's songs on the fret boards of both bass and 6-string guitar. Two of Diamond's prior albums, Bound and Mystery (with Abatelli), have earned rave feedback from fellow artists and media alike. On October 22, 2011, Diamond and Abatelli release their second album, True, building on their reputation for great songwriting and seamless playing.

Lori Diamond and Fred Abatelli share an undeniable chemistry in their music. What was readily apparent on Mystery comes fully into bloom on True. The album itself is easy to underestimate. Diamond and Abatelli's songs never truly blow you away, but are of such consistent quality in melody, lyric and arrangement, that you can almost lose track of how well-written they are. Diamond's voice is a pure instrument, calling to mind folks such as Sarah McLachlan and Joni Mitchell. Her phrasing and tone are ideal throughout the album. Abatelli contributes quietly throughout the album, enhancing the framework of each song with subtle, yet palpable work on both the bass and guitar.

True opens with The Inside, a gorgeous, five-and-a-half minute ballad. The sounds Diamond and Abatelli create here are beautiful, layering voices and instruments into a mellow, but dynamic weave you simply have to hear. From there on it out its one solid performance after another, from the soulful "True", the Latin sounds of "All Comes Round", or the efficient beauty of "Never Too Late" The pair offer up a lovely piano/guitar instrumental in the form of "Love's Early Days", painting in musical pastels an impressionistic portrait of the gentleness of spirit that accompanies new love. Diamond raises the bar vocally for "Choosing Peace" and "Your Face". The former is a gorgeous, fluid performance that perhaps exceeds any of her prior recordings, and the latter is just a vocal "Wow" moment.

Lori Diamond and Fred Abatelli won't grab you by the shirt and make you listen; rather, they create subtle songs full of beautiful movement that slowly draws you in. Diamond's voice is mesmerizing, and her piano work is enhanced by the eminently subtle guitar work of Abatelli. True shows a duo continuing to improve on a chemistry and shared musical vision that had previously proven quite rare. True is the sort of album that inspires impatience to hear what Diamond and Abatelli might do next.

Rating: 4 Stars (Out of 5)

Learn more about Lori Diamond at www.loridiamond.net or www.myspace.com/loridiamond. True is available on CD through Diamond's website.  Downloads are available through the link below.

            MP3                     

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.

Salina Sias - Salina Sias

Salina Sias – Salina Sias
2011, Salina Sias

Salina Sias’ musical career was almost derailed before it really started. Classically trained from a young age, Sias sang competitively throughout her school years. Then one morning, at the age of 17, her voice was simply gone. Down, but not out, Sias switched her sites to acting. She moved to New York City at the age of 18 to study, and spent the next decade trying to make it while dabbling in marketing and journalism as a way to pay the bills. Sias’ voice had come back however; she was a regular shower singer long before she left anyone know about it. Then, about a year ago she met with a vocal coach and started putting the pieces back together. Excited to make up for lost time, Sias recently released her debut album, Salina Sias.

Sias shows a longitudinal story-teller’s style on Salina Sias, writing and performing in a semi-stream of conscious style that makes the background music more utilitarian than compelling. Her imagery is strong, however, while Sias explores themes that run the gamut from coming of age stories to chasing down the mixed emotions of life. Sias starts off on a stark note with the lovely but vaguely disturbing “Up In The Trees”. The experience related her have my innocent or may carry much darker undertones, but it’s about a little girl’s perspective from off to the side as she comes to terms with the world around her. Let the interpretations begin, but it’s a strong opening shot from an artist who deserves to be heard. “Sounds Of Blue” is a pretty discourse on two people living together yet living apart. There is an intrinsic sadness here wrapped up in a warped sort of fatalism. The song will get under your skin.

“Dear Job” is an intriguing song about the struggle for faith and doing the right things in day-to-day life. The moments when we look at a path and know what we should do but continue on our own merry way are immortalized herein. Sias’ conversation with the saint through a book on her shelf that beckons yet remains untouched. Sias gets contemplative on “Almost The Same”, showing an odd blend of emotion and detachment that unrolls slowly with the song. “Slipping Away” is a gorgeous musical dissertation on death, marking both its permanency and its negotiability for the living left behind. Sias’ piano arrangement is worth the price of admission on its own.

“Broken Memory” builds brilliance from dichotomy, blending mystery and darkness with ragged edges into an illuminating musical moment full of a rough hewn beauty that is nearly impossible to create. In this one moment the listener hears all that Salina Sias can be as a songwriter – A true WOW moment. Sias suddenly throws listeners a pair of curves on the final two songs. An album full of gentle, occasionally ethereal folk/pop, she gets down and dirty with a pair gut-busting, innuendo-laden torch songs that will know your socks off. “Midnight On Thursday” speaks of basic human needs, waning hours, and the sense of desperation that alcohol ferments. Sias opens up her voice and leaves a scarring impression full that you won’t soon forget. “You Ain’t The One” might just be the afterthought; a bluesy, soulful lamentation on what the listener probably knew was inevitable a song ago.

Salina Sias starts out with a firm impression that would place Sias among the likes of Loreena McKennitt, Sarah McLachlan and Milla, but on the final two songs becomes a bit of Martina Sorbara (pre-Dragonette) or even Sunday Wilde. However you choose to classify the singer, Salina Sias is a distinctive introduction to an artist who aspires to big things. The songwriting here is impressive, if occasionally uneven, with Sias showing serious chops as a writer, singer and pianist. This might not be the breakout album; Salina Sias is the one that makes the breakout possible later. This is one young lady who’s going to be on a lot of music radars very soon.

Rating: 4 Stars (Out of 5)

Learn more about Salina Sias at www.salinasias.com. Salina Sias is available from Amazon.com on CD or as a Download.

Megan Barbera - Zig Zag To The Sea

Megan Barbera - Zig Zag To The Sea
2010, Megan Barbera

If you're going to have a conversation about Megan Barbera it's going to start with her voice, which is an idiosyncratic blend of Edie Brickell and Sarah McLachlan.  Barbera's distinctive talent for songwriting is quickly evident, and her maudlin, melodic style evokes thoughts of Hope Sandoval.  This latter is either good or bad, depending on a listener's personal taste.  Barbera writes in imagery and rhyme, but can occasionally lose touch with the listeners at home.  With all of these thoughts in mind, let me introduce you to Barbera's debut album, Zig Zag To The Sea. 

Barbera opens with the mellow Americana/country sound and deep vulnerability of "Anywhere But Here".  In an age of computerized management of vocal quirks, Barbera's plaintive and unadorned vocal performance is a breath of fresh air.  From a songwriting perspective, this is the class of the album; subtle and nuanced without ever losing touch with the reality that lay behind it.  "Can't Love Yourself" is insightful and well-written, although Barbera tries to squeeze too much content into the melody at times.  This effort stands out, as the rushed feel this gives stands starkly at odds with the relaxed and melancholy air of the arrangement.  "Wasted" is a smooth melancholy country number with a hopeful side.  The melody on this tune is simply gorgeous; the sort to recur in your dreams.

"Shallow Well" highlights the comparison to Brickell and McLachlan above.  Barbera's vocal performance is unforgettable, although the song itself is too drawn out and slow for its own good.  Barbera recovers nicely with "A Little Hokey Pokey", a quietly catchy and fun bit of folk n roll that stands out.  Much like its name, Zig Zag To The Sea essentially meanders the rest of the way through pretty and understated songs that fail to make a big impression one way or the other.

Zig Zag To The Sea shows Megan Barbera's strengths and weaknesses as a songwriter and performer in bold lines.  At her best, Barbera is engaging and insightful, but she also appears to still be getting comfortable with herself as a songwriter.  Barbera gets so caught up in her own sense of musical melancholy at times that the she seems to forget the listener.  While artistically honest, Barbera occasionally loses her sense of song craft in the process.  Zig Zag To The Sea shows a lot of promise, but as always, promise comes to fruition with a lot of work.  There's more than enough potential evident on Zig Zag To The Sea to convince listeners to stick around to see how it all turns out for Megan Barbera.

Rating: 2.5 Stars (Out of 5)

Learn more at http://www.meganbarbera.com/ or on Facebook.  Zig Zag To The Sea is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Yael Naim - She Was A Boy

Yael Naim - She Was A Boy
2011, tot Ou tard / VF Musiques

Yael Naim rocketed into international consciousness back in 2008, due to the inclusion of her song “New Soul” in an Apple advertisement.  While this break was real and palpable, it’s hard to imagine someone with the talent of Naim not making it.  Together with collaborator Davd Donatien, Naim has spent much of the last two years in her Parisian flat/recording studio, writing and recording material for her sophomore album, She Was A Boy.  The album is due for US release on May 10, 2011 digitally and May 17, 2011 on CD.

She Was A Boy opens with "Come Home, a catchy bit of mellow pop/jazz fleshed out with orchestration. The arrangement is silky smooth and showcases Naim's wonderfully breathy alto perfectly.  "My Dreams" is an interesting blend of pop, jazz, new age and world music.  Beauty, urgency and need are all portrayed as part of the whole in the most sonically intriguing song on the album.  "She Was A Boy" plays with middle eastern scales in a catchy bit of orchestrated pop music. Yael Naim is no stranger to notoriety.  "New Soul", featured on Yael Naim, turned into a sensation overnight with its inclusion in a MacBook Air commercial.  That may be nothing compared to "Go To The River", which is one of the catchiest songs of 2011 so far.  You won't be able to get this song out of your head for days at a time.  Naim uses layered voices to create syncopated harmonies and rhythm on a chorus you will never forget.

"Never Change" features heavy southern European influences and a cantering pace to highlight a memorable melody.  It's a solid changeup from "Go To The River" that's subtle but perhaps just as unique in its own right.  "Today" is personal and compelling, and features Naim's best vocal performance on the album.  Her voice is utterly breathtaking in a song of heartbreak and yearning for something more.  The orchestration builds layers into the sound that are compellingly lush.  "Mystical Love" shows another side to Yael Naim, sounding a bit like something that might have been written through collaboration between Tori Amos and Andrew Lloyd Webber in the early 1970's.  The song is highly original and quirky in construction, showing a deep melodic sensibility with pop pretensions but a highly original sense of musical vision.

"Man Of Another Women" takes on a middle eastern flair in an intriguing number that may catch you by surprise.  It's one of those songs you don't necessarily pay active attention to the first time you hear it, but find yourself humming later and perhaps uncertain where you heard it from.  "Puppet" has pure sonic appeal, with Yael Naim sounding a bit like Milla Jovovich but with a middle eastern rather than slavic influence.  "If I Lost The Best Thing" is a highly personal and heartfelt number that is gorgeous in both instrumentation and vocals.  Naim replicates these qualities on the closing track, "Game Is Over". 

Whereas 2008's Yael Naim balanced French and English fairly equally, Naim sticks with mostly English on She Was A Boy.  The songs offered here show a musical depth that is rarely on display in pop music.  Yael Naim creates songs full of emotional and musical substance that speak to you from the depths of her worldly experience.  The songwriting on She Was A Boy is compelling, and the sounds, whether instrumental or vocal, spend much of the time surpassing beauty.  This is not an album to ignore of pass by.  She Was A Boy is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Yael Naim at www.yaelweb.com or www.myspace.com/yaelnaim.  She Was A Boy is due for release on May 10, 2011 for digital and May 17, 2011 on CD.  You can pre-order the album through Amazon.com on CD or as a Download.  iTunes has yet to post a link to pre-order the album, but expect one shortly.

Jennings - Collapse, Collide

Jennings - Collapse, Collide
2011, Mary Jennings

New York City-based singer/songwriter (Mary) Jennings returns on May 10, 2011 with her third album, Collapse, Collide.  Jennings has spent much of the past year touring and working with Billboard-charting songwriters to further develop her sense of song craft.  These efforts are apparent on Collapse, Collide, although, as always, with growth comes growing pains.

Collapse, Collide opens with "Surrender", an electro-ethereal pop number that falls somewhere between Sarah McLachlan and Sara Bareilles.  Jennings' distinctive voice is on display here, although it seems as if she never really opens it up.  It's a solid starter, but without the sort of dynamism you might expect.  "The Darkness" is in similar territory, but shows much better realization and execution of what Jennings might have foreseen when writing the song.  Centered on a solid groove, Jennings builds around an original progression that serves as a natural focus for her muse.  "Everlong" is a plus love ballad, although it sounds like Jennings may have chosen a key too low.  She appears to struggle with the bottom of the melody line at times, with pitch being the casualty. 

"Falling Higher" is a great tune with a lot of potential.   Jennings is spot-on in this love song, but the production is a bit messy and at times, distracting.  Jennings offers herself as support to loved one in "Cling To Me", a well-intended and well-written tune that just doesn't become itself in execution.  This isn't so much an artistic issue as a production one.  "U-Turns" is a vibrant pop number with real potential that once again falters on the boards.  The remainder of the album is solid yet uninspiring contemporary adult contemporary alternative rock music that is nicely slotted for radio consideration but fails to live up to what Jennings is capable of.

Collapse/Collide would be a solid effort from many artists, but Mary Jennings has made a point of cutting her own path through the emotional hinterlands that have defined her previous work.  Jennings' move to the commercial center is somewhat befuddling, as she seems to surrender her own voice for a quasi-corporate conception of what she should sound like.  Jennings is a distinctive enough talent to make it work as best she might, but hard core Jennings fans won't know what to do with Collapse, Collide.  Chalk it up to an artist going through the growing pains of how to commercialize their art in a meaningful way without giving up the spirit that got her this far.  The compromises here are too many, and the production is too messy to allow Jennings to emerge from Collapse/Collide. 

Rating: 2.5 Stars (Out of 5)

Learn more about Jennings at www.jennings-music.com or www.facebook.com/jenningsfemtastic.  Collapse, Collide drops on May 10, 2011.  Pre-orders are available through Amazon.com on CD and as a Download.  Preorders are also available via iTunes.

S.J. Tucker - Mischief

S.J. Tucker - Mischief
2010, S.J. Tucker

S.J. Tucker fell into music at the age of three. The was The Beatles' Magical Mystery Tour that gave her the gentle shove that changes lives.  A veteran of bands such as Skinny White Chick, Tricky Pixie and The Traveling Fates, Tucker has ten albums under her belt.  A severe illness in 2008 and 2009 knocked Tucker off her feet and off the road for a time, but Tucker is back at with her tenth album, Mischief. Released in 2010, Tucker continues to mature as a songwriter while offering perhaps her most subtle work to date.

Mischief opens with "Ravens In The Library", an interesting personification of society and the roles that we take up in the course of human interaction.  Role are portrayed here as birds out of their element, with the laws of nature and social pecking orders asserting themselves immediately.  It's a cautionary morality tale exploring the effects our words and actions can have on others.  The simple, energetic acoustic guitar-based arrangement is remeniscent of Ani DiFranco, while the vocal line is more Sarah McLachlan.  "Cheshire Kitten (We're All Mad Here)" is an energetic folk number with real energy.  Tucker builds tremendous rhythms into a single acoustic guitar part, supporting herself both musically and rhythmically.  This is an anthem about being yourself in a world that ostracizes individualism, reminding us that we're all born a little off-kilter.  The chorus here is atypical and will stick with you.

"Were-Owl" explores the dangers, and thrills, of romancing darkness.  Tucker delivers her thoughts in a sultry, sensuous vocal line wrapped in stark harmonies.  "Love Lies" is a soulful acapella number that's deliciously arranged.  It's a short tune but full of sparks.  "Don't Get My Hopes Up" features Tucker solo with an acoustic guitar.   If ever a song were perfect for a singer is this one right here.  Tucker transitions through her vocal range with an interesting blend of confidence, insecurity and an unwillingness to waste her time on anything less than the real thing.  The dark and eerily beautiful textures of Tucker's voice will blow you away.

"Neptune" explores falling in love with someone new while looking back on a love that fell out.  The arrangement has a dark, unkempt feel that's strangely beautiful.  "Girl With The Lion's Tail" is a statement of self.  Tucker wants a romance, but doesn't want to be an object or curiosity in that context.  This isn't her best songwriting, but the exploration is an intriguing one.  "September's Rhyme" is another gorgeous acapella piece, this time with a baroque feel.  The vocal harmonies on this one are flat out amazing.  "Salad Of Doom" is tongue-in-cheek take on the healthiest choice on the menu; a highly entertaining moment of lightness.  "Witchka" is a sultry, witchy love song sung with the lusty abandon of young love.  Tucker closes with "To My Valentine", a simply gorgeous love song that could easily become a staple for mix tapes and wedding receptions.  Tucker keeps it simple in both arrangement and sentiment; there's nothing saccharine or contrived here.  An amazing performance.

S.J. Tucker doesn't say no; doesn't back down.  She practices the musical insistence of Ani DiFranco, the melodic intensity of Sarah McLachlan and the parenthetical approach to songwriting that fuels Tori Amos.  Mischief is off the beaten path just enough to intrigue, but not so much as to scare away casual listeners.  Tucker has the charisma and force of personality to wrap you in her charms and have her way with you, and the musical talents to make you love every minute of it.  Mischief is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more about S.J. Tucker at http://www.skinnywhitechick.com/ or www.myspace.com/sjtuckerskinnywhitechick.  Mischief is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Jill Goldberg – Girl, Polite

Jill Goldberg – Girl, Polite
2011, Louar Music

Boston-based singer/songwriter Jill Goldberg returns on April 1, 2011 with a new six-song EP, Girl, Polite.  The talented and savvy artist provides her own perspectives on life, love and loss in solid, piano-drive pop/rock tunes full of heart.  Opening with “Not Worth It”, Goldberg crafts intriguingly radio-friendly pop without sounding saccharine or trite.  Goldberg’s deep alto voice is a pleasure to listen to, and she comes off as something of a cross between Laura Branigan and Paula Cole.  “Girl, Polite” explores the struggles of someone brought up to be a ‘good girl’ but feeling rage and anger at the actions of others.  What is occurring beneath the placid depths of polite conversation may surprise you, but should be strange to almost no one.  All of this is covered under a smooth-pop sound that is delightful.

“Where Did You Go” is a sorrowful pop ballad, born of heartbreak and loss.  There is a faux waltz underpinning the arrangement in 6/4 time, and Goldberg’s voice gives more than a few ‘WOW’ moments here.  “Five Steps” and “I’m Always Right” are bland filler, but Goldberg recovers nicely with “My Heaven”; a love song to one who may never hear it.  Goldberg writes here for herself, trying to survive loss and loneliness.  Goldberg is absolutely amazing on the chorus; her voice rich and deep and full of an abject beauty.

Girl, Polite hits a lot of right notes, and Jill Goldberg’s voice is in fine form throughout.  There are two filler tunes here, but even in her more mundane moments Goldberg is intriguing.  It’s a shame Goldberg will only be promoting this EP on the East Coast; she shows enough talent and panache to extend her reach well beyond the I-95 corridor.

Rating: 3 Stars (Out of 5)

Learn more about Jill Goldberg at http://www.jillgoldberg.com/ or www.myspace.com/jillgoldberg.  Girl, Polite drops April 1, 2011, and will be available from Amazon.com as a CD or Download.