Broken Quote - Foreshadowing Sunlight

Broken Quote – Foreshadowing Sunlight
2014, 563026 Records DK

The Band
Broken Quote is a multi-instrumentalist, writer and producer from Houston, Texas who has been creating music since he was a small child.  A self-taught musician, Broken Quote showed a distinctive ear early on.  While the lack of lessons would be a roadblock to some, it became an open playing field to Broken Quote.  Broken Quote credits influences such as Bjork, Eyedea, Beck, Radiohead, John Cage and Parliament Funkadelic, among others.  His musical milieu continues to grow and evolve, but his current sound is something of a stew of ambient funk, trip hop, electro rock and acid jazz.

The Album
Foreshadowing Sunlight, a five song EP, is Broken Quote’s first release.

The Buzz
Broken Quote is all about minimalist atmospherics.  Electronics and ambient sounds are the core of the sound on Foreshadowing Sunlight, but the focus is less musical than it is of painting collages of sound. 

Spotlights
“Late Night Ocean” has an intriguing rhythm and life all its own.  The overall effect is more distracting than cohesive, but there is a musical statement to be made here.  “Glass Ceiling” is similarly unsettling.  Angst-filled piano gives way to a slowly growing cacophony of rhythm, as Broken Quote seeks to unsettle all who would listen.

Footlights
The energy throughout Foreshadowing Sunlight is minimalist by intent, but the effectuation is downright painful at times.  Angst and ennui are the core emotions, and those vibes are imparted to the listener like a cudgel.  Effects very often rule the day, covering the gaps that are left behind by songs that are thought out and through, but often not fully.

The Rating: 2.5 Stars (Out of 5)

The Songs
Ghost Crowd
Late Night Ocean
Glass Ceiling
Sparks Water The Seeds
Mispronounce

Where to Go
www.brokenquote.com.

Forrest Day - Forrest Day

Forrest Day - Forrest Day
2011, Ninth Street Opus

Tragedy and comedy are the two extremes borne of the chaos of life. Tragedy is often accompanied by mirth, and comedy often hides sadness at its core. The juxtaposition of these two extremes offers insight into the madness that roils all of us, and the beginning of understanding. If one were to write an academic paper on Forrest Day, this might be the opening paragraph, for Day seems to understand the interoperability of tragedy, comedy and chaos better than most. His debut album, with his like-named five piece band, is a treatise on the hardships and hard-won victories of life, seen through the wisdom of knowing sadness and humor, and wrapped in an innovative blend of hip-hop, rock, jazz and electronic musical sounds.

Day writes, raps and sings without filters, discussing his own struggles with mental illness and coping with day-to-day life in song. The best of his material sounds like an ingenious blend of Was (Not Was), Beck, They Might Be Giants and Fatboy Slim, alternating between talk-sing and full-singing styles in a voice that's pleasantly imperfect. Day exposes the humor in awkward moments, like on the opening track "Sleepwalk". This catchy, talk/sing number is born of rhythmic madness and a varied arrangement with a Middle Eastern flavor. It's very rare to find anything in pop music that even approaches unique, yet Forrest Day just might have a claim here. "Hyperactive" is catchy and incessant, with a stream-of-conscious lyrical makeup that keeps pounding away at your brain with ideas. The allegory of both message and sound intrigues. "River Rat" is incredibly infectious. If there's a bonafide pop and dance hit on the album, this is it. Day turns wryly observational on "Baby Shoe", before launching into the declarative anthem "Everybody’s F###ing With My Mind". This high energy romp simply adds to the fire, and is itself another potential hit.

Day turns more mellow as the album progresses, capturing a distinctive groove with "Without A Trace" that's part mystery show theme song and part Spanish Jazz/Hip-Hop hybrid. Perhaps not as vibrant or mind-bending as some of his other material, Day manages to such in listeners here with a quietly compelling number that slowly and stealthily grabs more and more of your attention. "The Grease" sounds like The B-52's playing a James Bond theme with a rap/spoken-word vocal based in madness. The disjointed and disturbed lyrics are compelling, beckoning you on if simply to see where Day will end up. "A$$holes" has a reggae flavor and an entertaining take on unemployment. Day goes all-vocal on "Headfirst", a self-dissection on motivation and creation. The mellow vibe here offsets a nervous energy that runs through the arrangement, creating an interesting bit of cognitive conflict in the process. Forrest Day concludes with "It's Just Me", sounding like a hybrid of classic 1950's pop and hip-hop, dressed up with mariachi horns. The laid back vibe here is appealing, and the lyrical resolution of the tragic comedy is perfectly crafted.

Forrest Day is a revelatory introduction to both the man and the band. The intellect, energy, inspiration and pure musical genius of the album is hard to define, and impossible to ignore. Forrest Day is one of the most innovative albums to be released thus far in 2011, a year to be remembered as the the one in which the pop music world finally saw the Forrest for the trees.

Rating: 4.5 Stars (Out of 5)

Learn more about Forrest Day at www.forrestday.com or www.myspace.com/forrestday.  Forrest Day drops on October 11, 2011. 

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Tally Hall - Good & Evil

Tally Hall - Good & Evil
2011, Quack! Media

Tally Hall had it all in 2008.  A major record deal to release their 2005 Indie smash, Marvin's Marvelous Mechanical Museum had been signed with Atlantic Records.  Expectations were for Tally Hall to catch fire throughout the Western Hemisphere the way they had in the Upper Midwest of the United States.   Atlantic seemingly signed Tally Hall with the expectation of quick profit from a regional powerhouse with a ready fan base and a proven album.  Consequently, little or no push ever materialized, and the major label release essentially tanked.  This is no reflection on the album, which remains one of the most creative and original musical creations of its decade. Tally Hall recently emerged with their second full-length album, Good & Evil.  Produced by Tony Hoffer (Beck, Depeche Mode, Belle & Sebastian) and originally funded by Atlantic Records, Good & Evil finds Tally Hall stepping back into the Indie world.

Tally Hall's mix of Beatles-esque melodies and arrangements, humor, and unusual perspective enhanced their distinctive blend of pop, classic rock and rap and helped make them one of the best known bands in Middle America over the past five years.  Those elements remain on Good & Evil, but with a bit more subtlety and maturity than in the past.  "Never Meant To Know" opens Good & Evil with a quasi-spiritual perspective on the wider world.  It's an acknowledgement of place for humanity, trimmed in a wonderfully compact pop/rock arrangement built on melody that will stay with you.  "&" is classic Tally Hall, a story song that starts somewhere in the middle and challenges the listener to catch up.  Big vocal harmonies and a quietly irresistible melody will grab and hold your attention across multiple repeats. 

The first single from Good & Evil, "You & Me", builds its chorus piece by piece, into a deliciously catchy and simple construction with 1970's AM pop influences.  This has real commercial potential, particularly in the licensing realm, and serves as a solid reminder that for Tally Hall, melody is always a distinct consideration.  "Cannibal" uses melody and harmony as a weapon, buttressing one of the catchiest tunes to cross this desk in 2011.  Release this as a single, and you'll have a moderate hit at the very least.  Given the right timing and backup, "Cannibal" could garner Tally Hall all of the recognition they deserve.

"Sacred Beast" is a catchy, off-the-wall pop tune with an infectious melody.  The combination of quirky pop structure, gentle humor and a tune you simply can't get out of your head might deceive you into thinking this is pure fluff, but there's actually some fairly insightful allusions to human behavior and imperfection woven deep within.  "A Hymn For A Scarecrow" has an almost epic pop feel to it, exploring a quirky spiritualistic embodiment of the song's subject in a beautifully constructed number that takes liberties with traditional pop song structure ala The Beatles.  "The Trap" is a meandering musical exploration of the powerful nature of expectations to hem us in.  Playing almost like a run-on thought, Tally Hall builds in sonic surprises along the way to keep it fresh.

"Turn The Lights Off" is a driven, quirky pop number with an unforgettable chorus.  Kudos if you can sit/stand still through this number, which gives "Cannibal" a run for its money, and fits in sonically with latter day Barenaked Ladies material.  "Misery Fell" is built on the sort of melody and simple pop arrangement that made McCartney such a success with the Beatles and afterward.  After all that, it's also a song that will make you think, particularly in light of the difficulties the world faces in the present day.  "Out In The Twilight" would have been a major hit in the late 1970's or early 1980's, showing a bit of Alan Parsons influence in the songwriting and sound.  The vocal triads layered over the arrangement create a glorious sound that is an aural treat.  "You" shows the band's contemplative side, an almost melancholy song of devotion that stands out for its utter singularity on the album.  "Fate Of The Stars" is a sonically gorgeous song written in non-traditional structure.  This is Tally Hall at their most creative, stitching together musical ideas into a sonic quilt that is both surprising and refreshing in its originality and continuity.

Good & Evil took six years to make, and shows both the distinctive musical and compositional talents Tally Hall showed on Marvin's Marvelous Mechanical Museum and a growing maturity and subtlety that is the sign of artists growing in the confidence of their craft.  Both more and less than their previous work, Good & Evil will continue to build the Tally Hall mystique, on a road that seems destined to have Tally Hall one day headlining tours in major amphitheatres and stadiums across the country.  While perhaps a reflection of the current state of Tally Hall's collective muse, the rap components infused in their prior work served to broaden the band's sonic appeal, and the absence here is notable.  Nevertheless, Good & Evil shows that Tally Hall has managed to bypass the dreaded sophomore slump.

Rating: 4 Stars (Out of 5)

Learn more about Tally Hall at www.tallyhall.com, where you can also watch all ten episodes of  Tally Hall's Internet Show.  Good & Evil is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Artist Of The Month: Sami.The.Great - Nothing Left To See

Sami.The.Great - Nothing Left To See
2010, Bold Love

They say big things come in small packages. Whomever coined that phrase might have been thinking of Sami Akbari, AKA Sami.The.Great. Once a small fish in the big pond of the New York City Indie singer/songwriter scene, Akbari has made a name for herself with honest, creative songwriting and a dynamic presence on stage, in-person and in the studio. Akbari’s latest EP, Nothing Left To See, shows an artist very much coming into her own. Akbari shows a musical grace and maturity far beyond her relatively tender years, and displays the melodic temperament of some of the great acts of the British Invasion (The Beatles included). Sami.The.Great also has the honor of being Wildy’s World Artist Of The Month for August of 2010. Take note of her name(s), and don’t be surprised if she becomes a national (and perhaps international) presence over the next few years.

Nothing Left To See opens with "Love's A Losing Game", a bright and airy song of incandescent cynicism that is heartbreaking in its simple acceptance of a losing hand. Akbari has a voice that's as sweet as wine, and hearing her wax poetic about the inevitability of loss is a compelling experience. Truth be told, it's a wonderfully crafted song befitting a songwriter of many more than Akbari's early 20-something years, and Akbari delivers it with a deft coolness that will surprise you. "Nothing Left To See" isn't so much a come as a baring of the soul to love; Akbari lays it all on the line in one of the most honest and revealing pop songs you're likely ever to hear. You'll find yourself hanging on her every word, and your heart will leap with Akbari's voice as she ascends into her angelic upper register. In "Lose You" Akbari faces the heartbreaking realization that in order to be herself she needs to give up someone she loves. The song is heart-wrenchingly beautiful and sad. Akbari once again dips deep into the well of honest emotions and events and surprises with both the candor and musicality of the song.

"Satisfy" laments the speed at which life passes us by; not so much sad for the things she's done but an acknowledgement that whatever our choices there are things we miss. The song is a lush exploration of the emotions surrounding that one friend who always grounds you no matter how crazy life gets and no matter how far away from your roots you feel. Akbari's cover of The Police's Roxanne is dance-beat infused barn burner full of sensuality and tension. In this case the dance beat sounds a bit contrived, but Akbari's vocal is so full of vitality you can pretty much ignore the distraction. Nothing Left To See closes with "Wasted Emotion", a pensive and dreamy capitulation to a relationship that doesn't work but which she can't walk away from. There's a sense of déjà vu that underlies this song, as if she's been here before and made the same mistake time and time again but somehow cannot pull away.

Sami.The.Great indeed. I don't know where the New York City music scene has been hiding Sami Akbari but the secret is very much out. Nothing Left To See shows Akbari in many lights, and each displays an artist truly on the rise. With a voice that can hang you out to dry, break your heart and welcome you in all in the same breath, and a deft touch for songwriting that speaks of wisdom well beyond her years, Sami.The.Great is one big break away from being a household name. Nothing Left To See can be nothing less than a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Sami.The.Great at http://www.samithegreat.com/ or www.myspace.com/samiakbari.  Nothing Left To See is currently only available via iTunes unless your lucky enough to catch Sami.The.Great live.  Expect wider distribution to follow.

Review: Kate Miller-Heidke - Curiouser

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

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

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

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

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

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

Rating: 5 Stars (Out of 5)

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

Review: Every Boy - The Last Lala's

Every Boy - The Last Lala's
2009, Every Boy

New York City-based Every Boy has a lot of musical friends. His debut album, The Last Lala's features Ben Peeler (The Wallflowers), Tom Freund (Ben Harper), Brian LeBarton (Beck) and Adam Topal (Jack Johnson). Produced by Grammy winner John Holbrook (Pink Floyd, The Rolling Stones, Natalie Merchant, The Isley Brothers, Fountains Of Wayne) and Freund, The Last Lala's mixes a Zen approach with an eclectic Pop sensibility in its best moments.

Every Boy opens with Life Is For Living, an interesting tune about the important things in life. Every Boy's vocal delivery is somewhere between Peter Gabriel and James Blunt here. The most enjoyable song on the disc, Im2b, is highly catchy with a Beatles-inspired sound. Im2b has real potential as a single; infectious enough to catch hold on the radio with the right break. Every Boy treads the path of relationship insecurity on Would You Still Love Me?; exploring all of the things he could do or become and asking whether his beloved would still love him. The vocal line gets lazy here, with Every Boy sliding around notes like they were theoretical concepts. Chinese Wine sounds like a Frat house rant, falling prey to its own repetition. Every Boy makes a positive turn on Keep On Keeping On, displaying strong Pop sensibility and a sing-a-long chorus. Lyrically there are some awkward moments, but the song is so catchy you won't care. Every Boy says goodnight with Unturn Every Stone, a ploddingly melodic tune that perhaps takes a bit too long to get where its going but isn't bad for all that.

Every Boy hits a couple of high moments on The Last Lala's, but spends much of the album mired in mediocre energy and an easy going approach that fails to reach out to the listener. It's clear that Every Boy has the talent to write and play great music, but too often on The Last Lala's easy choices beget easy music, resulting in songs that slip away from the mind easily once they're done. Take what you can from The Last Lala's and see what Every Boy comes up with next.

Rating: 2.5 Stars (Out of 5)

You can learn more about Every Boy at http://www.everyboy.net/ or www.myspace.com/everyboyrocks. You can purchase The Last Lala's as either a CD or Download from Amazon.com.

Review: Hyperstory - Hyperstory

Hyperstory - Hyperstory
2009, Pureland Records

Hyperstory is the brainchild of Los Angeles musician C. Scott Blevins; a loop-driven mix of organic and electric/electronic rock crafted brick by brick. Blevins recorded in numerous spaces with varied personnel and setups to bring sonic variety and an old school feel to Hyperstory, his debut album. Brooklyn, NY's Julian Cassia contributed vocals to the project, and instrumental support came from Joey Waronker (Beck); Deron Johnson (Seal, Miles Davis); Chris Chaney (Janes Addiction) and a host of other friends and acquaintances. Blevins aimed to not only make a collection of great songs, but a great album in the classic sense. Hyperstory will be available on November 10, 2009.

After a brief Prelude, Hyperstory gets things moving with A Happening, a plodding mellow pop tune full of a melancholy angst that closes with something akin to Gregorian Chant. As an opener it's quirky enough to get your attention yet just bland enough to make you hunger for a bit more. Something Good takes a more vibrant tune, sounding something like The Moody Blues might if they were starting out today. Something Good has the right hooks and sound to break the radio wall with the right push. Will It Ever Change is a post-ambient rock tune with Chicago-style horns and an impassioned flair that flows from the previous, spoken word track, Mandate. Ascension gets a legitimate dance beat going and brings in the funk early and hard. The horns are here again, this time sounding a bit more like Tower of Power. This is a great instrumental track. Hyperstory closes out with two pleasant but essentially innocuous instrumental entitled A Reckoning and End Story, respectively. Both continue to vein established on Will It Ever Change and Ascension without really providing anything to the conversation.

Hyperstory is ultimately an album I walked away from with mixed feelings. There were a couple of great moments (Ascension, and to a lesser degree Something Good), but the rest just really didn't move me one way or the other. Hyperstory is a pleasant listen, but not something that compels me to come back. Perhaps it's all just a little too lush and a little too well produced; good songwriting but no risks. Risks are essential.

Rating: 3 Stars (Out of 5)

You can learn more about Hyperstory at http://www.hyperstory.com/ or www.myspace.com/hyperstoryofficial. Hyperstory drops November 10, 2009. Keep checking Hyperstory’s website for availability.

Review: Roche Limit - Sometimes We Must Change Shape

Roche Limit - Sometimes We Must Change Shape
2009, Roche Limit

Somewhere in the wilds of Vancouver, British Columbia dwells a man; some might call him a misfit - others a reclusive genius. Whatever your view of Dave Righton, or Roche Limit, as he styles himself, you'll find something to like in the music he creates. Shades of Beck, Nine Inch Nails and Ween inform his musical choices, wrought through voice, guitar, keyboards, didgeridoo and the magic of computers. Roche Limit's third album, Sometimes We Must Change Shape, dropped in May of 2009, and may just hold some of the most unique electro/organic compositions of the year.

Sometimes We Must Change Shape opens with My Friend Ship, holding to the intensity of Reznor and the lyrical and rhythmic magic of early Beck. It's a mid-tempo piece that would be welcome in any reputable club in the Western Hemisphere. Some One Else ponders the need of those in the limelight to change their personae in order to maintain their level of notoriety, pointing out the shallow nature of it all. The arrangement is deeply rhythmic and varied in sound and construction. Monkey Music has a distinctive vibe that's a bit too mellow to be danceable but still makes you want to move around in a post-Industrial setting. Roche Limit opens Cereal Offender on a more acoustic note before busting into a funky mix of acoustic and electronic instruments that will have you dancing and laughing at the same time. You'll also want to check out Greed, Nightwalk and I Needed This.

Roche Limit is so derivate that the sound he creates is unique. Fans of early Beck material in particular will love Roche Limit's mix of Rock, Folk and Electronica. As a whole I thought the album better than average, and there are some individual tracks here that are must-hear. Sometimes We Must Change Shape ends up being a good musical experience with a few rough spots; definitely worth the time.

Rating: 3.5 Stars (Out of 5)

You can learn more about Roche Limit at http://www.rochelimit.ca/ or www.myspace.com/rochelimit. You can purchase Sometimes We Must Change Shape as either a CD or download at CDBaby.com.

Review: The Public Good - No. 1

The Public Good - No. 1
2009, Lost Lyrics

Washington, D.C.'s The Public Good may look and sound a bit familiar to fans of the 1990's Chapel Hill, North Carolina scene that produced acts such as Hootie & The Blowfish and Edwin McCain. Another band from that much-celebrated scene was The Popes, featuring songwriters John Elderkin and Steve Ruppenthal, who now form the nucleus of The Public Good. Their debut album, No. 1, will be released on August 1, 2009. Produced by Brian Paulson (Wilco, Beck, Squirrel Nut Zippers, Superchunk), No. 1 features real life through the lens of classic singer/songwriter storytelling infused with wit, emotion and not just a little bit of charm.

No. 1 opens with Baby, Baby, Baby, a bit three-chord guitar pop at its finest. It's a very catchy tune about a husband/dad feeling left out once the baby arrives. This is a great pop arrangement with some Beach Boys style harmonies in the breadkown. (Imagine The Girlfriends I'd Have) If I Still Had Hair is a humorous what if song from an vocalist who sounds like he could be a third-cousin of Paul McCartney. There is a distinctive melodic sense to the songwriting even if the songs themselves range from brilliant pop ditties to aggressively mundane attempts at wit. The Only Way is a decent track with hints of The Tragically Hip woven in. Other highlights include Cigarette and Nightmare.

The Public Good may well turn out to be aptly named. The presentation on No. 1 is very rough, musically. There is some real story telling potential in the songs presented here, but there is also an innate awkwardness in the lyrical structure that needs to be worked out. Songs like Baby, Baby, Baby highlight that potential. In the right hands this could be a bit pop hit. For now, The Public Good is off to a good start. No. 1 is more than sufficient to help build a fan base.

Rating: 3 Stars (Out of 5)

You can learn more about The Public Good at www.myspace.com/thepublicgood or http://www.thepublicgoodonline.com/, where you can purchase a copy of No. 1.

Review: Reed KD - In Case The Comet Comes

Reed KD - In Case The Comet Comes
2009, Reed KD Music

Reed KD took an unusual path to recording his album In Case The Comet Comes. Spending much of 2007 and 2008 living out of his car, Reed traveled around the west and mid-west taking in the land, the culture and most importantly, the music he encountered. Returning home to northern California, Reed essentially scratched together In Case The Comet Comes with borrowed equipment, a laptop and the help of friends and family. The result is a neo-folk adventure that draws comparisons to Elliott Smith, Simon & Garfunkel and even Beck.

Reed KD has a voice that is at times reminiscent of Art Garfunkel in his Simon & Garfunkel days; strong, clear and with a distinct yet lonely beauty that is striking. The entire album is a sonic wonderland. Reed KD writes like a singer-songwriter with a folk sensibility and enough pop orientation to keep everything flowing freely. The album opens with This Is It, a highly energetic acoustic rock song with shades of Celtic and Country thrown in. This is the perfect album opener; virulently catchy and one of the few full-on acoustic tracks I’ve heard that could make noise in a pop market as is. If The Tide Swings encapsulates that sense of lonely beauty that Reed KD projects in his music. The protagonist is still holding on, not wanting to lose what he has, but almost helpless to do anything other than observe as things play themselves out. The song is well-written and the story flows almost like in a well-crafted movie.

Winding Roads could turn out to be a classic folk tune. The finger-pick arrangement is gorgeous, and the lyrics are well-written and beautifully sung. Don’t be surprised if this song gets covered by someone big in the folk world down the line. Reed KD slows things down with a lazy country tune on In The Grass. The song is as relaxed as its subject and almost meanders from Reed KD’s guitar and lips than anything else. My favorite song on the disc is Cactus Garden. Reed KD again walks the fine line between Country and Celtic music styles here, with a memorable melody supporting wonderful imagery, and the musicianship here is absolutely top notch. Space Vacuums is perhaps the oddest song on the disc; not really consistent with the rest of the material presented here, but ethereal and lovely in its own fashion. You’ll also want to check out Hippie Chicks, Keep M Bags Packed and Sleepless Nights In Bed.

Reed KD is not your typical Pop/Rocker. His songs have a distinctive Pop sensibility, but are rooted in Folk, Country and even Celtic origins. In Case The Comet Comes is a breath of fresh air. The songwriting is distinctive and well crafted; the musicianship is Grade A, and the vocal performances are the sort you’d be happy to listen to all day. In Case The Comet Comes is one of the best “out of nowhere” albums thus far in 2009. Let’s hope we hear a great deal more from Reed KD in the future.

Rating: 4 Stars (Out of 5)

You can learn more about Reed KD at www.myspace.com/reedkd or http://www.reedkd.com/. You can purchase a copy of In Case The Comet Comes at www.cdbaby.com/cd/reedkd3.

Review: Herm - Monsters

Herm – Monsters
2009, Catchy Go Go Records

Irish singer/songwriter Herm (aka Kevin Connolly) is as enigmatic as they come. Busting genres as easily as Frankenstein breaking through walls, Herm defies categorization with wonderfully melodic and unusual songwriting. Because of his originality and talent, Herm also tends to attract high quality musicians who thrive on and contribute to the creative milieu, creating an artistic snowball effect that is only to the listeners benefit. The net effect is immediately apparent on Herm’s full length debut CD, Monsters, release in 2009 on Catchy Go Go Records. Herm began writing songs at the age of eight (a tune about alcohol addiction) and has never looked back.

Monsters opens with the dark, Americana of The Way, sounding like the Skydiggers/Cash Brothers in minor keys. Kevin Connolly has one of those voices that isn't pretty, per se, but is very enjoyable to listen to due to all of the character and nuance it expresses. The rhythmic, urgent and slightly creepy nature of the opening track is a great start, putting the listener on notice that the expected can't be found here. Year Of The Horse finds Herm in an exquisite duet with Nina Haynes. There's almost a baroque feel to the sound as violin and cello accent acoustic guitar, piano and percussion. Monsters is an amusing, well-crafted song about prejudice and fear. The song title was adopted for the album title because the songs presented here all took on a life of their own and became at times unrecognizable from their original forms.

Rosemary is something of an alternative love song focusing on obsession and unhealthy relationships. The song has a swaying, good time quality that belies the uncomfortable subject matter. The Long Way Down has a demented, slightly creepy sound to it and is one of the more compelling listens on Monsters. Be sure to check out Cellar Door, which continues the creep factor in Hitchcockian fashion. My favorite song on the disc is The Best Bit, a wonderful diatribe on relationships built on a lyrically dense and urgent vocal line that sounds like a cross between The Beastie Boys and Beck. The guitar and bass here are full of funk, making for a highly danceable, highly entertaining track.

Herm is an artist who is hard to pigeonhole. There is no specific marketing niche that he fits into, yet I suspect that with the right exposure he'll develop broad appeal. The music is sufficiently dark to appeal to fans of Goth styles, with enough wit to draw a lighter crowd, and just off the wall enough to shock listeners out of their pre-conceived notions about what rock music should be. Monsters is an outstanding debut.

Rating: 4 Stars (Out of 5)

You can learn more about Herm at http://www.herm.tv/ or www.myspace.com/hermwork. You can purchase a copy of Monsters at www.cdbaby.com/cd/herm.

Review: Friday Nights - Friday Nights

Friday Nights - Friday Nights
2009, Friday Nights

Los Angeles-based duo Friday Nights is comprised of singer/songwriter Mike Castillo and musician/songwriter/producer Shon Kornfield. Castillo previously led L.A. rockers If You See Kate, while Kornfeld’s credits include Helen 55, Fontaine, Stanford Prison Experiment and Bulletboys. Their debut album, Friday Nights, was produced by Ken Andrews (Nine Inch Nails, Beck, Jimmy Eat World, Blink 182), and features songwriting from both.

Friday Nights opens with the catchy and highly infectious anthem Self Inflicted. The rhythmic feel of the song combined with distinctive vocals and killer harmonies make Self Inflicted one of the more memorable pop/rock songs of the year, to date. Whose Side Are You On reminds me a bit of the writing style of Colin Hay and Men At Work in another very catchy offering. Hey Jeremy is a song about following your dreams and inviting folks you know along for the ride. Takeover begins with big driving rhythms and evolves into another highly catchy pop/rock gem. You'll also want to check out Personal Holiday, Grow For You and Anchors Away.

Friday Nights have a very catchy sound that holds a great deal of commercial potential. Some of the slower material here drags a bit, particularly because Friday Nights seems to vacillate between wanting to be an ethereal rock band or a Pop/Rock dynamo. The songs along the fault line of the two styles are well-written, but Self Inflicted is likely the class of the album. Be sure to check out Friday Nights!

Rating: 3.5 Stars (Out of 5)

You can learn more about Friday Nights at www.myspace.com/fridaynightsmusic.com. You can purchase a copy of Friday Nights on either CD or via download at http://www.fridaynightsmusic.com/.

Review: Robert Joseph Manning, Jr. - Catnip Dynamite

Roger Joseph Manning, Jr. – Catnip Dynamite
2009, Oglio Records

Roger Joseph Manning, Jr. has quite the Rock N Roll resume: Keyboard player for Beatnik Beatch, Jellyfish and Imperial Drag, and highly involved in The Moog Cookbook. Manning has also done session/tour work with Beck and French group Air. These days Manning does session work and composes soundtrack (Sophia Coppola’s Lost In Translation) as well as writing commercials for VH1, Comedy Central and the like. Somewhere in there he also found time to write and record a new solo album entitled Catnip Dynamite. True to its title, the album is intoxicatingly good.

Catnip Dynamite is retro-rock with a modern edge. The harmonies here evoke thoughts of The Beach Boys, Queen and Styx. Manning is a highly accomplished songwriter, presenting intricate and interesting song construction, lyrical content and melodic flow throughout the album. The other interesting facet of the album is the recurrence of philosophical/religious imagery and themes throughout the album. I don’t get the feel that this is a religious album, but some of these deeper concepts certainly appear to be weighing on Manning at this point in his life; at times in serious terms and perhaps at times with ironic intent. The album opens with The Quickening, where Manning sounds more than a little bit like Prince vocally. The harmonies transform from a Brian Wilson-era Beach Boys sound to Freddie Mercury led Queen. This is a great pop rock song that would fly on commercial radio in almost any era. Down In Front is a retro-mod rock tune similar to bands such as Woodward or Tally Hall. My Girl has a strong bubblegum pop feel without being frivolous.

One of my personal favorites here is Imaginary Friend. The song is an amusing listen but the sound is like what you might get if The Doors sat down and jammed with They Might Be Giants. Perhaps the piece-de-resistance here is Haunted Henry, an amazing tale of a veteran ravaged by the ghosts of his experiences. This is an extremely melodic piece with Brian Wilson harmonies that doesn’t come across as overtly anti-war but certainly makes strong points about the cost of war for those who come back home. Haunted Henry is sonically gorgeous. Tinsel Town is a fun song that berates celebrity culture and our fascination with it. You should also be certain to check out The Turnstile At Heaven’s Gate. Reflecting on the concept of reincarnation and the judgments of an afterlife, Manning has crafted a melodic/harmonic mix that sounds like The Beatles meets Queen.

Survival Machine opens with faux harpsichord in a piece vaguely reminiscent of Suite Madame Blue, but that’s just a warm up for Living In The End Times; possibly the greatest apocalypse song ever written. Here Manning mixes tremendous harmonies with a tongue-in-cheek glam rock swagger. The album closes out with four live tracks. Drive Thru Girl is a campy ode complete with kazoo orchestra that you just have to hear. You Were Right sounds like something that might have come out of a Supertramp session, and Manning’s live take on Elton John’s Love Lies Bleeding sounds a bit like Billy Joel covering Elton John.

Catnip Dynamite is so good it’s exhausting. You can listen to this album casually but you won’t get everything out of it that you might. Manning has always had a taste for classic rock and interesting compositions, but Catnip Dynamite represents a plateau in his career. Having been familiar with much of his work prior to this, I think it is safe to say that Catnip Dynamite may be the best he’s written/recorded to date. Don’t miss Catnip Dynamite, a Wildy’s World Certified Desert Island Disc!

Rating: 5 Stars (Out of 5)

You can learn more about Roger Joseph Manning, Jr. at http://www.rogerjosephmanningjr.com/ or www.myspace.com/rogerjosephmanningjrmusic. You can purchase a copy of Catnip Dynamite on Amazon.com, or you download the album through iTunes.

Review: Spygirl - Pieces Of Evidence

Spygirl – Pieces Of Evidence
2008, Spygirl Music

Vancouver’s Spygirl took eight long years to release their second disc. Their self-titled debut hit shelves in 2000. The band went through some changes over the years, but re-engaged with producer Tom Rothrock (Beck, Badly Drawn Boy, Sloan, Elliott Smith, James Blunt) to release 2008’s Pieces Of Evidence. Born of a longtime collaboration between vocalist Koralee Tonack and multi-instrumentalist Jane Gowan (no idea if she’s related to Styx’ Lawrence Gowan), Spygirl started out as Time Waits. The band is a collection of incredibly talented musicians, and Tonack’s voice is amazing.

Pieces Of Evidence opens with Come Out To Play, a down-tempo song about coming out of your shell and letting go of your fears, yet it sounds mired in a deep melancholy. Where Did Those Stars Come From has an almost ethereal, Mazzy Starr quality to it. Feeling Fine is ambivalence personified; a self-affirmation that is without real energy or life. The vocals and harmonies here are gorgeous, but the energy just isn’t there. Feeling Fine is, unfortunately, a microcosm of Pieces Of Evidence. Well constructed songs fed by pretty harmonies, a lead vocalist with a great voice, and little or no energy to drive it. Mellow and ethereal music are fine, but even mellow music has life and vitality to it. Spygirl comes across as a very talented outfit that just isn’t challenged by or interested in what they are playing. This is unfortunate because there are some wonderful elements here. And Spygirl even tries to make a late save with Be Lost and Weight Of The World, but it’s too little too late to hold on to the listener. The final track, Dust, is a reserved story song where Koralee Tonack really comes to life on vocals. It’s really a worthwhile performance, but most listeners won’t stick around that long.

Rating: 2 Stars (Out of 5)

You can learn more about Spygirl at http://www.spygirlmusic.com/ or www.myspace.com/spygirlspygirl. You can purchase a copy of Pieces Of Evidence at MapleMusic.com or as a download through iTunes.