Myloe - Empty Out Your Mind

Myloe - Empty Out Your Mind
2012, Myloe

Myloe is an enigma.  Originally formed by Berklee student Fred Mubang in 2012, the band has grown to include Mubang on guitar and songwriting duties; Alan Hokom on vocals and guitar; Tom Shani on bass and Zach Mullings on the drums.  The style and sound on Myloe’s Empty Out Your Mind evokes thoughts of the progressive era of classic rock, as well as jazz, new wave and even a touch of reggae.  Unusual song structures and occasionally even time signatures show up in the music, and the musicians in the crowd will be intrigued. Andy Warhol fans will even be enamored with the themed cover art.

Myloe kicks things off with the energetic pop/rock title track, which laments the state of a world in decay. Vocalist Alan Hokom is memorable and vibrant, and the band manages to rock out for five plus minutes on big hooks and even bigger pretensions. The reggae bridge is stylish and an intriguing turn, but actually saps the song of some of its vigor. "Paradox" features more of a droning alt-rock style and is dressed in darker musical undertones. The energy is still very much there, and Hokom works the lead like a classic front man. "In Your Eyes" explores the bounds of insecurity and insecurity as impediments to a life fully lived. Myloe works a prog rock archetype sewn with melancholy in the inseams for a wonderfully melodic and dark anthem.

On "Sidetracked" Myloe plays to all constituencies, incorporating elements of pop, classic rock, funk, jazz and bossa nova in a wonderfully varied and yet cohesive arrangement. "Standstill City" opens with a bass riff reminiscent of Jethro Tull before turning into an angular rocker with dynamic harmonies and a driven, stream of thought style vocal line. The guitar work here is stellar, and Myloe appears to be hitting on all eight cylinders. Empty Out Your Mind fades out to the expansive and guitar driven meditation "What Is Paradise". There is a weighty angst around this song that's built of disillusioned beliefs and dashed dreams. It's quite a listen, and will have the guitarists in particular out there trying to recreate some of the wonderful textures in the arrangement.

Myloe certainly has something interesting cooking on Empty Out Your Mind.  From the deliciously angular guitar work at the outset to the well-crafted arrangements throughout the EP, Myloe is a musical force to be reckoned with.  Add to it the precise songwriting of Fred Mubang and the high energy performances of vocalist Alan Hokom and you have a recipe for grand success.  This is the sort of EP that can break a band in a big way.

Rating: 4 Stars (Out of 5)

Learn more at www.facebook.com/myloetheband  or myloe.bandcamp.com. 

 

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.

Syzygy - Realms Of Eternity

Syzygy - Realms Of Eternity
2009, FHL Records

Cleveland, Ohio rockers Syzygy have been developing their sound and identity for a number of years, first under the name Abraxas and later as Witsend. As the band developed and personnel changed, it became clear that the name Witsend would be more trouble than it was worth, and the band chose the moniker Syzygy. An alignment of the Earth, Moon and Sun, Syzygy often represents a coming together, and the name has never been apropos. Syzygy has found a sound that is both classic and fresh, relevant and magical. On Syzygy’s latest album, Realms Of Eternity, the band tackles the spiritual world and the afterlife. The themes on Realms Of Eternity are Judeo-Christian in nature, but Realms Of Eternity seems more of a metaphysical album than a religious one. Either way, it’s some of the most intriguing progressive rock of last few years.

Imagine 1970's Prog rockers Yes with Dennis DeYoung sitting in for Rick Wakeman on keys. Further imagine that this new band also engages in the occasional Jethro Tull-styled diversion, and you'll have a pretty good idea of the sound and range that Syzygy displays on Realms Of Eternity. Opening with "Darkfield", Syzygy gives us a moody and pensive tune that moves quickly to big dynamics, detailing the fall of Eden in song as the beginning of the conflict between God and Satan. Syzygy paints this story against a grand musical canvas, cast highs and lows; darks and lights as they balance the beauty of Paradise with the tension of the eternal struggle over its former inhabitants. "Vanitas" is an instrumental rock orchestral movement about Adam & Eve's self-discovery (and discovery of shame and vanity). It's a stylized representation that works well.

"Dreams" is a grand, theatrical rock number about hope. Keyboardist Sam Giunta channels early-1970's Dennis DeYoung here, and there's a definite James Young flair to the guitar line. "Echoes Remain" could have come right out of a Jethro Tull session circa Songs From The Wood, right down to its philosophic mien. Syzygy turns more to a Rick Wakeman style keyboard sound for "Dialectic", using significant instrumental and vocal layering to build a sound that is at once majestic and intellectual. At over sixteen minutes in length, "Dialectic" offers ample opportunity for instrumental airplay, and Syzygy doesn't miss a single opportunity, playing out a musical narrative of trials and tribulations.

Syzygy takes us on an interesting side trip, transitioning from the peaceful interlude of "Arranmore Isle" into the dark energy of "Overture" before resolving into the light air that flows into "The Sea". "The Sea" details man's yearning to return to God. Mankind hears the voices of the departed across the sea; those who have already returned to their home, and yearns as one to return to where they came from. Hope resurfaces on "The Morning Song", promising all of the wonderful things that Paradise can bring. "Variations, Part 1" and "Variations, Part 2" are both Yes-like in structure and sound, offering the musical equivalents of a movie's deleted scenes and alternate endings. Syzygy does venture into some interesting musical divergences, but these two tunes are for the serious Prog fans and instrumentalists out there who like to pick complex compositions apart for fun. "Reflection" is a moment of contemplation of Faith that leads into "Finale", a joyous yet rocky journey to reunion with God. The song is punctuated by big guitar solos and dynamic interplay; building into a frenzied peak before drawing down to a slow legato that then builds into a Styx-style closing chorus.

Syzygy pulls out all of the stops on Realms Of Eternity, paying homage to some of the most dynamic sounds of the Prog rock era and building on them in new and interesting ways. The heavily religious theme may put some off, but the album plays more like a Dante narrative than a sermon, and can be seen as a parable for man's eternal struggle to be independent set against his eternal need to be loved. Realms Of Eternity is one of the best Progressive rock albums of the past few years.

Rating: 4.5 Stars (Out of 5)

Learn more about Syzygy at http://www.syzygymusic.com/ or www.myspace.com/syzygymusicenterprises. Realms Of Eternity is available as a CD or Download from Amazon. Downloads are also available via iTunes.

Review: Steve Lieberman - DiKtatoR 17

Steve Lieberman - DiKtatoR 17
2009, Steve Lieberman

The Gangsta Rabbi is at it again, releasing his 17th CD in the last 7 years. DiKtatoR 17 is vintage Lieberman with a twist, offering up 22 tracks of Psychedelic Punk focusing on social injustice, Judaism, living with Bipolar disorder and showing a remarkably light sense of self-deprecation. Lieberman's style of bass-driven punk accented with Jethro Tull-style flute playing has won him fans and admirers throughout the New York City Indie music scene, and The Gangsta Rabbi doesn't disappoint on DiKtator 17. The same righteous indignation at the unfairness of the world is here, but behind it all, you'd almost think Lieberman has reached a point in his life where he's happy.

DiKtatoR 17 opens with Obama-Rama Yeah, a joyous celebration of the election of Barack Obama as President of the United States. Lieberman is notoriously hard to understand at times, a fact that he lampoons later on in Novelty Hit. Novelty Hit is one of three songs in which Lieberman takes gentle swipes at himself, something that hasn't been readily apparent in previous efforts. On Pay To Play Lieberman sings "If I didn't pay to play I wouldn't play anywhere at all". Lieberman also takes a playful swipe at himself in I Should Have Been A Musician. The DiKtator is an interesting track, sounding something like The Ramones playing with Wesley Willis.

Lieberman throws in a couple of unusual covers on the album as well. Waler'Ah (Happy Wanderer) is a unique take on Friedrich-Wilhelm Moller's tune that might just live in infamy. The song, originally titled The Happy Wanderer was an international phenomenon in the early 1950's, and a major Pop hit for the Obernkirchen Children's Choir. I don't know if Moller would ever have conceived of the Punk arrangement Lieberman sets it in, but I almost tend to think he wouldn't be displeased either. Lieberman also mines the Jerry Bock/Sheldon Harnick penned Fiddler On The Roof for Sunrise, Sunset in a highly entertaining turn. I Wish That I Was Hot is another surprise, an enticingly Pop/Punk missive that sounds like it could be soundtrack material for a teen comedy like American Pie. Lieberman hasn't lost his touch on social justice issues (We Have No Rights!, Terrorist, The Labourer), and displays a wicked sense of humor at times (Poopin' At Work). He even touches on his illness, singing the praises of Alprazalam and crediting it for who he is today. Perhaps the most telling moment on the album, however, is G-D Loves Me Tho' I'm Crazy. Once you get to the bottom of Lieberman's story you find a man who perhaps is finally at peace with himself; at least in that moment.

Steve Lieberman, AKA The Gangsta Rabbi is about as eclectic as they come. While he could be dismissed as a novelty, the fact of the matter is that Lieberman is a genuine street poet; speaking the vernacular of a ghetto that exists in all major cities but perhaps isn't recognized because society has colorized our views of what a ghetto is and is not. DiKtatoR 17 might be Lieberman's best work yet, if only because the humanity in his music is becoming more and more human with time.

Rating: 4 Stars (Out of 5)

You can learn more about Steve Lieberman at www.myspace.com/gangstarabbi or http://www.gangstarabbi.com/, where you can purchase a copy of DiKtatoR 17 or any of Lieberman's other recordings.

Review: Kori Linae Carothers - Trillium

Kori Linae Carothers - Trillium
2009, iRonkNod Records

When William Ackerman signs on to produce for an artist it creates an expectation of quality and musicianship that can be hard to match. Apparently that wasn't a problem for Kori Linae Carothers. Her third album, Trillium is a breath of fresh air, taking modern instrumental music out of the office and off the phone queue and establishing a high watermark for other artists to follow. A fan of music from the first time she heard The Beatles, Kori was entered into piano lessons by her parents as a young age. Carothers showed love of a compelling mix of musical styles, everything from Beethoven and Mozart to Shadowfax, Will Ackerman and John Williams; even Led Zeppelin, Jethro Tull and Herb Alpert. The result is an incredibly balanced and nuanced ear; a touch for melody and song construction that goes well beyond her classical training. Playing piano, synth and Native American flute, Carothers weaves magic on her musical loom.

Trillium opens with Crystal Fields, a haunting theme on cinematic scope. There are pianists who are mechanics and then there are artists who can put more emotion into a single stave than the mechanics could put into an entire symphony. Carothers is an artist, bending melody to her will with the subtle touch of finger to key, and when violin or flute come to dance around the piano the sound is magical. From the classical strains of Crystal Fields are born the modern sounds of Blue Ice. Carothers here sounds more like a purveyor of 1980's soundtrack electronica (think Tangerine Dream), creating a pleasing if simplistic sonic landscape for the listener. A Rose's Tale is a gorgeous piece that makes me think of the sort of music Tori Amos might have written if she'd stayed at conservatory. Carothers' subtlety is balanced with bursts of energetic expression at the piano that is shadowed by the dream-like tincture of harpsichord in my personal favorite composition on Trillium.

Midnight follows an interesting path, mixing a pop sounding theme with nearly classical construction. The result sounds like something from a movie score; able to wind in and out of the scenery as an essential component of the picture without drawing too much exposure to itself. The same quality can be found in Nez Perce, with Carothers stepping forward with the Native American Flute. The theme here is haunting and dreamlike, sounding like Carlos Nakai playing with Edgar Froese, as the acoustic and electric blend in mystical ways. Carothers goes a decidedly more modern route on Tangled Up and Dancing In The Clouds. Tangled Up ends up sounding more stereotypical of the new age piano crowd, which Dancing In The Clouds takes an interesting Latin detour, complete with Herb Alpert style trumpet. Carothers offers up a settee piece in The Long View. This is a track that could be a background track but is too busy and full of life to stay there. Rather than blending into the scenery and informing the flow of conversation, The Long View will threaten to become part of the conversation. It's not an overly complicated piece, but exudes its own energy and liveliness that simply can't be put aside easily. Carpe Diem travels in similar circles as Delirium; a Celtic feel pervades over a trippy beat and a Sarah McLachlan-esque vocal part. Carothers says goodnight with 3 Degrees, returning the Classical/Pop hybrid that seems to be her forte (and again sparking thoughts of a young Tori Amos at the keys). It is a fitting end, as often Carothers seems to shine brightest when it's just her and the piano, although the acoustic guitar is a nice touch here.

Trillium is full of magic, ranging from Classical composition to Pop/Easy Listening and even skating onto the ice of Trip-Hop. Kori Linae Carothers writes and plays what she feels, and it's strongly evident from opening notes of Trillium to its last majestic fade. Will Ackerman once again gets stellar marks on production, although he should be lauded also for his ability to select artists who are really a cut or two above the average. Trillium is full of magic and wonder and haunting reverie; sample the fragile yet beautiful magic within.

Rating: 4.5 Stars (Out of 5)

You can learn more about Kori Linae Carothers at http://www.koritunes.com/ or www.myspace.com/korilinaec. You can purchase a copy of Trillium through CDBaby.com. Trillium is available as a download through iTunes.

Review: Go Time! - Speak

Go Time! - Speak
2009, Go Time!

Chicago's Go Time! was born from the demise of longtime Windy City faves Prairie Town, coming together in October, 2007 with Prairie Towners Scott Niekelski (lead vox/ guitar); Mark Marketti (bass) and Steve Grzenia (drums) casting their lots together. Go Time! wasn't complete until ex-Cromulents and ex-One Million Monkeys axeman Paul Schmidt came along. 2009 sees the release of the debut album from Go Time!; Speak draws from the same well as fellow Mid-Westerners The Psychodots (aka The Bears); mixing a working-class vocal ethic with mildly crunchy rock tunes you can really dig into.

Speak opens with You Know, a relatively monochromatic rocker with a Lowest Of The Low guitar style and a mildly catchy melody. This is bar rock at its most essential; not highly memorable but good enough for a Saturday night. Rust To Rust picks up the pace a bit with an edgy guitar opening and a driving rhythm to kick things into high gear. Niekelski sounds a bit like Ian Anderson on vocals. This is an excellent tune, built on a melody you won't be able to shake and a compact, concise arrangement that keeps things moving nicely. My Suicide is a high-energy, upbeat song about giving up and walking away; more about change than death, the song is a thoughtful for a rock tune that features some killer guitar work. Too Far Gone has a classic Southern/Garage Rock sound, like something Skynyrd might kick around in practice.

Wait And See continues with the Southern Rock style in a catchy and solid tune that likely plays well in front of a crowd. The relationship angst here is a bit atypical for the style but works well. Hey Day breaks out the Rockin' Rhythm N Blues in a dark tune that sounds more like the Tragically Hip than anyone else I can think of. No Sense To Lend harkens back to the 1960's Folk/Rock scene with a tune that's a decent listen but doesn't make a significant impression. Just Don't Know Why, on the other hand, is highly danceable Rock N Roll that will have you up and moving before the intro's done. Cost lays it open with a bit of Guitar/Pop/Punk that's as fun to listen to as I'm sure it is to play. Imagine if the Ramones and The Knickerbockers jammed together; it might sound something like this. Go Time! closes out with similar energy on the guitar rocker Cut And Run.

Go Time! is a strong band with decent material and a fun and frothy Garage aesthetic. Speak is a fitting debut for a band that's steeped in the past but hasn't forsake the future. The melodies in here range from average to above average, and there's a distinct emphasis on structure (thanks to the rhythm section of Marketti & Grzenia) that allows the band to stay tight in spite of the Lo-Fi approach. Speak is worth checking out, although I suspect Go Time! has more impact live than comes across on CD.

Rating: 3 Stars (Out of 5)

You can learn more about Go Time! at www.myspace.com/gotimeband1. You can purchase Speak as either a CD or download through CDBaby.com.

Review: Sound Liberation - Open Up Your Ears And Get Some

Sound Liberation – Open Up Your Ears And Get Some
2008, col legno Beteiligun

New York City’s own Sound Liberation isn’t just the name of a band, but a musical philosophy that runs all through their second album, Open Up Your Ears And Get Some. Classical, Jazz, Rock, Rap, Folk and anything else you can find in the musical cupboard might just show up in one of the thirteen tracks presented here. Sound Liberation has been together since 1996, playing such venerable NYC clubs as Joe’s Pub, The Cutting Room, The Knitting Factory and The Blue Note. They’ve also played some prestigious gigs around the globe, including the Blaine Jazz Festival (Blaine, Washington); the Etna Music Festival (Catania, Sicily); The Outreach Festival (Schwaz, Austria) and the Peekaboo Festival of New Music and Theater.

You just can't put a name or definition on what Sound Liberation does on Open Up Your Ears And Get Some. Listeners who don't know the score will come away thinking Sound Liberation is the most unfocused band they've ever heard. I picture the members of Sound Liberation sitting around in a musical writer's circle playing musical truth or dare, because no genre boundary is respected or detected here. Violin and cello intermix with electric guitar, flute, drums, bass and a host of other instrumental touches to create a recording as alive as creation itself. The album opens with Prelude 21st Century, a funk laden Baroque Rock instrumental that sounds like it might have been culled from an old silent film and married to its more modern elements. Which Of The Days is a hard-core rap tune done in organic instrumentation including Jethro Tull style flute riffs. Ashes' early moments revolve around a bass/cello duet that sounds like the product of a Steve Howe/Yo-Yo Ma collaboration.

Sound Liberation gets to rock out a tad with Oh Come To The Window, complete with lyric Italian vocal line. Like I said, no boundaries respected or detected. Be to check out Mozart and 21st Century Klezmer, one of the oddest and most amusing pieces I've heard since starting this blog over a year ago. Other highlights include the impressionist flavor of Infinity, the faux Flamenco of Unutterable and the Techno flavored Let Go Of My Soul.

Sound Liberation creates a widely variable and original tableau on Open Up Your Ears And Get Some. You can't help but be intrigued by such an ambitious and original cycle of songs. Even if you end up not liking the album, you won't feel cheated. Sound Liberation always keeps things new and interesting.

Rating: 3.5 Stars (Out of 5)

You can learn more about Sound Liberation at www.myspace.com/soundliberation or http://www.soundliberation.net/. You can purchase a copy of Sound Liberation from Amazon.com.

Review: Steve Lieberman - Diaspora; A Folk/Punk History Of The Hebrew Nation

Steve Lieberman - Diaspora: A Folk/Punk History Of The Hebrew Nation
2009, Steve Lieberman

The Gangsta Rabbi is at it again, this time with a musical telling of the travails of Israel and her children on Diaspora: A Folk/Punk History Of The Hebrew Nation. Diaspora is a highly interesting song cycle; based in Lieberman's trademark Garage sound, listeners will be extremely lost without a lyric sheet. Whether it's the vocal mix or issues of diction, I found it next to impossible to decipher the lyrics. Lieberman goes a bit further than just detailing the struggles of Israelites around the world; he assigns blame. Lieberman essentially chalks up all of Israel's struggles to sin; implying that each time Israel is separated from her land it is because her people weren't following God's will. Lieberman incorporates the flute into many of the songs here ala Ian Anderson, as always, and even plays with electronic instrumentation from time to time. Midianites comes across as a bit of cultural trash talk to all the peoples over time who scorned The Hebrew Nation but who found the end of their own cultural lines while Rachel's children continued on. Meri'bah-Kad'Esh caused me to chuckle a bit; it's a song about being freed from Egyptian dominance and sounds something like a polka.

The Fall Of Jerusa'lem introduces electronic instrumentation along with flute in bass in what becomes an interesting if slightly messy sonic stew. 4th Diaspora: The Endtime makes explicit what Lieberman has implied throughout; Israel constantly fights for her own survival because of her own sin, yet remains God's chosen people. The album closes out with For The Children Of The Ga'Za, reaching out to the innocent victims of Israel's on-going struggle with the Palestinians, bemoaning the deaths of innocents on both sides along the way.

Lieberman never fails to be provocative and straight-forward in song. Diaspora is no different. Lieberman tells stories drawn directly from the Torah colored by his own personal insights and beliefs. The result is a historical perspective with minimal political shading that is compelling for its willingness to share the blame. Diaspora is an interesting listen, but it is truly Lo-Fi and may just not fly for some listeners. Nevertheless, Lieberman is always worth a spin.

Rating: 3 Stars (Out of 5)

You can learn more about Steve Lieberman at http://www.gangstarabbi.com/ or www.myspace.com/gangstarabbi. You can also read reviews of Lieberman’s previous CDs Overthrow The Government and Psych Ward. You can purchase Diaspora or any of Lieberman’s other 15 albums by emailing him at SteveLieberman@gangstarabbi.com.

Review: Electric Sorcery - Electric Sorcery

Electric Sorcery – Electric Sorcery
2009, Electric Sorcery

Electric Sorcery grows from the fertile musical stomping grounds of Northern Vermont. They are something of a local super group, collectively being veterans of Vermont acts such as Viscus, Cobalt Blue, The Myra Flynn Trio, Hoochie Lumbardo and Money Jungle. Derek Campbell (guitar, vox, harmonica, fife, theremin); Micah Carboneau (drums, vox) and Nathanael Reynolds (bass) deliver an eclectic and psychedelic rock mix on their debut album, Electric Sorcery.

Electric Sorcery opens with Mother Sea, a funky bit of early 1970's hard rock. Electric Sorcery plays on the same psychedelic plain as Jethro Tull, Deep Purple or Jimi Hendrix, although perhaps with not quite so much imagination. Law & Order is a frenetic rocker with a quasi-rap vocal that sounds a bit like Rush on Roll The Bones. A Switch In 9 Saves Time has manic guitar work and an infectious energy but never quite evolves into more than a showpiece. No Angel is an electric funk mind bomb, ala Hendrix, with subtle guitar work, some funky bass and an eclectic rhythm track. My favorite track on the CD, Life Goes On, is built on some dirty guitar work and a driven vocal that's part Red Hot Chili Peppers. Other highlights are Son Shadow and The Nubians.

Electric Sorcery plays on the same plane as Tull, Deep Purple and Hendrix, although perhaps not on the same stage (metaphorically). What Electric Sorcery does offer is an update of classic psychedelic sound with the heart of an original and the hip nature of an upstart. Electric Sorcery is a fun listen.

Rating: 3 Stars (Out of 5)

You can learn more about Electric Sorcery at www.myspace.com/electricsorcery. Electric Sorcery is currently only available locally in Vermont, but if you contact the band through their MySpace page, I’m sure you can work something out.

Review: Melting Point - Get On The Bus

Melting Point - Get On The Bus
2009, Banana Man Records

Berkeley, California has been the home bass and hiding place of Melting Point since 2005. While in relative seclusion the band has been cooking up a mix of classic sounds and downtown rounds to try to add something new to the rock n roll stew. The result is their debut CD, Get On The Bus, a mix of Garage and Noise with a Seattle poise and a lot of testosterone thrown in.

Melting Point gets right to the cusp on Get On The Bus but never quite gets gaseous. A steady mix of Garage, Noize and Psychedelia is punctuated with the occasional Reggae jam or Grunge outpouring as a means to purvey the testosterone-laden lyrics Melting Point thrives on. More American Pie than American Idol, the quartet runs through thirteen decent to good tracks with no real, "Hey, who is THAT?" moment. The closest thing on the disc is Rainbow Tincan, which sounds a bit like heavier Jethro Tull. It's the most coherent and directional songwriting on the album and you could actually here this one getting played on the radio. The other material is interesting, from the Pearl Jam/Soundgarden hybrid Ishmael to the pure teenage male chutzpah of Core and Get On The Bus. Melting Point is great party music, particularly if its a frat party, but Get On The Bus is too steeped in its influences to really get original. There’s a definite demographic for Get On The Bus, but its not a large slice of the commercial pie.

Rating: 3 Stars (Out of 5)

You can learn more about Melting Point at www.myspace.com/meltingpointband or http://www.meltingpointband.com/, where you can purchase a copy of Get On The Bus.

Review: Spirit Of The West - Spirituality: 1983 - 2008

Spirit Of The West – Spirituality: 1983 – 2008
2008, Rhino Records (Canada)

Spirit Of The West celebrated their 25th year in 2008 with the release of Spirituality: 1983-2008, a 2-CD collection of some of their best material from across the years with two new songs thrown in for good measure. Spirit Of The West has traversed Canada many times over the years, and to a lesser degree the United States and Europe. Starting out as a Celtic folk group, the sound has evolved over twenty-five years into a more refined pop/rock/Celtic blend, but Spirit Of The West never forgot their roots. Where you are a long-time fan of Spirit Of The West, a passing acquaintance, or even if you’ve never heard of them before, Spirituality offers much to enjoy and needs to be on your “get” list.

For the fans of Celtic and Scot songs, Spirit Of The West brings much from their glorious past to Spirituality. Doin’ Quite Alright, The Crawl, The Old Sod and Home For A Rest all fit the bill quite nicely. Home For A Rest has been consistently ranked by Canadian music fans as one of the top Canadian New Rock songs of all time. Of course, Spirit Of The West had a distinct social conscience in their music as well. Political, their first real hit, is an amazing song about the imbalance in a relationship caused by an insecure or controlling partner. Long time fans will be happy to know that the original version of Political (from Labour Day) is offered here. (Putting Up With) The Joneses is a tongue in cheek look at the sort of damage socioeconomic elitism can lead to; even touching on the social taboo of Eugenics.

Spirit Of The West happens to have written one of the most amazing songs I’ve ever heard, and it’s included here. Take It From The Source takes on bigotry and hatred with a velvet glove lined with iron. The pen is mightier than the sword by far in this moving and powerful personal answer to one of the darker elements of human nature. Take It From The Source, like Spirit Of The West themselves, should be a lot better known than it is.

You can hear the progression from Celtic folk group to rock band occurring throughout Disc One of Spirituality, with Save This House being the first sign that something’s afoot. By the time we get to songs like Goodbye Grace, D Is For Democracy (Scour The House) and Big Head, Spirit Of The West have achieved a true pop rock sound while still heavily influenced by their Celtic roots. Disc Two completes the transition, with five tracks from the Michael Phillip Wojewoda produced Faithlift ((And If) Venice Is Sinking; Sadness Grows; Bone Of Contention; Death On The Beach and Is This Where I Come In). Faithlift was Spirit Of The West’s best selling album with a fair amount of cross-exposure on soundtracks, TV, etc. The instrumentation and arrangements still suggest their roots, but the production values are the pure pop genius Wojewoda has long been capable of.

Unplugged continues the run of social commentary in an upbeat song about Euthanasia and the right to die. Delivered with a wry smile, Unplugged has deep philosophical roots in the right of individuals to determine their own fate. Wishing Line and Our Ambassador find Spirit Of The West at the nadir of their pop/rock sound, almost wholly distinct from where they started out. The album was Weights and Measures, and while offering up songs wholly in the rock realm, Spirit Of The West offered distinct nods to the “old” sound with Canadian Skye and Rites Of Man.

Spirituality also features two brand new tracks, the moody Winter’s Now The Enemy and the raucous Another Happy New Year. The two tracks reflect the two musical aspects of Spirit Of The West wonderfully well. You’ll find yourself wrapped up in the tension and beauty of the former and wanting to dance to latter (preferably with some Guinness or some grog).

Spirit Of The West has built a vibrant and varied catalog over the last quarter century. Too prolific and profound to ignore, the band continues to be a hit at live shows across Canada. The days of endless touring long behind them, Spirit Of The West are content continuing to make great music their way; in their own time and fashion. They still tour, and will commence a tour of Eastern Canada with Great Big Sea on March 11, 2009. While Spirit Of The West was a major label act at one time, they have always carried themselves with an Indie Spirit, and their music is a testament to that. Spirituality is a collection of some of their best moments, but there is much good material not represented. (Noticeably absent is anything from their fine album Open Heart Symphony, as well as my personal favorite song from Faithlift, Sincerely Yours), but a collection of this sort should inspire you to look (and listen) deeper; leaving some nuggets behind for the ardent listener to be rewarded with. With all that’s here, Spirituality can be nothing other than a Wildy’s World Certified Desert Island Disc. It’s an absolute must-have.

Rating: 5 Stars (Out of 5)

You can learn more about Spirit Of The West at http://www.sotw.ca/. You can purchase Spirituality at CDUniverse.com. You will find it Amazon.com but will pay $15 more. Be sure to check out Spirit Of The West’s web page and particularly the individual members’ blogs on that site. John Mann, Geoffrey Kelly, Hugh McMillan, Vince Ditrich and Tobin Frank all have long musical histories that include solo albums or albums with other bands as well numerous guest appearances over the years.

Review: Dan Crisp - Far From Here

Dan Crisp – Far From Here
2008, Est. 1954 Records

Dan Crisp is a product of Bournemouth, England, following in troubadour singer/songwriter spirit with a distinct pop sensibility. In his career he’s already managed to work with the likes of Malcolm Toft (Beatles engineer), Martin Barre (Jethro Tull) and members of both Fairport Convention and The John Martyn Band. Crisp released his full-length CD, Far From Here, in August of 2008 while touring England with Martin Barre. These days he’s touring with a three piece band consisting of himself, Drummer Robin Guy and John O'hara on Piano, Accordion and anything else with keys on it.

Dan Crisp has that hook-laden, pop crooner thing going ala Hootie & The Blowfish or Edwin McCain. If you had told me he came out of the same South Carolina bar scene I would not have been the least surprised. His melodic and pop sensibilities will amaze you on Far From Here. The album opens with Hollywood, a wonderfully melodic tune with intelligent and well thought out lyrics. Crisp proves durable on A Lighter Shade Of Grey. This is an incredibly mature and poignant song, with that same British sense of melody that has fueled some of the greats. I Could Love Someone is a Celtic flavored love song that is a must-hear. The Irish Jig interposed over the traditional style folk/pop arrangement is a bit of genius that doesn’t entirely sound like it’s going to work when it starts, but it does.

Far From Here hit on the rocks just a bit. The instrumentation here is amazing; perhaps the best on the album, but in this particular song the vocal energy just didn’t match what was going on below. Still a great listen, but it sounds a little out of time because of the energy differential. Shine On Me will knock your socks off. It’s a mid-tempo, feel good song with some serious electric violin work. When You Come Back To Me is probably the class of the album. This is a love song the likes of which you find on mix-tapes, dedications, etc. It’s a “second chance” song that you won’t forget. Other highlights include Beautiful & Deadly, Journey’s End and the bluesy A Light That Never Fades. A Light That Never Fades is my second favorite on the album. With the right arrangement could become a major commercial rock anthem (although I suspect I would personally prefer it as presented here).

Dan Crisp has serious long-term commercial potential as a singer and songwriter. The melodic and pop sensibilities he shows on Far From Here are striking. Names like McCartney and Davies spring to mind. This is one of the most enjoyable pop records I’ve come across thus far in 2009, and makes me very much look forward to whatever else Crisp has up his sleeve. Make sure you check out Far From Here. It will be very much worth your time.

Rating: 4.5 Stars (Out of 5)

You can learn more about Dan Crisp at http://www.dancrispmusic.com/, where you can purchase a copy of Far From Here.

Artist Feature: Spirit Of The West

Spirit Of The West is the Wildy’s World Artist Of The Month for January of 2009. They’ve been making great music for 25 years, starting out in 1983 as a Vancouver folk trio named Evesdropper. Original members Geoffrey Kelly, John Mann and J. Knutson built a sound steeped in Celtic musical traditions that defined Spirit Of The West's early years and is evident on the first two albums, Spirit Of The West (self-released, 1984) and Tripping Up The Stairs (Stony Plain Records, 1986). Knutson left after Tripping Up The Stairs to be replaced by Linda McRae and current member Hugh McMillan. The band's third release, Labour Day (Stony Plain, 1988) contained the hit single Political. This commercial splash led to the band signing with Warner Canada and releasing Save This House, which spawned two popular singles (Save This House and Home For A Rest)

As Spirit Of The West faced the onset of the 1990's, there was a desire in the band to expand their sound. They were inspired to branch out while touring England with The Wonder Stuff; wanting to fill concert halls with sound the way The Wonder Stuff did. Consequently Vince Ditrich was pressed into service. With a new drummer and a new sound, Spirit Of The West marched forward with Go Figure in 1991. Go Figure saw both a broadening of Spirit Of The West's popular appeal as well as the estrangement of some longtime fans that were unhappy with the move from folk to rock. A prime point of comparison is offered on Go Figure, as Spirit Of The West's first hit single, Political was reinterpreted here as a rock song. Disgruntled fans actually went so far as to present the band with a petition at one point during the tour supporting Go Figure demanding Spirit Of The West play the original version of Political.


1993 was a commercial plateau for Spirit Of The West. It began with the selection of Canadian super-producer Michael Phillip Wojewoda (also responsible for the Barenaked Ladies' Gordon). The resulting album, Faithlift completed the transition from folk band to mainstream rock band and sparked the band's biggest single, And If Venice Is Sinking. Spirit Of The West had other radio singles from Faithlift, including Sadness Grows and 5 Free Minutes. The marriage of Spirit Of The West with Wojewoda brought out the best in both.

Spirit Of The West returned in 1995 with Two-Headed, a darker, more mature effort that succeeded in artistry but failed to have the commercial legs of Faithlift. In 1996, Spirit Of The West released Open Heart Symphony with the Vancouver Symphony Orchestra. Perhaps the most stunning and courageous recording of their career, Open Heart Symphony was a collection of original songs written for the symphony performance, rather than a recapitulation of hits with orchestral arrangements. If fans and critics weren't aware of it before then, it became rapidly clear that Spirit Of The West had something special going for them in the song craft department.

1997 saw Spirit Of The West transplant themselves to England, and Martin Barre's personal studio for the recording of Weights & Measures. Guests included Barre (Jethro Tull); Karen Matheson and Donald Shaw (Capercaille); Ric Sanders (Fairport Convention); Martin Bell (The Wonderstuff) and Duncan Moss (Page & Plant, Shave The Monkey). Weights and Measures revived some of the Celtic roots of Spirit Of The West while continuing the development of their sound that began with Go Figure. Production was again handled by Michael Phillip Wojewoda.

A seven year hiatus saw band members pursue other musical projects, acting gigs and just living semi-normal lives, but Spirit Of The West returned in 2004 with Star Trails, a well written and performed album that received positive critical response but unfortunately just did not have significant commercial presence.

Along the way there have been three compilations of Spirit Of The West Material. 1989's Old Material: 1984-1986 captures live performances of songs from the ill-fated indie debut (which is long out of print) as well as early concert favorites. 1999's Hit Parade is your proto-typical Best Of collection featuring three unreleased songs from the Open Heart Symphony recordings. In 2008, Rhino Records Canada released Spirituality: A Consummate Compendium (1983-2008). This two-disc set captures highlights of the band's twenty-five year collective history, including rare tracks and two new songs produced by the aforementioned Michael Phillip Wojewoda. Not unsurprisingly the album peaked at #10 on the iTunes Canadian charts.

Spirit Of The West was inducted into the Western Canadian Music Association Hall of Fame in 2008, recognition of twenty-five years of ground breaking music as one of the pre-eminent alt-rock acts in Canada. For 2009, big things are planned, including a new studio album, a live DVD, and a recasting of the Open Heart Symphony shows. We are working on getting a review of Spirituality up this month, and hopefully a review of the new album (and maybe even the live DVD) as they are released this year. On a personal note, Spirit Of The West have long been one of my favorite bands, and it is with great pleasure that we present them as our January 2009 Artist Of The Month.

You can learn more about Spirit of The West at http://www.sotw.ca/ or www.myspace.com/spiritothewest.