Gena Perala - Exactly Nowhere

Gena Perala – Exactly Nowhere
2013, Gena Perala

Gena Perala is a modern renaissance woman.  Raised on the carnival circuit, she developed a keen insight into the human condition, and the artful storytelling style of a life-long performer.  Perala broke into music by way of her award winning poetry.  She has published three books to date and released two albums of original music.  Her debut album, This Ain’t Pretty, won Perala rave reviews. Her follow-up, Exactly Nowhere, finds Perala taking things to the next level.

Perala opens with “Living Proof”, bringing elements of classic 1960’s girl pop.  There’s a rock-a-bye feel to this tune, and while Perala is a bit verbose, the vocals are exceedingly easy on the ear.  “Fine” is an interesting take on a relationship where her partner makes her feel good about herself while spiraling downward himself.  There’s a sort of helpless fatalism here that’s palpable, and the song is gorgeous in its sadness.  “Hip Hop Cartoons” is rife irony.  The seeming anthem of living life on one’s own terms has a distinctive slacker element that’s more about simple existence than living or learning. 

“La Fin” is a dark waltz that is sung primarily in French with English interjections.  Perala is in her element here with a compelling mix of raw animus and madness.  It’s a moment that will haunt you into listening again and again.  “Exactly Nowhere” is theatrical in approach, sung seemingly in post-relationship shock.  Perala’s composition is masterful, right down to the string accents.  The lyrical caricature is as artful as the music, and in case you didn’t know it already, Perala is showing off some serious songwriting chops here.  “Superstar Nova” finds Perala in a more straight-forward pop approach, completed with elemental synth and a dance beat.  This is too busy as a relationship song and a bit too self-focused.  “Fat World” is a catchy garage/punk number that may be stuck in your noggin for days for its musical proclivities and for Perala’s enthralling voice.

"Hoopla" finds Perala lampooning women who fulfill themselves by digging for gold and living off the success if others. The campy atmosphere of the song, which alternates between reverb soaked simplicity and alt-rock excess, is reminiscent of Meryn Cadell. "On Second Thought" is a memorable piece of musical theater that tracks the internal ups and downs of a fickle minded suitor. Her writing is brilliant, incisive and funny yet somehow utterly mortal. The transitions from navel gazing pastiche to manic hope are perfectly conceived and executed.  "My Match" focuses on a repeat hookup offender who laments not finding permanence. It's a humorous and sad caricature that will likely remind you of someone.

"Life Is Hard" is a gorgeous, string-laced monologue from a character who is her own worst enemy. This worldview is dark and full of pessimism and yet utterly familiar from someone you know. Perala's light touch makes this more accessible and believable. "Tell It To The Stars" is an upbeat dialectic on seeking external guidance from the stars. Perala is eminently likeable here as she speaks from the heart in an upbeat, country flavored arrangement that will have you tapping your toes.

"See Myself" is a gently rolling piano ballad that's deftly orchestrated to build the emotive strength of the song while keeping Perala's superb vocals front and center. There's something of a secular sermon feel to this at times, with a distinctly inward focus built of insecurity as the concomitant strength it breeds. "Every Man" starts out in Perala's signature confessional style, but struggles to escape its own weight. She recovers nicely, closing with the brief, yet hopeful "Neverland".

Gena Perala’s musical and lyrical brilliance shines through on Exactly Nowhere.  There’s a theme of disaffection based on a mistrust of human intentions that runs through the album, but Perala also has a sense of humor.  In essence, Exactly Nowhere is something of a catalog of musical defense mechanisms that lead to the album’s title.  Perala deconstructs, perhaps, her own defenses with humor and grace and a fantastic sense of musical theater.  She takes tremendous risks and even when things don’t quite work out they’re certainly interesting.  Exactly Nowhere finds Gena Perala distinctly somewhere wonderful.

Rating: 4.5 Stars (Out of 5)

Learn more at www.genaperala.com.  

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.

Sasha Papernik - Victory

Sasha Papernik – Victory
2012, Sasha Papernik

It was 2011 when I first heard of Sasha Papernik.  Her album with Sasha & The Indulgents, Love In A Box was one of the biggest surprises of the year.  The classically trained, first-generation Russian-American singer/songwriter showed a depth of musical and human understanding that was breathtaking.  A lot has changed in the last two years:  Papernik is now billing fully under her own name, and her depth and maturity as a songwriter has grown.  Papernik now writes with the confidence of an established star, and her muse seemingly knows no boundaries.  Papernik’s latest album, Victory, is an eye opener.

Kicking things off with the title track, Papernik uses a pop-noire sound to call out a man who played her.  The dark undertones in “Victory” are straight out of Russian musical heritage, and give the song a wonderfully complex musical flavor.  “Kiss Me Fast” is an impetuous entreaty written in a 1960’s girl pop sound.  It is a memorable tune that will return to your mind at odd moments.  “Oy Moroz, Moroz” is a wonderful little blend of blues, rock and folk, with Papernik singing in both Russian and English.  Try to keep your foot still, as Papernik and her band work through the incredibly catchy and tight arrangement. 

Papernik will delight listeners with “Solitude”, a singer/songwriter piece underwritten by a deliciously sly little tango.  It’s just piano and voice this time around, but Papernik leaves the stunning impression of an impresario at her best.  “Whispering Tree” is a nice change of pace; a swaying cabaret-pop number with dark undertones that’s simply gorgeous.  It’s time to waltz when Papernik launches into the Russian folk song “Tonkaya Ryabina”.  You’ll be seduced by the three-step rhythm, and lulled by the utterly beautiful arrangement Papernik has built around it. 

Papernik shows off a bit of a country flavor on “Polina”, a bit of musical counsel to a friend who has fallen off the marital path.  Driven by a pure singer/songwriter pastiche, “Polina” is an enjoyable side trip.  “Wrong Side Of Twenty-Five” is the sort of character sketch in song that is among the most difficult to write.  Papernik is working out the kinks of the process here, but it is a solid effort and bodes well for the future.  She goes Baroque on “Luchina”, a classically-themed pop piece with a pretty melody you’ll want to repeat.  “Wildwood Flower” is a catchy little tune that that takes you by surprise.  You may not take particular notice of it the first time you hear it, but it quickly grows on you. 

“Peter’s Letters” is am ambling and ambitious reminiscence, but is too weighty for its own good.  It’s the only song on the album you’ll be tempted to skip, but Papernik is so engaging even here that you’ll stick with her through the tune.  Papernik has one more star turn in her, however, as she shows on “Take It As It Comes”.  This is pure singer/songwriter material, encompassing styles including country, pop and a touch of Baroque classical.  Papernik then bows with the gentle piano-pop of “Tall Grass”, which leaves the listener with an endearing image and sense of peace.  It’s a solid closer that’s a bit anti-climactic, but not a bad choice. 

Sasha Papernik embraces her classical roots on Victory, writing a genre-bending album with distinct pop sensibilities but a master’s sense of melody, harmony and precision.  Papernik is also a credibly story-teller, engaging listeners with tales and sketches in song that draw in as they color the musical landscape.  Papernik’s voice is a joy to listen to, and she is a consummate performer.  Victory is aptly named, and turns out to have been one of the finest releases of 2012

Rating:           4.5 Stars (Out of 5)

Learn more at www.sashatheband.com. 

Kalen - Falling From The Sun

Kalen - Falling From The Sun
2012, Kalen Lister

First you take a small town girl from Exeter, New Hampshire with a penchant for singing and songwriting.  Next, you provide her fertile mind with an Ivy League education.  Finally, you turn her loose on the streets of Brooklyn to see what happens next.  This isn’t exactly Kalen Lister’s story, but it’s not far off the mark.  Kalen brings an exciting and intellectual approach to song craft on her debut solo CD, Falling From The Sun.

Kalen starts off with "Island", an ethereal pop vocal tune reminiscent of early recordings from Maryen Cairns or Milla Jovovich. The composition is built of complex layers that are realized with surprising clarity over a light dance beat. "Fallen From The Sky" explores how good love goes bad when obsession sets in. Kalen uses an elevation to angry rocker to show growing frustration while layering ghost-like vocal chants over the top. The effect is striking.

Kalen gets gritty on "Rabid Girl", a story song about a young woman's descent into alcoholism and the demons that drive her there. The urgent energy of this tune carries over into "Neda", which reverts a bit to Kalen's more ethereal pop sound. Maintaining a bit of that gritty feel and channeling it into bluesy pop, Kalen's moves on into the dark and spritely kiss off song "Hit The Road". This is the most impressive vocal performance on the album thus far, and hints at greater musical depths that Kalen may not yet have tapped. Kalen strips things down to piano, strings and voice for the closing waltz, "It Takes A Lifetime." This is a wow moment, as Kalen struggles through insecurity and indecision to a nominal understanding that the confusion and fear is a normal part of life. Elements of Tori Amos or Sarah Slean can be heard here, but Kalen really makes the moment her own by singing very much from the heart.

Kalen Lister makes a grand statement in bold hues, subtle rhythms and deftly crafted phrases on Falling From The Sun.  This is a nuanced EP that rewards patience, unfurling new layers with repeated listens.  Kalen’s voice is enigmatic and warm, drawing you out of your listener’s isolation and involving you in the stories she spins.  She’ll leave you wanting more and more.

Rating:           4 Stars (Out of 5)

Learn more at www.kalenmusic.com. 

Jennings - Take It Or Leave It

Jennings – Take It Or Leave It
2012, Mary Jennings

If you were to meet Mary Jennings on the street, you would find her to be sweet and full of light. Standing just a hair over five feet tall, Jennings possesses the charm and grace of the archetypical girl next door.  Stepping on the stage to perform, Mary Jennings sheds her first name and transforms into a powerful, emotive singer/songwriter you might never have imagined from the first meeting.  It’s not so much a contradiction as reminder to not judge a book by its cover.  Jennings’ stage metamorphosis is stunning, and surprisingly well captured on her latest effort, the live album entitled Take It Or Leave It.

Jennings kicks off the album with “Doorway”, using her musky voice to full effect.  The song is a mixture of dark and light, wending its way through decisions while beckoning both success and tragedy.  The stripped down arrangement is affecting and pretty, and has a disturbing undercurrent that keeps listeners on the edge of their seats.  “Kaleidoscope”, written on a dare, explores the atomic nature of life, with events and people running together and creating unintended consequences.  The song reaches deep into the bag of metaphor and comes out a winner.  “Falling Higher” explores the juxtaposition of falling in love and moving higher into the emotional spectrum.  This is an amazing immersion in song, full of emotion, deep thoughts and amazing musical color.

“Move” is an exploration of the emotions surrounding the death of Jennings’ mother, and is accompanied here with an explanation of how it came to be.  Jennings is at her most elemental here, delving deep into the shattered psyche of a heart broken by grief.  The mix is beautiful and tragic all at once, and Jennings lets the song pour out of her like a torrent.  “Figure Me Out” is deeply personal and raw, skating the juncture where a crush becomes equally a boon and a burden.  Jennings’ explanation gives the song a happy twist as well, but I won’t ruin the surprise here.

“Cling To Me” is another deep emotional dive; an offer of succor and love in a friend’s darkest hours.  Jennings croons from her heart here, showing all the colors and shadings of her emotive voice.  “Surrender” digs at the motives of a friend who just never gives in, fighting to be right even when all the evidence is against them.  Jennings punctuates her frustration with the piano, redressing the ills with a voice that bleeds psyche, love and regret.  Jennings says goodnight with “Take It Or Leave It”, a pop singer/songwriter turn that thrives in the arpeggio-laden piano that drives it.  Even in the live setting, this song is radio-ready; highly emotive yet compact and well-written.

Mary Jennings knows how to deliver a song.  Her highly personal and emotional singing style is raw and captivating.  It’s the sort of performance that keeps audiences rapt with attention; leaning in toward the stage do they don’t miss a thing.  Take It Or Leave It captures the energy and power of a Jennings performance for those who haven’t been lucky enough to see her live, or for those who have and want to recapture the moment.  Don’t miss this album.
Rating: 4.5 Stars (Out of 5)

Learn more about Jennings at www.jennings-music.com or on Facebook or Twitter.

Antioquia - Viajero

Antioquia – Viajero
2012, Antioquia

Once in a while, something truly original comes along.  San Francisco-based art rockers Antioquia bring a unique sound, dubbed “Afro-Colombian Psychedelic Lovefunk” on their third album, Viajero.  Touring throughout the U.S. over the past four years, Antioquia has become a fan and festival favorite.  While staying mainly below the radar of commercial radio, Antioquia makes some of the most infectiously danceable rock and roll out there. Comparisons have been made to Fela, Pere Ubu and the Talking Heads, but the sound mix on Viajero is more of a blend of Was (Not Was), Rusted Root and the B-52’s.

Viajero is ingeniously constructed, with rock, ska and pop numbers woven in and around occasional segues into drum circles.  Throughout much of the album there is a sense that Antioquia is constantly on the edge between genius and epic fail.  The sound is a bit messy at times; the instrumentation is not traditional rock and roll, and the band takes a lot of chances.  Luckily they are up to the challenge, and the cascade of small successes here becomes thrilling to the listener.  The psychedelic space/punk opening song “Idaho” sets the tone, done in a scatter-art style with co-vocals that almost always entirely fail to be exactly in unison.  The energy and commitment of the band make this work better than perhaps it should.  “Attack Of The Killer Balafon” is an ironic little instrumental featuring the named subject surrounds by snarky electric guitar accents.  Instrumental humor is often subtle and hard to miss; not so here.

The edges get a bit rougher on “Sister”, marrying a nasty but subdued guitar lick, open percussion and aggressive female vocals with a heavy dose of feminism.  The artsy folk/punk style here is messy yet sonically appealing.  “Who That Be?” is one of those moments where you’ll be certain the wheels are about to come off the bus, but Antioquia survives the experience unscathed.  “Steamship Enterprise” is an ambitious art-rock exploration that builds from a basely repetitive opening into an expansive turn.  Antioquia gets an A for effort here, but there’s no payoff to the vision here.

Funky, messy and fun aptly describes “Mountains”, which sounds like it should have been a Don Was/Fred Schneider collaboration.  The drum circle comes alive on “No Sleep Til Oakland” and none too soon.  This song starts out as an unimaginative number, but is saved by the rhythmic transition.  It’s almost as if the band, recording live, realized the song itself wasn’t working and decided to simply drum instead.  “Rage Of Love” is a bit more experimental, starting out as a meandering number but growing into an expansive mellow rocker with progressive inclinations.  As stylistically unsettled as the number is, it works in the milieu that Antioquia has built here. 

“Dibon” is a brief drumming interlude that transitions into the catchy, angular pop of “Donde Quiero”.  Balafon, electric guitar and percussion drive this along, with lyrics in both English and Spanish.  Rachel Antony-Levin takes the vocals here, with a voice running the gamut from Tori Amos to Pat Benetar.  The song muscles up into a heavier rock sound before taking its leave.  Whimsical ska-pop is the order of the day on “There’s A Man Jumping Off The Planet”.  This entertaining little number devolves into a messy jumble of instruments and musical ideas at the end, but it’s a fun trip.  Interestingly enough, this is also the most polished song on the album; and might have some real potential as a single. 

Antioquia returns to the drum circle on last time for “Kassa – Nisoro”, before stepping out with a thoroughly asymmetric closer in “Back To The Mountains”.  This is perhaps the only true misstep on the album.  This live, in-studio recording is messy and unpolished; and it’s very apparent that Antioquia was having a blast doing it, but it simply does not sound very good.  Put at the end of an envelope that pushes the envelope artistically and musically, “Back To The Mountains” is really something of a letdown.  It’s an unfortunate choice for the last thing a first time listener will hear, as it doesn’t leave the best impression of the band.

Antioquia’s let it all hang out attitude is one of the biggest driving forces behind the success of Viajero.  As with all great traits, it has the potential to be their undoing on occasion as well.  On balance, however, Viajero flirts with brilliance throughout, dancing on the edge of failure and success where magic sometimes happens.  The blend of sounds and styles here is unique, and the slightly unpolished sound on Viajero means the experience have here will be much closer to what you’ll hear live.  It’s hard not to like Antioquia.

Rating: 4 Stars (Out of 5)

Learn more at www.antioquia-band.com. Viajero is available digitally from Bandcamp.

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.

Video: Alyson Greenfield - Mama Said Knock You Out

Singer/songwriter/multi-instrumentalist Alyson Greenfield builds an eclectic sound by experimenting with synthesizers, beatboxers, autoharps, drums, chord organs, glockenspiels and even a baby grand piano.  Her take no prisoners vocal style captivates audiences, and has made her an early favorite at Converse Rubber Tracks in Brooklyn, NY.  Greenfield recently release a video for "Mama Said Knock You Out", a cover of the LL Cool J song performed on a baby grand.  You'll note elements of Tori Amos here, but there's something about Greenfield that is decidedly original.  Check it out!



"Mama Said Knock You Out" if featured on Greenfield's EP Rock Out With Yout Glockenspiel Out, an album of hip-hop covers that includes takes on Coolio's "Gangster's Paradise" and Kelis' "Milkshake".  Greenfield is truly an original voice.

Learn more about Alyson Greenfield at www.alysongreenfield.com or www.myspace.com/alysongreenfield.  Rock Out With Your Glockenspiel Out is available through links on Greenfield's website, through the e-tailers below, or 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.

Jeannine Hebb - Whileaway

Jeannine Hebb - Whileaway
2011, Jeannine Hebb

Jeannine Hebb has one of the best pure voices in Indie Rock. Her stunning debut EP Too Late To Change Me announced the Brooklyn based singer/songwriter to the world four years ago. It wouldn't have been surprising to see Hebb regress a bit on her second recorded effort, but Whileaway finds Hebb leaping forward rather than stepping back. Her penetrating voice, distinctive melodies and emotionally intelligent lyrics make for an unforgettable combination. Comparisons to Fiona Apple, Alexa Ray Joel and Tori Amos may seem appropriate at times through Whileaway, but it becomes eminently clear before long that Jeannine Hebb's sound and style are entirely her own.

Whileaway opens with "Call Him Out", a cute number written early in heartbreak. She wonders why no one intervenes. The effort is intriguing, and has the feel of a pop-opera or new Broadway composition. Hebb creates and enlivens a character here that's entirely believable in her self-pity and self-victimization. The melody is entirely memorable, and Hebb sings with a voice that could grace any stage. "I Believe" is a soulful ballad that shows off the many colors and gorgeous tone of her voice. "Back To Me Again" is written from a position of power, with a former, misbehaving beau trying to his way back into her life. The edgy rock arrangement almost seems to hide a country heart, but Hebb builds a wonderfully intricate chorus that will keep your toes tapping.

"Tell Me No" shows a wonderfully human bit of dysfunction, wrapped up in a theatrical aria that's absolutely unforgettable. The combination of neurotic need and honest vulnerability plays out perfectly against the simple piano-based arrangement. "Heartache" deals with the darkness that follows a relationship, with the resolution that she won't make the same mistake again. Once again, Hebb carries a stage presence into the song, and a diva-like voice that wends its way through the vaguely Mediterranean melody. Edge and beauty come together here, like the brittle, icy rim of a puddle on a frosty morning. "Don't" continues to dance on the emotional ledge, in that dark place between capitulation and recovery. Strength grows in the chorus, where she fights back against the causes of her heartbreak. Hebb's sense of composition here is amazing, using all of the instruments in her palette to build sound in waves that crash over the listener much as the emotions that inspired the song might once have engulfed her.

"These Days" is a melancholy exploration told in the form of a personal ballad. Hebb's (or her character's) personal thoughts born into song alongside a lovely, fluid melody, offer a wonderfully quiet yet powerful moment of pure emotion, and allow listeners a glimpse into Hebb's upper vocal range as well. "Goodbye" takes on a slightly edgier feel, as Hebb begins to separate herself from the source of her heartache. Unlike the songs that came before, there's more of an analytical slant this time around, as Hebb explains her reasons for going. In the process she builds gorgeous song architecture that befits the sprouting of new chutes into a bare emotional spring that must follow every winter.

"Tragedy" is a relationship post-mortem in the medium of bluesy pop. Hebb belts and croons her way through the moment, speaking not out of anger but out of fact. The dynamic arrangement is too complex for pop radio, but is very appealing nonetheless. "Low" alternates a workman-like verse with an airy, one-word chorus. The split is interesting, and the neo-baroque glue that holds the two distinctive pop styles together will keep listeners very much on their toes. Hebb closes with "Make It Right", a dark confessional that throws all of the previous resolution in doubt. What's appeared to be a general migration toward healing is left in the emotional turmoil of one who almost made it through, but is on the verge of getting sucked back in to the relationship that started it all. The personal appeal here is compelling, and Hebb delivers it with a voice and presence that combine all of the personal glamour of a big-time pop star and all of the pastiche of a veteran of the stage.

Whileaway is the sort of album you park in your CD/MP3 player and play again and again. Jeannine Hebb shows that her debut EP was anything but a fluke with a performance that is subtle and complex beyond her years, both musically and lyrically. With a voice that would be welcome on any stage, anywhere and an amazing depth of songwriting ability, it's hard to imagine Jeannine Hebb as being anything less than a star one day. Whileaway is nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Jeannine Hebb at www.jeanninehebb.com or www.myspace.com/jeanninehebb. 

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Video: Erin Hill & Her Psychedelic Harp - Giant Mushrooms

No.  You've never seen anything quite like this.  Just watch.


Part Milla Jovovich, part Tori Amos, and part Deborah Henson-Conant.  Wild.

Learn more at www.erinhill.com.

Maria Rose & The Swiss Kicks - New Direction

Maria Rose & The Swiss Kicks - New Direction
2011, Maria Rose

Flint and Ypsilanti, Michigan are the co-homes of electro rock n soul trio Maria Rose & The Swiss Kicks.  Led by the powerful and soulful voice of Maria Rose, The Swiss Kicks power their way through an intriguing though sometimes muddled stylistic ménage on their debut EP, New Direction. 

Maria Rose & The Swiss Kicks get things started with "Velvet Cabaret", a musical biography of a strppr with dreams of owning her own French Café.  There's a morbid sort of pull to this song, as we hear the story of someone struggling to break free of a hard life.  It's never clear if our heroine will succeed, even though she's on the verge of her dream.  Maria Rose gives the whole affair a soulful and gritty read with a voice that will stick in your mind.  "Pineapple Wine" is a quirky folk/pop Boss nova; a sexy and sensual invitation to let down your hair and enjoy the moment.  "Angel Face" is a maudlin ballad that's half-hearted and vaguely depressed in sound.  There's a distinctive disconnect between the lyrics and the tone of the music presented here, enough so that it's distracting to the listener.

"Gypsy Of NYC" is another musical bio, this time of a young lady with quasi-magical qualities.  The arrangement and instrumentation is unique and compelling for pop music, even if the production does muddle the sound a bit.  "Wildcard" is catchy and intriguing; showcasing Maria Rose's voice in compelling fashion.  This is one of those songs that eat at you, growing on you slowly, over time.  The EP closes with "New Directions", an unfortunately apt tune that sounds something like Tori Amos and includes an unfortunate and non-committal rap.  This one just doesn't work all that well.

Maria Rose & The Swiss Kicks make a solid impression with New Direction, although the production on the album sounds incomplete at times.  The band skates the middle ground between acoustic band and full sound.  Unfortunately this half-measure doesn't seem to suite them well.  For whatever flaws New Direction might have, however, Maria Rose's voice can't be counted among them.  Rose will make you forget your troubles when she opens her mouth to sing.  The songwriting here is still developing and uneven, but the future looks bright for Maria Rose & The Swiss Kicks.

Rating: 3 Stars (out of 5)

Learn more about Maria Rose & The Swiss Kicks at www.mariarosekicks.com or www.myspace.com/mariarosemusic.  New Direction is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Aurical - Something To Say

Aurical - Something To Say
2011, Gallant Music

Aurical is a folk/pop duo born of two coasts.  Singer/songwriter/producer Rachel Rossos has spent time in both New York City and San Francisco, working with musicians such as Edgar Meyer, William Bolcolm and Nadja Salerno-Sonnenberg.  Michael Gallant is the senior editor of Keyboard Magazine, and serves as singer/songwriter/pianist and co-vocalist for Aurical.  Together, the two have crafted a vibrant and original sound, on full display on Aurical’s debut album, Something To Say.

Something To Say opens with the title track, an edgy, piano-driven rocker.  Vocalist Michael Gallant sounds a bit like James Young of Styx, delivering a high-octane performance that's a smash as an opener.  "Brahms Of Philosophy" has a bit of a Ben Folds feel, and Rachel Rosses does a nice job with the vocal line.  The song is catchy although perhaps a bit rushed at times; ultimately very entertaining.  "Mom's Favorite" is a bit reserved and straightforward in style.  "Julianna" is wonderfully dark, with distinctive harmonies that grab you.  It's a solid piece of songwriting that's worth revisiting. 

"Leave It All behind" is lyrically awkward at times, but impresses on the musical side.  Jethro Tull, Genesis and Supertramp stirred up in a room together might have created something that sounded like this.  The bass steals the show with a funk-driven style of play that enlivens the song with an ambitious progressive rock sensibility.  "Work Song" is a slow and meandering number that works on the music side but again shows a lyrical clumsiness that stands out.  Things get really interesting on "Redhead Girl", with a piano style that sounds like a cross between Ben Folds and Tori Amos.  The most original and intriguing work on the album, "Redhead Girl" shows Aurical's ability to push the envelope and do it well.  "I've Never Known" is the best overall contribution on the album.  Rachel Rossos is fantastic here, crafting an early female-vocal group sound.  Things get a bit more mundane as Something To Say rumbles to a close with three solid if unremarkable tracks.

Aurical dances between magic and the mundane throughout Something To Say, creating moments that build anticipation in the listener, but often falling back before finding that perfect musical strike.  There's some very good stylistic songwriting on the album, but the lyrical composition of the album has its awkward moments.  Something To Say has enough to offer to make it worth spending some time with, but there are some definite kinks and wrinkles in the band's creative process to be smoothed out next time around.

Rating: 3 Stars (Out of 5)

Learn more about Aurical at www.auricalmusic.com or on Facebook.  Something To Say is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Marina V - My Star

Marina V - My Star
2011, Marina V

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

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

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

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

Rating: 2.5 Stars (Out of 5)

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

Ali Milner - I Dare You

Ali Milner - I Dare You
2009, Ali Milner

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

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

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

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

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

Rating: 5 Stars (Out of 5)

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