Gabrielle Aplin - English Rain [EP]

Gabrielle Aplin - English Rain [EP]

2013, Parlophone International

Gabrielle Aplin’s story of discovery is very familiar.  The Sutton Benger, England native recorded covers of popular songs and published them on YouTube (ala Justin Bieber).  Though still quite young, Aplin impresses with a budding maturity as a songwriter.  With musical tastes honed on the likes of Joni Mitchell and Bob Dylan, Aplin has developed a very personal story-telling style. Aplin’s third EP, English Rain, peaked at #2 in the UK.  This spring she receives her first introduction to U.S. crowds, with dates between now and May 21, 2014 on the West Coast.

English Rain opens with "Panic Cord", a peppy little relationship post-mortem with brilliant folk/pop sensibilities. Aplin's voice has an ethereal quality vaguely reminiscent of Kate Miller-Heidke, and she has a delightfully conversational lyric style that's a perfect complement. Aplin's cover of Joni Mitchell's "A Case Of You" is esoteric and not without charm, but lacks the emotional presence of the original.  "Please Don't Say You Love Me" finds Aplin exploring the early routes of romance with adept musical and lyrical grace. It's a beautiful piece of songwriting likely to kick around your noggin for days.

"Home" is an ode to love and virtual space that two or more people can create with nothing but love.  Aplin's simple guitar-driven arrangement has an incessant quality that highlights the quiet urgency of the song's lyrics.  Aplin dwells on a bout of romantic hero worship with "Salvation", a soaring anthem/ballad with a bridge that's thoroughly out of place. You'll either love or hate this song with little room in between. Aplin departs with "The Power Of Love", a self-indulgent love song that's more obsessed with the concept of love than the thing itself. Aplin sells it with her unusual, lovely voice, but the songwriting here is incredibly young and unpolished, unlike the rest of the EP.

Gabrielle Aplin is still growing into her considerable talents.  On English Rain she shows both her strengths and weaknesses with unabashed confidence, choosing to be herself rather than trying to ply her musical talents to the latest trend.  The effort is laudable, and foreshadows the wonderfully talented and independent artist she is destined to become.  English Rain has its warts; a fact that will seem apropos to anyone who’s ever experienced English rain, but the spots where the sunlight shines through show a tomorrow full of promise.

Rating: 3 Stars (Out of 5)

Learn more at www.gabrielleaplin.co.uk.  

Stephie Coplan & The Pedestrians

Stephie Coplan & The Pedestrians – Stephie Coplan & The Pedestrians
2012, self-released

If Stephie Coplan can’t find a path to where she wants to be, she makes one.  Her ex-boyfriend tried to tell her she couldn’t make it in music.  Her response?  She dumped him, wrote a song about him (“Jerk!”), and proceeded to get 35,000 hits on YouTube.  Formed in March 2011, Stephie Coplan & The Pedestrians have won or placed in music competitions up and down the East Coast of the U.S.  In that time they have already shared stages with the likes of Cake, The Delta Spirit, Reptar, Bess Rogers and Matt Duke.  Stephie Coplan & The Pedestrians released their self-titled debut EP in January, and even though it’s been out a while now, it’s never too late to catch on to something new and exciting.

Stephie Coplan & The Pedestrians kick things off with the aforementioned “Jerk!”, decrying an ex-boyfriend who did not support her dreams, but whom she continues to be drawn to.  Interpersonal milieu aside, this is an incredibly catchy rocker with big commercial potential.  Coplan’s acerbic take on the situation borders on the tragic/comic divide, but there’s real pop punch behind the power chords.  A Ben Folds-style humor/sarcasm informs “Take Me Back To The Suburbs”, a tongue-in-cheek anthem about suburban flight that will get stuck in your noggin.  “Caroline” is a wonderful little biograph in song, capturing the essence of the subject, who manages to be an amalgam of someone we’ve all known.  Perhaps what’s so impressive is the sonic construction and chemistry of the band, which seems to move almost as one organic unit most of the time.

“Make You Mine” is a song of quiet desperation; of subjugating yourself and your own interests to get what you want.  Personally dysfunctional, but the song is incredibly well written and has an overpowering sense of truth/realism.  “We Don’t Need Much” is a beautifully atypical pop/rock love song that gets down to the heart of what love is about.  The stripped down arrangement artfully represents the philosophy of the song, and it’s clear that Coplan and her band think deeply into the creative process to find the art of each moment rather than simply whipping out songs.  The E.P> closes out with radio edits of “Jerk!” and “Take Me Back To The Suburbs”.

Stephie Coplan & The Pedestrians strike a near-perfect balance between pop and rock and roll on their self-titled, debut EP.  Coplan’s voice is reminiscent of Tanya Donnelly, but her writing style is more in line with that of a young Ben Folds.  Stephie Coplan & The Pedestrians is the sort of debut EP that goes out of print when the artist is eventually signed to a major label and one day gets sold as an expensive collectible on eBay.  The songwriting and sound here have a rough-hewn quality that is charming, but what really impresses is Coplan’s musical vision and her ability to turn a phrase that’s both intelligent and witty while creating some incredibly dynamic sounds on the piano.  It’s not surprising that The Pedestrians are anything but; talent like Coplan’s draws talent.  This is a fabulous debut.

Rating:  4 Stars (Out of 5)

Learn more at www.stephiecoplan.com. 

Video: Kate Miller-Heidke - The Tiger Inside Will Eat The Child

Here's a great performance from Kate Miller-Heidke on Australian program Q&A.

Kate Miller-Heidke - Liberty Bell

Kate Miller-Heidke - Liberty Bell
2011, Sony Music

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

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

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

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

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

Rating: 3 Stars (Out of 5)

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

    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: Kate Miller-Heidke - The Tiger Will Eat The Child Inside

Imelda May - Mayhem

 

Imelda May - Mayhem
2011, Decca Records

Dublin native Imelda may is just too good to not be noticed.  Her self-released debut album, Love Tattoo, went triple platinum in Ireland, and she has already shared the stage with the likes of Eric Clapton, Chuck Berry, Meatloaf, Van Morrison and David Gilmour.  Imelda May’s blend of surf, indie, rockabilly and pop is distinctive, and dare it be said, original.  Imelda May’s voice makes you want to drop all that you’re doing and simply listen.  Perhaps most important in a performer, however, is personality.  Imelda May is a whirlwind, sweeping listeners along on her journeys with a blend of intrigue, sex appeal and pure, unadulterated chutzpah.  May’s U.S. debut album, Mayhem, is the sort of album you simply cannot put down.

Mayhem opens with the infectiously danceable rock n roll of "Pulling The Plug".  The simple arrangement offered here works perfectly, allowing Imelda May's gritty/sultry voice a proper introduction that will captivate listeners.  May sounds like a zesty blend of Chrissie Hynde, Tina Turner and Nellie McKay.  "Psycho" is driven by biting surf guitar, exploring a relationship with one scary dude.  May's enigmatic vocal lights up the irrepressible quirk pop number that builds into its own sort of madness in the end.  "Mayhem" is the sort of song that simply won't leave you alone.  Don't expect to sit still, and you'll be drawn to hit replay over and over again.  There's some excellent guitar work here, and an urgent energy that's impossible to ignore.

Imelda May changes pace with "Kentish Town Waltz", a song of true love and perseverance.  If you haven't realized it before now, the song drives home the fact that Imelda May is not just another pop wannabe.  Her take on the perfect state of imperfection that is love is insightful and authentic.  It's an amazing piece of songwriting and performed with a touch of class.  May revs things up again with the sexy come-on of "All For You".  Steeped in a blend of jazz and 1950's rock sounds, the song is a star vehicle that allows Imelda May's personality and charisma to blow up bigger than life. 

Mayhem takes a breather with the light rockabilly of "Eternity", a quiet celebration of love that follows the long wait for the right one to come along.  It's a nice, upbeat love song that avoids schmaltz while digging into a quietly effervescent joy.  "Inside Out" is a catchy, nightclub style love song.  Full of gentle humor and a positive vibe, this is an intimate musical moment that shows depth as a performer and interpreter of songs.  "Proud And Humble" is an urgent bit of urban folk and blues with a memorable chorus; one side of a conversation with God trying to reconcile pride in making good choices with the humility required to make them.  The theme here is a classic contradiction of the human condition; one that has been pulled apart and reconstructed by philosophers, poets and songwriters since humans first put paint to rock.  Imelda May comes along and imparts a brief musical soliloquy in everyday terms that makes it all seem like child's play.

Things get wild and crazy on "Sneaky Freak", the ultimate stalker anthem for the digital age.  With the tongue-in-cheek humor of a Nellie McKay, May lampoons both the obsessives in the crowd, and those who make themselves so available to be stalked.  "Bury My Troubles" is a pleasant little surprise hidden in the back half of the album, an intriguing blend of jazz, pop and swing that's quirky, sexy and fun without being over-the-top.  "Too Sad To Cry" is a blue dirge in a stylistic arrangement that includes the martial rhythms of a funeral march.  Imelda May tops it all off with a great, pure vocal effort that will raise your respect for her and cement your intent to run right out and buy anything she releases. 

May turns for home with the country-tinged pop of "I'm Alive", even enticing a vague Caribbean flavor out of the mix.  "Let Me Out" is a catchy, urgent and upbeat bit of fluff that's worth the aural effort, and leads into a brilliant cover of Soft Cell's "Tainted Love".  May's version is a bit grittier than the original, but work so well you'd swear she wrote it herself.  Mayhem closes with "Johnny Got A Boom Boom", an incredibly catchy bit of rockabilly that you won't be able to get out of your head.  Lyrically the song is pure fluff, but it's the sort of fluff that gets trapped in your head and rattles around for weeks.  May wrote this number early in her career, and first released it in Ireland and the UK back in 2009.  It's become a fan favorite, but never managed to make much of a stir on the charts.  The song is included here as an introduction to US audiences.

Imelda May has got it all.  Tremendous pop hooks, a stunning voice, a quirky, bigger-than-life persona and the ability to write songs that stick with you.  Mayhem is aptly named, running the gamut from sweet and sentimental ballads to pop insanity, all steeped in rockabilly, surf and classic singer/songwriter motifs.  Along the way, Imelda May shows the poise and humor of Nellie McKay, the ability to surprise you musically of Kate Miller-Heidke, and the pure star power of Madonna.  Get used to hearing the name Imelda May.

Rating: 4.5 Stars (Out of 5)

Learn more about Imelda May at www.imeldamay.co.uk or www.myspace.com/imeldamay1.  Mayhem is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Wildy's World Top 60 Albums of 2010: 40-31

We're back for another day of the Wildy's World Top-60 of 2010.  We're moving quickly to crown the top album of the year on New Year's Eve, as well as the Artist of the Year and Song of the Year.

40. Dana Wells – The Evergreen EP

Brilliant debut EP from the Washington D.C. based singer/songwriter with a bright future.

39. Alesa Lajana – Secret Garden

Lajana is an amazing songwriter who creates magic with her voice and on guitar.  Perhaps one of the best all around-talents in Indie music.

38. The White Ravens – Gargoyles And Weather Vanes

Brother and sister Amy and Will Bennett are a duo on the rise.  The chemistry and sound here are unforgettable.

37. Mike Farris – The Night The Cumberland Came Alive

The former Screamin' Cheetah Wheelies front man continues to impress with a mix of Americana and Gospel in an inspired performance given in the wake of the great flood in Nashville.

36. Darius Rucker – Charleston, SC 1966

Rucker's seemingly improbably rise as a country music star continues with perhaps his most poignant and subtle songwriting to date.

35. Kate Rusby – Make The Light

Rusby's voice is the fabric of dreams.

34. Fozzy – Chasing The Grail

Chris Jericho and Fozzy bring the muscle on a heavy hitting album full of distinctive pop sensibility.

33. The Flutterbies feat. Maureen Davis – The Flutterbies

Broadway diva Maureen Davis shows she can rock.

32. Halie Loren – Stages

The first (likely of many) live album from the engaging voice of Halie Loren.  The best live album of the year.

31. Kate Miller-Heidke – Curiouser

Yes, this album was first released in 2008, but it took until 2010 for Curiouser to drop in the Western Hemisphere.  A brilliant mix of songwriting, dance beats and kitsch.  Miller-Heidke has an operatic voice and a saucy tongue, a combination that has icon written all over it.

Debbie Miller - Fake Love

Debbie Miller - Fake Love
2010, The Debbie Miller

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

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

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

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

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

Rating: 3.5 Stars (Out of 5)

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

Review: Kate Miller-Heidke - Curiouser

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

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

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

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

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

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

Rating: 5 Stars (Out of 5)

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