Metallica & Lou Reed - Lulu - Coming November 1, 2011

Yes, you read that right.

In one of the most highly anticipating releases of 2011, two iconic acts band together to record an ablum inspired by Frank Wedekind's "Earth Spirit" and "Pandora's Box", exploring the life of a young dancer named Lulu.

It's hard to imagine even what this will sound like, but neither the irrascible Reed, nor the boys from Metallica, would release it if they felt it was anything less than perfect.  Lou Reed was inspired by what have become known as "The Lulu Plays" to create a musical theater piece.  Metallica got involved as a result of their performance together at the 2009 Rock N Roll Hall Of Fame induction ceremonies.  The rest is about to be history.

Kathryn Williams - Relations

Kathryn Williams - Relations
2010, One Little Indian

Not too long ago we received Kathryn Williams' The Quickening, a charming album that showed a deep sense of songwriting acumen and a highly focused performance style that digs deep into the moment of each song. On October 12, 2010, Williams returns with Relations, a collection of thirteen cover songs that finds Williams channeling her performing energies into the muse of others. In the process, Williams seems to get in touch with the inspiration of each songwriter and song while bending and blending each tune to make it uniquely here own.

Relations opens with "In A Broken Dream" (David Bently), with Williams delving into human emotions with a clinician’s eye. Her delivery is both feeling and clinical at the same time in a lyric, melancholy arrangement that captures and lulls the listener. "Birds" (Neil Young) is given a lovely reading here. Williams sticks with a simple arrangement of guitar with just a breath of strings now and again. It's a beautiful moment where the Young's poetry and the poetry on the instruments converge and intermingle as equals. Williams lights up the night with a cover of Big Star's "Thirteen", culling the innocence, angst and loneliness of a teenager in both Alex Chilton's lyrics and her own voice.

Williams takes Leonard Cohen's "Hallelujah" to another level, interpreting it as a reverent, secular prayer that's both carnal and at peace. Williams has already shown a talent for playing on dichotomies, and excels here in a remembrance of events both violent and tragic; human and divine. Williams throws listeners a delightful curve with Ralph Rainger's "A Guy What Takes His Time", teasing with gentle innuendo and the subtle delivery of an ingénue in a blues/folk arrangement that's absolutely memorable. Williams transforms Lou Reed's "Candy Says" into a dreamy art house ballad, surfing the musical seams of the song with a grace and strength that is impressive.

Stephen Malkmus' "Spit On A Stranger" is surprisingly charming and well-performed; you can almost hear Williams straining at the bit to break out and give this song a more solid airing out - the sort that can really only happen on stage. But the energy and the tension in this song are significant, making for an enjoyable listen. The most surprising, and gratifying performance on Relations is Williams' take on Nirvana's "All Apologies", a baroque lamentation on the pointlessness of life and human institutions that's even more stark and affecting that the original. While Nirvana's version was angry and wracked with social guilt, Williams makes it a sonic diagnostic with personal implications, both of the moment and outside of it. "Beautiful Cosmos" (Ivor Cutler) explores the atmosphere and comfort of knowing you are loved; a pleasant but somewhat awkward transition to the closing track, "These Days". Williams makes the most of the Jackson Browne tune in a love cover that amplifies out fear of change and our tendency to build shelves around our lives. Williams shows a British detachment and grace here that's both charming and distinctive.

Kathryn Williams makes friends on Relations with some under-represented nuggets from an impressive list of singers/songwriters. Perhaps the strongest quality Williams possesses with regard to covers is her ability to pay tribute to the original while crafting interpretations that are distinctly her own. Some of the songs here you might be hearing for the first time, and if so you'd never guess they didn't come from Williams' heart. For the songs you know, Kathryn Williams offers you an opportunity to re-imagine what you've heard and see it in a different light.

Rating: 3.5 Stars (Out of 5)

Learn more about Kathryn Williams at http://www.kathrynwilliams.net/ or www.myspace.com/kathrynwilliams.  Relations will be released in the US on October 12, 2010 on CD, but the album was originally released in 2004 in the UK.  You can pre-order the CD from  Amazon.com, but the import version is actually a dollar cheaper than the US pre-order.  Digital is available from both Amazon.com and iTunes.

Scott Alexander - Scott Alexander Makes A Big Deal Out Of It

Scott Alexander - Scott Alexander Makes A Big Deal Out Of It
2010, Yomyamyeemyaz Productions

Scott Alexander is at it again. The New York City singer/songwriter who’s at least as well known for his music as for his impromptu cookie handouts returns with Scott Alexander Makes A Big Deal Out Of It, furthering his eclectic and at times bombastic songwriting style. The album caps off a big twelve months for Alexander, which included the release of his EP, Scott Alexander Makes 7 or 8 Dollars and his national television debut on “The People’s Court”.

Alexander opens with "A Price", laying out the cost of individuality in a society that values it as long as you don't stand out. The sound here is very reminiscent of the solo work of Kevin Hearn (Barenaked Ladies). "Everything Is Complicated" features Jessica Teague on vocals, showing off a voice that's comely by any standard. The song sounds like something from an off-off-off-Broadway show; an odd amalgam of jazz and highly dramatic show tune that explores the dichotomies and disparities of everyday life in highly dramatic fashion. With "Special Effects", Alexander explores love and its effects in a folk/punk form reminiscent of the Violent Femmes. "Why Are You So Horny? and "Independence And Love" seem to find Alexander a bit off track in that land where irony and humor briefly diverge, but his cover of "Bad Reputation" (Joan Jett) is a humorous mix of Alexander's voice and saxophone (and nothing else) and is highly entertaining in the same way that the insecure protestations of a teen might be to an outside observer (think "Weird Al" Yankovic without a budget). The album closes with a studio version of "You Are Not A Market", previously released in an "Attic Version" on the recent Scott Alexander Makes 7 or 8 Dollars EP. Alexander includes that EP on the full length CD as a bonus for those who still like hard copies of their music.

Scott Alexander inhabits the strange twilight between serious social observer, novelty musician and brilliant self-marketer that includes people such as, well... Scott Alexander. There's really no one like him in popular music. I don't suspect that will change, but I also do not suspect Alexander will ever stop creating his curiously intriguing ditties that mix social confusion, angst, post-suburban anger and wit with a talent for writing lyrics that grab your attention in surprising ways. Sometimes he'll make you laugh; sometimes he'll remind you of the kid who got pushed into lockers in junior high, but either way you'll remember Scott Alexander.

That's half the battle.

Rating: 3.5 Stars (Out of 5)

Learn more about Scott Alexander at http://www.scottalexandermusic.com/ or www.myspace.com/scottalexandermusic. Scott Alexander Makes A Big Deal Out Of It is available from CDBaby. Digital versions are available from Amazon and iTunes.

Review: Gary Lucas & Dean Bowman - Chase The Devil

Gary Lucas & Dean Bowman - Chase The Devil
2009, Knitting Factory Records

Gary Lucas has a reputation as one of the best guitarists alive, having played/recorded with Captain Beefheart, Jeff Buckley, John Cale, Nick Cave and Lou Reed over the years. His twenty solo albums have marked the development of his singular talent and creativity as a guitarist and composer. Gary Lucas' latest project, recorded with Jazz/Blues vocalist Dean Bowman, is entitled Chase The Devil. Available March 16, 2010, the album explores the roots of Gospel and the Blues, teaming two singular talents on an enthralling musical experience.

Chase The Devil opens with "Nobody's House", with Lucas displaying his highly rhythmic guitar style, and Bowman crooning in his earthy, soulful voice. "Nobody's House" is a song of praise and Thanksgiving offered amid the chaos of the everyday world. "God Is A Good God" is southern gospel at its finest. Bowman's vocal is inspired, and Lucas chips in with the complementary voice of his guitar, driving the background with an intensity that's nearly religious fervor. On "Twelve Gates To The City", Lucas and Bowman almost risk over-doing things a bit; letting stylistic runs in both voice and guitar overcome the essential melody and grace of the song. Both perform technically flawless, but the net effect is just too over-the-top.

"Hinay Ma T'ov" finds Lucas presiding over some delicious slide guitar work even as he adopts the darker tones of the Arabic scale before moving into the Bluesy "Children Of Zion". The developing trend at this point in the album is to offset Lucas' highly intricate guitar work with repetitive sung phrases from Dean Bowman. While the vocal lines are glorious given Bowman's voice, the stark repetition is oppressive. "Out On The Rolling Sea" may provide the most challenging guitar work on the album; a celebration before the solemn praise of "In Christ There Is No East Or West". "Let My People Go" is sung with all the yearning of a people who have suffered across generations, although in this case Lucas' guitar work, while technically proficient, seriously muddies the waters. Chase The Devil closes the Bluesy Gospel ala reverb of "Up Above My Head". The sound is interesting but borders on distraction.

Chase The Devil is a well-intended project that hits its mark in some ways and misses wildly in others. Gary Lucas is an exciting guitarist; highly creative in approach and with a level of technical skill in his instrument that puts him among the best at his craft. Dean Bowman has a voice that could start a revival wherever he sings. Two coming together of two such tremendous talents could be a glorious coalescence or an utter failure. Chase The Devil rides the continuum between the two; never tilting entirely to one pole or the other, but taking in a lot of the scenery in the middle. Neither performance suffers on technical points, but the two talents don't meld well. When they are together it almost feels like happenstance, as they are just as likely to perform on the edge of conflict with one another; like two virtuosos forced to share the same stage. Chase The Devil is good because of the talent level of the performers and the material chosen, but it could have; should have been great.

Rating: 3 Stars (Out of 5)

You can learn more about Gary Lucas and Dean Bowman at www.myspace.com/wechasethedevil. You can catch up with the individual artists at http://www.garylucas.com/ and http://www.deanbowman.net/. Chase The Devil drops on March 16, 2010. You can pre-order the CD from Amazon.com. Expect wide availability for both physical and virtual versions.

Review: Dick Wagner - Full Meltdown

Dick Wagner - Full Meltdown
2009, Desert Dreams Records

Dick Wagner is a quiet legend. You've heard him play guitar many times, and you've heard many of his songs over the years even if you have no idea who he is. Wagner was Alice Cooper's musical director and guitarist in Cooper's heyday, co-writing some of Cooper's biggest hits. He's played lead guitar on or written songs for folks such as Aerosmith, KISS, Peter Gabriel, Ringo Starr, Lou Reed, Meat Loaf, Hall & Oates, Tina Turner, Etta James, Air Supply and Burton Cummings; appearing on 150 albums (14 platinum, 16 gold, 5 silver). Wagner is also the recipient of several BMI songwriting awards over the years. Wagner writes for himself on his latest album, Full Meltdown, showing a much softer touch than you might have expected.

Full Meltdown opens with Still Hungry, a surprisingly reserved opener considering the subject matter of the song. The title suggests a drive that just isn't represented in the easy-listening rock arrangement. The song is decent enough, just something of a dichotomy. Blue Collar Babies is a youthful fantasy about fast cars, parties and all that comes with being wild and young. It's a tuneful song, catchy in demure fashion, but has a bit of midlife crisis feel to it. Insatiable Girl feels more like classic Rock N Roll, like something you might hear on AOR radio. Wagner captures a sweet sound on Another Twist Of The Knife, hitting stride like a 1980's glam rock act. You could almost picture Whitesnake or someone of similar ilk ripping into this tune. Wagner breaks into a cover of Stagger Lee, a classic rock take that's most similar to Lloyd Price's 1959 rendition. Wagner's guitar work here is particularly sharp, and the rendition in general sounds a bit like Elton John.

Wagner gets back to that Elton feel on These Days, a piano and voice ballad that carries the prettiest melody on the album. Wagner digresses into dreamy, melancholy rock on I Might As Well Be On Mars before revving things up a little for Steal The Thunder. The energy here is still a bit low-key but works in the guitar-revved sound. The dreamy sound returns for Darkest Hour before getting shoved gently aside by Motor City Showdown and its Elton John style theme. Wagner closes out with the dark ballad Feel It All Over, taking it up to mid-tempo in the chorus and dropping in some great guitar filler along the way.

Full Meltdown is a pleasant listen but never reaches critical mass. Dick Wagner is very capable with a guitar in his hands, and possesses a voice that deserves to be heard, but Full Meltdown feels like a project that was never fully committed to. The intensity in the vocal line often doesn't match the lyrics or the musical drive of a given tune. This is late-stage Boomer rock; keen enough on the tricks of the trade to sound relevant, but once you get beneath the surface the water isn't terribly deep. A pleasant musical snack, but not enough for a meal.

Rating: 2.5 Stars (Out of 5)

You can learn more about Dick Wagner at http://www.wagnermusic.com/ or http://www.desertdreamsllc.com/. You can purchase Full Meltdown as either a CD or Download from CDBaby.com.

Review: Lee Harvey Osmond - A Quiet Evil

Lee Harvey Osmond - A Quiet Evil
2009, Latent Recordings

Toronto singer/songwriter Tom Wilson has been associated with some exciting projects over the years, starting out with his tenure as lead singer for the band Junkhouse in the mid-1990's. Since that time he's recorded as a soloist, in conjunction with Bob Lanois and as a member of Blackie And The Rodeo Kings. Now, at the tender young age of fifty, Wilson is embarking on a new life as lead singer of Lee Harvey Osmond. Joined by members of Canadian groups Cowboy Junkies and Skydiggers, Wilson brings to life 10 brooding Americana/Rock tunes on A Quiet Evil. Produced by Cowboy Junkies' Michael Timmins and released on the band's Latent Recordings, A Quiet Evil is one of the more intriguing debuts of the year.

Lee Harvey Osmond opens with The Love Of One, a quiet-yet-energetic country flavored rumination on loneliness chock full of mournful pedal steel guitar and incredibly tight musicianship. This song is the perfect example of how music can be quiet and lively at the same time. Cuckoo's Nest drops the names of Elvis Presley, Sonny Liston, Madonna and Robert Mitchum, but has the up-close-and-personal feel of a Lou Reed track. Cuckoo's Nest is a nuanced and intelligent story song about hard times and how people survive. Wilson talk/sings his way through this one in what ends up sounding like a highly allegorical autobiography in song. Queen Bee has great energy and instrumental work; the vocal line gets a little bogged down in repetition but quickly gives way to the fine instrumental work of Lee Harvey Osmond.

I'm Going To Stay That Way is a classic country love song/tragedy. Suzie Vinnick's vocal on the duet is exquisite, and mixes well with Wilson's mumbling style. I'm Going To Stay That Way is a song that could go directly to Country Radio, although it would have been a more likely hit a generation ago. Lucifer's Blues is a great listen, although I half expected it to blow up into a heavier sound before it was done (it did not). The understated arrangement and delivery works very well, however. Parkland has a catchy melody and rhythm in spite of the reserved sound, and then something magical happens on Summer Girl. The same quiet feel surrounds this song, but there's a feel of authenticity about the story Wilson tells here that's too rich to be cure creation. The arrangement is highly simplified; giving the sort of life to the story and melody line that can't be planned but just happens in the creation process sometimes. Angels In The Wilderness has a similar feel in spite of the more melancholy bearing of the song. It's a beautiful melody with stirring imagery; a hidden gem. Lee Harvey Osmond closes out with the upbeat acoustic rocker I Can't Stand It, a paean to the ability of love to make day-to-day life more bearable, and how it can all come crashing on you when they leave. It's a fun song that's likely to get worked up even more on stage.

Lee Harvey Osmond isn't going to blow too many people away, unless it's on pure talent. This isn't that sort of band. Instead, expect Lee Harvey Osmond to take a lot of people by surprise. A Quiet Evil is the sort of album where you hear a song in the background and don't pay attention at first; but the music slowly draws you out and draws you in. It's not surprising given the musical stock the band rose from, and Wilson, in spite of his quiet approach, definitely has an ability to connect with listeners. A Quiet Evil is highly enjoyable; it might take you a few listens to really get it, but once you get it you'll be hooked.

Rating: 4 Stars (Out of 5)

You can learn more about Lee Harvey Osmond at www.myspace.com/lhosmond or www.latentrecordings.com/leeharveyosmond. You can purchase A Quiet Evil on CD from Amazon.com.

Review: Kevin Hearn And Thin Buckle - Havana Winter

Kevin Hearn and Thin Buckle - Havana Winter
2009, Celery Music

Kevin Hearn would make music if the only instruments available to him were a pair of rocks to bang together. The projects and bands he's either been a member of or contributed to over the years is a bit astonishing. Hearn has played a part in recordings and/or tours for Corky & The Juice Pigs, The Look People, The Rheostatics, Lou Reed, The Tragically Hip, Garth Hudson, Ron Sexsmith, Broken Social Scene and Laurie Anderson, to name but a few. And we should probably mention his regular gig as multi-instrumentalist (primarily keyboard) for Barenaked Ladies. Hearn's quirky songwriting style and distinctive ability to capture bits of pop magic in song has served him well and endeared him to listeners all over the world. Havana Winter, released July 28, 2009, is Hearn's 4th solo album, and third with Thin Buckle (comprised of former Look People alums Chris Gartner - bass and Great Bob Scott - drums; guitarist Brian Macmillan and joined on Havana Winter by Lou Reed guitarist Mike Rathke.) Co-produced by Hearn and legendary Canadian producer Michael Philip Wojewoda, (Barenaked Ladies, Spirit Of The West, The Rheostatics, Great Big Sea, Ashley MacIsaac) Havana Winter furthers Hearn's distinctive songwriting style, dubbed "Planetarium Pop", that combines ambient keyboard elements with more traditional mellow pop songwriting for a musical experience that you don't so much listen to as become part of.

Havana Winter opens with Coma, driven by a distinctive keyboard riff that will keep the song running through your head long after it's stopped playing. Hearn exhorts people everywhere to wake up to the world around them rather than be hypnotized by gadgets, suburbs and the mundane aspects of day-to-day life. The song is a great listen with a wonderfully jarring guitar solo on the fade out. On The Runway is one of those songs that where I don't entirely get the lyrical content but I'm so enraptured with the music it doesn't matter. The lyrics might just be a dreamy rumination on plans, but the lush backdrop Hearn and Thin Buckle have created here is divine. Driven by a lively guitar and bass skeleton, Hearn wraps his keyboard around the song like a vibrant coat of musical colors. On The Runway is one of those songs that the replay button was made for.

Reeling reflects the grief of losing a loved one in poetic and beautiful language. The arrangement Hearn wraps around his memorial is lush and alive, carrying with it the co-mingled energies of memory and love. On first listen I didn't really get this one, but with a more careful ear it's an incredibly powerful and moving song, delivered as always with Hearn's light touch. Luna continues in a similar vein, speaking directly to the one who is gone and includes one of the best lyrical turns of the year, "If you were lost at sea, what kind of a lighthouse would I be?"). In these two songs Hearn displays an incredible ability to take pain and put it into words without beating the listener over the head with his suffering. In poetic and quirky fashion, Hearn communicates the depth of his grief and the depth of his love without getting mired in the sort of negativity that can drag down a song or even an album.

Hearn turns up the metronome on Huntsville.CA, a driven acoustic Brit-Rock tune that will make you want to dance. It's an amusing and lively look at how small, out-of-the way towns most of year can become bustling centers of activity in the summer months. Anyone who's a townie living in the shadow of a seasonal tourist attraction will appreciate the sentiment, and musically it's flat out a great tune (listen in particular for the guitar work throughout the song). In The Shade is a quirky mellow pop-tune with an island influence that equates love with sun exposure, "they'll burn you up in the end". Lush vocals/harmonies and a melodic structure born from another generation of pop music make for a pleasant surprise and a great listen. Havana Winter closes with H.I.T.S. (Helicopter In The Sand). The arrangement here is classic Kevin Hearn, mellow with a lot more harmonic work in the wings that you find in your typical Rock song. Hearn seems to explore the need to chase dreams, and how sometimes even failing to get where you planned gets you where you need to be. The song is highly poetic, deep and subtle, both lyrically and musically.

There's a reason everyone and his brother in the Canadian music scene ends up working with Kevin Hearn; there are few better at their craft. As a songwriter Hearn has developed significantly over the past two decades. He's always going to be a bit out of the mainstream (although he can do mainstream if he wants to), but you'll never walk away from a Hearn album musically dissatisfied. Havana Winter is Hearn's finest work yet; the sort of album you don't want to put down. Kevin Hearn and Thin Buckle should be on your must-listen list. Bet on them making a bunch of year-end lists. For now, Havana Winter is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Kevin Hearn at http://www.kevinhearn.com/ or http://www.bnlmusic.com/. Havana Winter will hit shelves on July 28, 2009. You can pre-order copies via Amazon.com. Once the album is released you can also pick up copies at Hearn’s webstore. Expect wide digital availability after the release date.

Review: Abe's Logic - War's Ragin'

Abe’s Logic – War’s Ragin’
2009, Mad Chief Records

Abe's Logic is the musical extension of Abe Vandenberg’s multiple musical personalities. The Maui, Hawaii resident is a musical chameleon who can channel Lou Reed one moment, Dave Matthews the next, and traverse several other personae in the course of a few songs. Rock, Jazz Fusion, Folk; none of these are without of his reach at a given moment, in a given song, or even on a dime. What is certain is that as a listener, if you’re not paying attention, Abe’s Logic will leave you far behind. Vandenberg is getting ready to release his latest album as Abe’s Logic, called War’s Ragin’. Whether this is social or self-commentary is up to the listener to decide.

War’s Ragin’ opens with the Ski anthem Chipping’ Away. This is the sort of song that makes you want to get up and dance and is a great start to the album. There’s a rough edge to the music on War’s Ragin’ that is appealing. It’s not garage, exactly, but it has some of that same Lo-Fi charm. Even on songs such as I Stepped Into The Shade, where Abe’s Logic layers a lot of instrumentation to build a full sound there is still an aspect to it that is rough and primitive. The Prestige is very catchy; a bit frenetic. Vandeberg occasionally reminds me of the same urgent energy that drove some of the early They Might Be Giants recordings on War’s Ragin’. That nervous momentum is very apparent on The Prestige.

War’s Ragin’ is a delicious heartland-style rocker with big, jangly guitars and a chorus you can’t help but hum along to. The theme is the ease with which we can wrap ourselves in our loves and forget about what’s going on in the world at large. War’s Ragin’ is a song with strong commercial potential. It’s Not Just Me is written in much the same fashion and is quite catchy but doesn’t have quite the same oomph as War’s Ragin’. What We Crave develops a bit further into an interesting modal vocal harmony structure with that same heartland feel, taking a band like The Bears and adding Devo-esque harmonies into the mix. The sound stays fairly consistent through That Was Safe, with Abe’s Logic saving the curveball for All Of A Sudden, which sounds a bit like REM crashed the Abe’s Logic party. Abe’s Logic corrects course and gets back to the feel-good rock with moderate to serious themes on I Want It To Stay, which sounds like it would be a fantastic tune live.

Abe’s Logic offers up some classic American Rock N Roll with a hint of garage chic on War’s Ragin’. It's is one of those albums you walk away from more impressed by the sound than anything else, but Vandenberg is quite capable with a guitar in his hands, and has a strong, clear singing voice that is a pleasure to listen to. Lyrically interesting and intelligent, the somewhat darker elements of the narrative can get crowded out by the big, loud, jangly sound, but it’s a fun listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about Abe’s Logic at http://www.abeslogic.com/ or www.myspace.com/abeslogic. War’s Ragin’ is due for a late spring/early summer release. Keep checking Abe’s Logic’s website for details.

Review: Canadian Invasion - Three Cheers For The Invisible Hand

Canadian Invasion – Three Cheers For The Invisible Hand
2009, Old Janx Spirit Music

Philadelphia’s Canadian Invasion comes calling with their latest release, Three Cheers For The Invisible Hand. Smartly sardonic lyrics mix with mellow-rock arrangements to create a subdued listening environment. Lead vocalist Andy Canadian and gang have traveled the East Coast of the US for the past couple of years, sharing the stage with the likes of David Bowie, The Rolling Stones and Lou Reed. Their songs strive to reflect the lifelessness of suburban living, where the soul has been ripped quietly away by separating residents from both the action of the city and the vibrancy of nature.

Anyone who publishes under the name Old Janx Spirit Music gets points for chutzpah but can they carry the name? Canadian Invasion has perhaps met their objectives too well. Lyrically strong, the music is not without energy, but reflects the hum-drum angst of suburban living all too well, forming a sort of musical monotone that stretches across the CD. The sound is pleasant and works for the individual songs here, but the lack of significant sonic variation across the CD makes for a listening experience more memorable for what it’s not than what it is. Even the occasional moment of sonic violence or turmoil would spice this up and provide some ebb and flow to the sound; they are not to be found.

Nevertheless, highlights abound. Tomorrow and Tomorrow is a great musical arrangement, though subdued. Americana/Country accents flavor this song nicely. One Hand Claps The Other is the closest thing to a real change of pace, featuring s new wave flavor and a vibrant energy level, but still produced in that very subdued, repressed sound that dominates the album. Neighbors, the final track, is the absolute class of the album. It gives hope that whatever might come next from Canadian Invasion might provide more spark.

Canadian Invasion is a very talented band, that much is clear. Three Cheers For The Invisible Hand has solid to plus songwriting and a couple of truly inspired moments, but falls victim to a uniformity of sound that makes it seem less than it is. It seems as if Canadian Invasion was going for a specific sound, with continuity, for the album. If so, they outdid themselves. It’s a pleasant listen, but it will be too easy to tune out because of that consistency.

Rating: 2.5 Stars (Out of 5)

You can learn more about Canadian Invasion at http://www.canadianinvasion.org/. You can purchase a copy of Three Cheers For The Invisible Hand at Amazon.com.

Review: Jeff Neville - A Romantic War Novel

Jeff Neville - A Romantic War Novel
2008, Jeff Neville

Lisle, Illinois Jeff Neville knows two of the most vibrant and divergent music scenes in the United States. Growing up in the Chicago market, Neville headed to New York City for college, and ended up part of the vibrant East Village/Lower East Side music scene. Years after returning to Chicago, Neville has a regular gig as keyboardist for Soul/Rock favorites The Midnight Shows. At the age of thirty seven he finally got the bug to put out something of his own. A Romantic War Novel, Neville’s solo debut, mixes dark and light, shadow and bright in a collection of nine story songs that are just Neville, his piano, and a guest trumpet on two tracks.

A Romantic War Novel is a musical offering painted in dark overtones, mixing pop aesthetic with gothic intent; as if Robert Smith and Colin Hay decided to get together for a weekend and write some music. The result is sometimes tragic, sometimes enlightening and generally entertaining. Neville's delivery is more like the morose days of Smith than the maniacally energetic Hay, particularly on the opening track, Watch Her. Neville has something of a story-teller streak in his songwriting, but the story falters on watch her. Between the nearly atonal vocal line and the robotically charismatic delivery, he just doesn't get off to a great start. Luckily things improve significantly on What She Said To Me; a wonderfully tuneful arrangement that bespeaks of a melody line that Neville just isn't quite up to delivering. Neville compensates by donning a Lou Reed style spoken word style that's full of casual style and chutzpah. Likewise Yours Truly, a song that sounds like a Tori Amos piano composition. Lyrically awkward but theatrically intense, the song crashes about and makes quite an impression like a party guest two shots too deep into the house liqueur; two much for the atmosphere but too likeable to make leave.

Neville moves back into aesthetic territory with Your Stubborn Pride, a pretty piano prologue that builds into a vindictive diatribe. Its likely epilogue, It's Over, is a mellow center stage soliloquy built on a Ben Folds style composition. Lyrically sophomoric, this particular track would be much more enjoyable as an instrumental. It's all part of the see-saw nature of the album. Crests are followed by troughs, with the occasional moment of parity between strong songwriting and ill-defined lyrical craft. One of the most interesting compositions here is Tonight, which plays with multiple keys and/or strong dissonant composition at times. The musical phrases here are pleasant to listen to, and the lyrical content is at or near its best on Tonight. You'll also want to check out Let It Drop and Take Me Back.

Jeff Neville isn't a wunderkind singer, sticking more to a talk/sing style that works for him. His lyrics are hit or miss. At times he has a way with words and other times... well, you get the idea. What really works here are the musical compositions themselves. Neville is a talented composer on piano, showing a broad range of styles and musical influences. He also seems to understand his instrument's voice, when to use it, and when not to. It would be very interesting to hear Neville working in a band setting. One imagines that working with other talented musicians he could be part of something quite special. As it is, A Romantic War Novel is a work of interest. It's not pretty, it's got some rough edges, and not everyone will see it, but it just might be a diamond in the rough.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jeff Neville at www.myspace.com/jeffneville. You can purchase a copy of A Romantic War Novel at www.cdbaby.com/cd/nevillejeff.