Cole Hermer and the Ravens - Cole Hermer and the Ravens EP (AKA Quoth The Raven)

Cole Hermer and the Ravens – Cole Hermer and the Ravens (AKA Quoth the Raven)
2013, Cole Hermer

Cole Hermer is an 18 year old senior in high school.  In spite of that he might be one of the most convincing young heavy rock vocalists you’ve heard in some time.  With influences ranging from Axl Rose, Kurt Cobain and Layne Staley to Neil Young and The Black Keys, Hermer is able to surprise you at almost every turn.  Hermer’s songwriting is surprisingly supple for his age, reflecting the disaffection of modern youth as well as the pure joy of rock and roll.   After a number of years with bands such as Ultimate Concussion and Anathemas Blessing, Cole Hermer steps out into the limelight with his debut EP as Cole Hermer and The Ravens; a self-titled set alternatively titled Quoth the Raven.

Hermer plays homage to 1980’s heavy rock with “California Breakdown”, instantly inspiring thoughts of bands such as Poison, Guns and Roses and Cinderella, ripping up thoroughly vibrant and powerful sound in the process.  If someone had put out a song like this twenty years ago and it would be a chart-hogging monster.  “Exploitable” is cut from similar cloth, but with a darker, alternative edge.  This is radio for radio right now, and Hermer’s retro metal vocal style just raises the intrigue.  “Friends” is a different breed of song altogether.  Here Hermer is showing a softer, more pop oriented side while lamenting the rejection of ‘let’s just be friends’. “Maybe” is a melancholy, acoustic-guitar driven ballad with a distinct navel-gaze mentality. It’s a solid piece of songwriting that’s good romantic movie soundtrack material.  Hermer gets back into upbeat territory with “Teenage Creed”, a driven mid-tempo rocker with attitude and a memorable chorus.  The pacing here is a bit uneven, but Hermer is on to something here; the song gains intrigue as it bulls to its conclusion.

Cole Hermer and the Ravens offer up an interesting musical study with their self-titled EP.  Hermer refuses to be pigeonholed as a hard rock/heavy metal vocalist in spite of his rough edged sound.  What’s most surprising is how capably he handles the softer material. Everything on the EP is well-written and well-performed, although the pacing at times is a bit off.  This is a great start.  Cole Hermer seems to have what it takes to be a big time front man.  I am not sure if the current trade winds of popular music are in his favor, but with the right break Cole Hermer and The Ravens could be huge.

Rating: 4 Stars (Out of 5)

Learn more at www.colehermer.ca.  

Brian Dolzani - If I Don't Speak A Word

Brian Dolzani – If I Don’t Speak A Word
2012, Brian Dolzani

Growing up, Brian Dolzani was the quietest kid in school.  His old school mates are often shocked to find out he chose the career of a singer/songwriter.  But churning around in all of that quiet was whirling mass of raw emotions that have oft-times been bigger than the man.  Dolzani documents many of his internal struggles, and the effects they’ve had on his relationships, in If I Don’t Speak A Word.  Comparisons to Freedy Johnston, Jules Shear and Neil Young give you an idea of the style and sound, perhaps, but Dolzani is truly an original.

It’s not any one particular quality about Dolzani that makes the album a stand out, unless you consider abject honesty to be a musical quality.  Dolzani’s voice wouldn’t get him on American Idol, and there’s no brash or eclectic style here.  Dolzani thrives on telling his own stories honestly, with bumps and bruises showing, and in taking responsibility for the things he owns.  He starts with “Older Now”, acknowledging that things change with perspective and time, and also expressing a sort of gratitude at being around to know these truths.  All of this is delivered in an unvarnished style that is refreshing and real.

Dolzani wades through botched relationships (“Not As Lonely”, “Fair”); personal imperfections (“Broken”, “Autumn In Central Park”) and attempts to make things right (“Before Goodnight”, “I’m Sorry Now”), while following the steps toward a better life.  It’s sort of a 12-Step program set to music, but with all of the messy twist and turns that define humanity.  The most compelling moment of the album is “Hey Dad”, and open letter in song to Dolzani’s father, who passed away when he was fifteen years old.  The raw emotion and perspective in this song are impossible to ignore, and Dolzani’s entire journey on this album hinge around this song and the events it documents.  Dolzani also manages to hit home with “Wilted” a song about the natural process of decay as it applies to people and relationships.  There’s a pragmatic air to the song, a sad and knowing nod to the idea that is the natural order rather than something to weep over.

Brian Dolzani is a solid, stand-up singer/songwriter who sings from the heart, shaped by a mind bent on understanding what went wrong and how things can be better.  His plain-spoken vocal style is reminiscent of a time before auto-tune, a time when voices were what they were, and compelling stories were often told in less than perfect sonic states.  The fact is that Brian Dolzani delivers the goods on If I Don’t Speak A Word, carving out a story that’s tragic at times, but also shows that redemption is still very much a part of the human story.  Dolzani tells the story with articulate grace and raw emotion, tempered with the perspective and maturity that only mistakes can bring.  It’s real, compelling and true.

Rating:  4 Stars (Out of 5)

Learn more at www.briandolzani.com. 

Jason Sinay - Ape & The Wall Of Questions

Jason Sinay – Ape & The Wall Of Questions
2011, Apus Maximus

Jason Sinay is a musician’s musician; a top-of-the line session player who has worked with the likes of Jerry Lee Lewis, Neil Diamond, Dr. John, Neil Young, Keith Richards, Tift Merrit, Billy Preston and Ivan Neville (among others).  The seemingly natural born guitarist can play literally anything and play it well.  While Sinay has spent much of his career in the background supporting musical luminaries, he is also quite capable as a front man.  The point is proved on his second solo album, Ape & The Wall Of Questions.

Sinay opens up with a bluesy-folk take on the classic “Jack-A-Roe”.  Sinay’s voice is competent and clear, but it’s his subtly impressive guitar work that takes center stage here, evoking thoughts of such masters as Clapton and Knopfler.  “The Carney” commits to a relentless ennui, brought to life in a repetitive verse structure that is artistic and quietly alive.  The story/portrait here is intriguing, exploring the life of a carnival man.  Sinay paints in broad musical strokes, highlighting it all with country accents on guitar.  This is an outstanding piece of songwriting.  “Next Revolution” takes yet another turn, with Sinay offering up an Eagles-esque California Country style ballad.

“Santa Rosa” invokes thoughts of Tom Petty, both in it’s relentlessly Americana sound and even in the tones of Sinay’s voice.  This road song is all about getting back to the one he loves.  In spite of treading a musical trail that’s been covered thousands of times, Sinay manages to make it fresh and personal.  “I’ll Bring You Diamonds” finds Sinay throwing off melodic and understated licks that are right out of the Jimi Hendrix songbook.  All of this is done to the accompaniment of a sweet groove and a melody you’ll be humming/whistling for days.  On “Gimme The Time”, Sinay works out the kinks and wrinkles of a working class love song in no uncertain terms.  Sinay’s distinctive pop sensibility is dressed in Americana leanings, and the chorus is the sort that gets crowds on their feet.

“Love Minus Zero (No Limit)” is a deeply symbolic song about a love whose depths simply won’t be qualified in mere words.  This plays like an instant classic, as Sinay brings together all of the elements of a great song for five minutes.  “Hey Mama” is a solid R&B roots number that hearkens back to the early days of rock and roll.  This entertaining and danceable number sets up the closer, a rock and roll kiss-off called “Bertha”.  Sinay settles into a classic rock sound for his goodnight, perhaps coming full circle from his musical roots.

Some might listen to Jason Sinay’s Ape & The Wall Of Questions and assume that he’s just showing off.  Well why not?  Sinay is obviously a prodigious talent with a six string in his hand, and shows himself here to be more than a capable songwriter and vocalist.  Ape & The Wall Of Questions is a breath of fresh air, showing off a talent that is still growing and building.  Jason Sinay is an artist you’ll want to catch on to early and follow throughout what promises to be an exciting career.

Rating:  4.5 Stars (Out of 5)

Learn more at www.jasonsinay.com. 

Darryl Gregory - Big Texas Sky

Darryl Gregory – Big Texas Sky
2012, Emptyhead Musikwerks

Darryl Gregory has seen it all, from the seedy clubs of 1990’s New York City to the wings of off- and off-off-Broadway shows.  He’s seen the music world from the classroom, the orchestra pit and behind the boards.  Even relatively settled now with a wife and children, Darryl Gregory continues to create.  Gregory’s latest album, Big Texas Sky, is an eye-opener for both the power of music and the power of spirit.

“Aunt Jean’s Piano” is a quiet lament of a relative called home too soon.  The song opens with a duet hymn in classic mixolydian harmony, before Gregory transitions into a loving tribute to a beloved aunt who inspired a life-long love of music.  It’s a heart-tugging song full of love and grace, played in a reverent country arrangement.  “Anywhere But Here” is a classic country anthem about a young lady stuck in a small town full of small dreams.  It’s a solid story song, full of wailing pedal steel guitar and a hope for something more.  Gregory shows his vocal limitations here but holds his own.  Techno, rock and blues come together on “Workin’ Man”, with slide guitar and an Industrial percussion style underlining a classic country/blues story song told by a man punching the clock so his lady can have the finer things.  The song is catchy but seems a bit out of character here.

“How Do I Tell Her” is a soliloquy from a man who has lost his job, and is agonizing over how to tell his wife that life has suddenly changed.  Love redeems all here, but the song cuts to the deepest insecurities of an old school working class man.  The melody flows like water, and you could easily imagine this tune in a movie or a countrified musical.  “What About Love” seemingly continues the story line, with the couple giving up their ties to worldly means and simply living.  It’s a recognition of all that is truly important, with love being the currency they share.  Gregory’s songwriting here touches deep to heart and human spirit in this moment.

“Elegy For An Old Man” takes the story tellers soliloquy form to another level; an autobiographical sketch of a life well lived.  There is something magical in the story telling here, as Gregory invokes thoughts of Gordon Lightfoot.  The song follows the life arch, retrospectively, of a man ready to sail off for the great beyond but telling his tale one more time before he leaves.  This is a ‘wow’ moment for Darryl Gregory, and it wouldn’t be at all surprising to see this song picked up by other artists and covered over time.  Gregory winds down Big Texas Sky with “Prayer & Allelujah”.  Starting out in somewhat contemplative fashion, Gregory kicks it up into a classic southern gospel barn burner that will have you on your feet and shouting to the skies.

Darryl Gregory is a pleasant surprising; showing strong compositional abilities and a talent for storytelling that is rare.  While Gregory’s voice is somewhat limited in its comfortable range he doesn’t let it get in his way, singing with the sort of confidence and strength that has powered the careers of Bob Dylan, Neil Young, Gordon Lightfoot and others.  Big Texas Sky ranges as wide as the red dirt it reflects, as Darryl Gregory leads listeners through inspiration, confidence, loss, rebirth and celebration.  It’s a wondrous journey, authentically human and fervently told.  Here’s hoping Darryl Gregory has more where this came from.

Rating: 4 Stars (Out of 5)

Learn more at www.darrylgregory.com.  You can purchase Big Texas Sky directly from Gregory’s website, or through the e-tailers below.

Amazon MP3                 CDBaby (CD & 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.

Abbie Barrett & The Last Date - The Triples: Volume 1

Abbie Barrett & The Last Date - The Triples: Volume 1
2011, Beige Bomber Records

Abbie Barrett grew up in New York City attending private schools. A professional career and upward mobility were the clear goal. Even through college, Barrett was on target. But once free from formal education, Barrett jumped around from town to town anything but. Eventually landing in Somerville, Massachusetts, she first picked up a guitar and began writing down the songs that kept running through her head. This was a watershed moment, both a continuation of her rebellion against the expectations she was raised with, and an embrace of the person she would become. Drawing on influences as disparate as Pink Floyd, Radiohead, Neil Young and Aimee Mann, Barrett continues to write songs about underdogs, unsung heroes and rebels. Along with her band, The Last Date, Barrett recently released the first in a series of EPs called The Triples.

The Triples, Volume 1 opens with "Here To Stay", a low-key, but high energy rock n roll fight song that's part Chrissie Hynde and part Sara Bareilles. Featuring a memorable chorus, the song shows off Barrett's distinct voice, which is distinctly beautiful but contains a formidable toughness that's not to be ignored. "On The Range" is a drearily ethereal spaghetti western in song. Barrett's voice and the vocal harmonies of her band help to create a distinctive sound that is both uplifting and haunting. The EP closes with "Draw Me In", an elongated and smooth ballad that sounds like Hope Sandoval singing along to Pink Floyd. The ultimately sad feel of the song holds its own unique beauty, and avoids the neuroses that pervade "sad pop" music.

Abbie Barrett is a distinctive voice in Indie Pop music. Together with The Last Date, Barrett has created three memorable and likeable songs that run the gamut stylistically. The Triples: Volume 1 is a wonderful introduction to an artist who shows a lot of promise. This EP will ensure that careful listeners are likely to be waiting for the release of the other two volumes in the series.

Rating: 4 Stars (Out of 5)

Learn more about Abbie Barrett & The Last Date at www.abbiebarrett.com or www.myspace.com/abbiebarrett.  The Triples, Volume 1 was scheduled for a November 8, 2011, but as of this review does not appear to have made it to market yet.  Keep checking Barrett's website for release details.

Mark Erelli - Little Vigils

Mark Erelli - Little Vigils
2011, Hillbilly Pilgrim Records

Mark Erelli is a songwriter's songwriter.  His attention to detail and song structure is as complete and thorough as is his lyrical construction.  The singer/songwriter impressed critics across the country, including those of us here at WW, with his 2008 album "Delivered".  Erelli has continued to grow as a songwriter since then, and has become more conscious of the world around him and the small details that make up each event and moment.  His musical growth and growing understanding of the world catalyze on his latest effort, Little Vigils.  Erelli once again enlisted the services of producer Zach Hickman, but otherwise let go of the fine control he has practiced over his recordings in the past.  Erelli built the song structures, and then brought in great musicians with whom he had chemistry and let the songs take life as they would.

Little Vigils opens with "August", a low-key Americana number about finding one of life's perfect moments, and not messing it up by wishing for more.  This momentary respite in song represents gorgeous songwriting, and is transformational for Erelli as an artist, who seems to have found the next rung on his own musical Jacob's Ladder.  "Everything In Ruin" is written from the depths of despair, but is full of hope for renewal.  The catchy arrangement is a dead giveaway, and the chorus will stick with you for days.  "Kingdom Come" is a well-constructed humanist anthem that takes a classicist perspective on questions of truth with regard to religion.  Even if you don't buy Erelli's Darwinian perspective, the song is well-written and has a smooth flow that belies its intellectualism. 

"Columbus Ohio" is an intriguing song about a man leaving home because there's nothing left there to sustain him.  Erelli captures a painful truth of life in the American rust belt and beyond, where the dreams of generations of families are left behind because the jobs that long sustained them have disappeared.  "Basement Days" is an Americana 'glory days' tune, exploring memories of teenage rock bands and a desire to go back to simpler times.  Erelli fills the song with 60's and 70s song references, including such greats as the Rolling Stones, Pink Floyd and Jimi Hendrix.  Erelli takes listeners on a sudden left turn with the darkly beautiful "Hemlock Grove", an aurally sweet musical experience you'll be glad to make the acquaintance of.

Erelli gets back to questions of faith on "Mother Of Mysteries", exploring humanities need for a belief in the "hereafter".  Erelli writes well here, presenting the questions that have incited epistemological and cosmological arguments for centuries in straight-forward, accessible form.  "I Took The Moon For A Walk" is a wonderful little flight of fancy with the soul of blues lying deep within its heart.  Erelli is a master story-teller here, and constructs an absolutely beautiful arrangement around his words.  "Same For Someone" relays the advice of a father to a small child against a gentle Americana arrangement that's part lullaby and part secular hymn.  The love that flows quietly from this song is palpable.  "Coming Home" is gentle and sweet, an acknowledgment that no matter how far you travel, you really can go home again.  Little Vigils fades to black with live, solo acoustic "Pauline", a gently cascading ballad about the geography of the human heart.  Erelli touches on truths both subtle and sublime in a plaintive singer/songwriter style that is refreshing and pure.

Mark Erelli writes plays and sings with utter conviction throughout Little Vigils, pouring every ounce of himself into his songs.  The result is stunning; a significant step forward for a guy who seemed to already have it all together the last time we heard from him.  Little Vigils deserves consideration for yearend lists, even if the currently fractious music market rarely allows artists to receive sufficient exposure to actually get what they deserve.  If you're looking for a singer/songwriter who can blow you away with his power, yet summon the subtlety to rock you to sleep when called for, the Mark Erelli is an artist you need to get to know.  Little Vigils represents significant growth for Erelli as an artist, and it can be nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Mark Erelli at www.markerelli.com or www.myspace.com/markerelli.  Little Vigils is available from Amazon.com as a CD or Download.  The album is also available on iTunes.

Sheri Miller - Winning Hand

Sheri Miller - Winning Hand
2011, Sheri Miller

Sheri Miller made an impact quickly.  Her 2008 debut album, Mantra, spawned an underground hit in "Right Here, Right Now", and earned her recognition as one of Music Connection's 'Hot 100 Unsigned Artists'.  An invitation to join a group called The Delilahs resulted in a major label contract and opportunities to write songs with the likes of J.D. Souther, Jill Sobule, Shawn Mullins and Al Anderson (NRBQ).  Unfortunately the band fell apart, and Miller found herself on her own again.  She did the only thing a songwriter could do; she kept writing and performing.  The result is Miller's sophomore EP, Winning Hand, featuring a top-notch band with members who have played with the likes of Paul Simon, Neil Young, Johnny Cash, David Bowie and Suzanne Vega.  Winning Hand was produced by Kevin Killern (U2, Peter Gabriel), and represents significant growth on the excellent start Miller got off to with Mantra. 

Winning Hand sets sails with an Americana/pop love song in the form of "Spoons".  It's a brilliant low-key pop tune featuring gorgeous harmonies and a memorable chorus.  This could be a bonafide hit for Miller, and will likely be a winner in the licensing world as well.  "Winning Hand" is a languorous Americana ballad about taking the chance to fall in love.  Miller's melody is winsome, but the overall effect is a touch bland.  "Satellite" has an acoustic southern rock feel that's appealing.  A quiet anthem screaming to have big guitar sound pumped in, the song remains an enjoyable listen even in this stripped down form.  "Everybody Feels This Way Sometimes" seems a bit out of place here.  It's a decent enough tune, but doesn't have the same energy or sense of personality as the other tracks presented here.  Winning Hand winds up with "Hungry For The Truth", a dark rocker about figuring out the meaning of life, no matter the cost.  The song is quietly impressive, sneaking up on you and growing in estimation with each successive listen.  It's probably the most impressive piece of songwriting Sheri Miller has unveiled thus far; showing a much more complex and intricate side to her songwriting psyche than one might expect.

Sheri Miller continues to impress, showing more levels and layers to her lyrics and composition than on the formidable Mantra EP.  The best way to describe Sheri Miller is to say she's a star in waiting.  In the days of major label dominance, Sheri Miller would already have a major record deal, and would be in demand as both a songwriter and performer.  Life is both easier and harder in the post-label era, but Miller's progression as a songwriter in the last three years speaks of wonderful things to come down the road.  Winning Hand has its rough spots, but when Miller is on her game there are few better.

Rating: 3.5 Stars (Out of 5)

Learn more about Sheri Miller at www.sherimiller.com or www.myspace.com/sherimiller. 

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.

Mary Gauthier - The Foundling

Mary Gauthier - The Foundling
2010, Razor & Tie

Mary Gauthier places a bit of herself in every song, but on her sixth album, The Foundling, Gauthier takes it to a new level. The Foundling is an autobiographical concept album, if such is possible. Dealing with her abandonment as an infant and the journey of understanding that took some forty years thereafter, Gauthier’s The Foundling is intensely personal, and plays like the soundtrack to a musical. With production from the Cowboy Junkies’ Michael Timmins, and backing vocals from the exquisitely voiced Margo Timmins, Gauthier weaves wondrous songs of truth, tragedy and hope on The Foundling.

Gauthier opens with the title track; "The Foundling" has a dark, southwestern country feel done up in minor keys. Gorgeously orchestrated, "The Foundling" sounds like Broadway done sorrowful cowboy style. Gauthier's voice is full of texture and pain; she breathes each line as if she's living the tale rather than telling it. "Mama Here, Mama Gone" is the stark picture in song of a newborn without a Mama to reach out to. It's a sorrowful heartbreaker, ethereal and beautiful in the pure tragedy it conveys. "Goodbye" could be The Foundling's (the character) theme; the story of a soul too pained to stay in one place too long or make any personal connections. Gauthier's plain-spoken vocal style is a treat; bring an earthy sensibility to a dark character story.

Shades of New Orleans slip in on "Slideshow", a song about the sort of nighttime entertainments that draw the lost and disaffected. It's Gauthier at her best, as the redheaded step-child of Randy Newman and Bonnie Raitt. "Blood Is Blood" documents the search for the mother who left her; walking the streets of New Orleans searching for a face that's somehow familiar though unknown. The song is full of emotional turmoil, played out effectively between the violin and guitar. Love, anger, sorrow and ribbons of resigned hate pulse through this powerful tune of longing. "March 11, 1962" is a coming home, of sorts. Gauthier finds the mother who bore her, and reaches out via telephone. Unsure of why she's calling, but looking for some sense of peace. There is an air of hope that rises out of the darkness of years, but falls back into resignation as she closes the call with an ending rather than a beginning.

In "Sweet Words" Gauthier comes face to face with her own inability to trust in the kindness of others. It is the quiet anthem of someone who has been deeply hurt and can never fully trust again. The other side of the emotional coin is presented on "The Orphan King", the lost and perpetually lonely dream of love and hope for it even as it eludes their broken souls. It's a tremendous soliloquy of hope against hope. "Another Day Borrowed" is perhaps something of a happy ending. Our anti-hero continues to travel from town to town, failing to put down roots or build connections too deep; but she's no longer running. Now Gauthier is thankful for each day and opportunity, taking from the world what it will give with an air of wonder that even such pittance might be hers.

Mary Gauthier's is a highly affecting and musical affair; an Off-Broadway musical in the making should she wish it. All the elements are here; an intriguing lead character, an archetypal motivation, the sort of human flaws we can all identify with but magnified to theatrical levels, and a resolution that isn't happily ever after, but happy nonetheless. Musically, The Foundling is an amazing experience. Gauthier's songs flow like water, with the gritty determination of someone who has spent a life getting by on inspiration and grit. If you're not moved by The Foundling you aren't listening.

Rating: 4 Stars (Out of 5)

Learn more about Mary Gauthier at http://www.marygauthier.com/ or www.myspace.com/marygauthier. The Foundling is available as either a CD or Download from Amazon. Digital copies are also available via iTunes.

Review: Howard Jennings - Ready To Listen

Howard Jennings - Ready To Listen
2009, Howard Jennings

New York City based singer/songwriter Howard Jennings carries the mantle of “the next Dave Matthews”, the 437,826th performer to carry that title in the past five years. Comparisons have also been made to Jack Johnson, Bob Dylan, Neil Young and Tom Petty. This all means that either Jennings is a wildly talented songwriter or that he sounds so much like most other young male singer/songwriters these days that it will be next to impossible for Jennings to distinguish himself. After listen to Jennings EP, Ready To Listen it’s safe to say that Jennings will distinguish himself quite nicely, even if the comparisons above are more about marketing than sound.

Ready To Listen opens with “I Belong To You”, a celebration of coming home to the one you love after being the road. There’s also a tacit acknowledgment here that such homecomings don’t happen often enough. The song is offered in a great Americana arrangement that is memorable. “You And Me” is a catchy little rock n roll nugget. The other person is leaving town this time, but Jennings makes a declaration that he is not going anywhere. Jennings has a potential hit here. “Heart’s Point Of View” is a love song from someone who’s maybe already lost but can get her out of his head. The song borders heavily on cliché at times but is solid with a great melody. Jennings brings in the funk and soul on “Appreciate”, sounding more like John Mayer than anyone else. “Appreciate” has hit single written all over it. Jennings closes out with “Love And Luck”, returning to a folkier approach that is nearly anti-climactic on a solid but unremarkable tune.

Howard Jennings certainly carries a bit of charisma with him when he performs. This charisma even comes out in the recording process as displayed on Ready To Listen [EP]. Jennings recently toured with Rusted Root, but I suspect that if Chance smiles, it won’t be long before young acts are touring with Howard Jennings. Ready To Listen [EP] is very much worth making some time for.

Rating: 3 Stars (Out of 5)

You can learn more about Howard Jennings at http://www.howardjenningsmusic.com/ or www.myspace.com/howardjennings. You c an purchase Ready To Listen [EP] as either a CD or
Download from Amazon.com.

Review: Man Called Noon - Broke And Beaten Down

Man Called Noon - Broke And Beaten Down
2009, Man Called Noon

Herndon, Virginia's Anthony Giamichael takes to the stage under the name Man Called Noon. He has been compared stylistically to folks such as Springsteen, Tom Petty, Weezer, BoDeans and Soul Asylum, although Man Called Noon is rawer than any of them. Striving to tell stories as well as creating intriguing melodies and arrangements, Man Called Noon comes across as a highly personal and emotive singer on his debut album, Broke And Beaten Down.

Man Called Noon opens with Burn And Grow, a catchy, Lo-Fi anthem about wanting more for yourself out of life. An affable melody with buzzing guitars and a compact, Brit-Rock feel set a great pace here. Dance Off is a strong arrangement that's catchy, but gets dragged down by an uncommitted sounding vocal line. Living My Obsession is catchy and danceable; a song about a serial killer that may border on creepy for some listeners. The vocals are a bit off from the song itself, but the disjointed feel this creates works very well with the subject matter in question. Dying For My Passion is something of a sequel, with the brother of a victim of the serial killer in Living My Obsession seeking and getting revenge. The song starts out highly promising, with just Giamichael and acoustic guitar on opening, but breaks down into a repetitious fugue at the end.

Man Called Noon sounded seriously like Everclear on Cotton. The vocal line is a bit whiney, but works otherwise with the album. The best songwriting and performance on the CD is Broken Man. Broken Man has a raw, fun feel. The Rum-pot Folk/Pop arrangement carries a Blues sensibility. Man Called Noon winds down with The Lonesome Gods and settles on Another Ghost; a simplistic and repetitive tidbit that serves as a buffer for the untitled hidden track.

Man Called Noon succeeds because Anthony Giamichael is fearless as a songwriter. He’s unafraid to tackle unusual subjects or perspectives in his songs. This sort of risk taking can lead to stupendous failure, and sometimes, raving success. I’m not sure if Giamichael has honed his craft as a songwriter enough yet to capture that big moment, but he’s on the right path. Broke And Beaten Down shows flashes of brilliance, a lot of solid songwriting and a dog or two, but on balance it’s a great start that should lead to bigger and better things down the road. Giamichael’s voice is enigmatic and may rub some the wrong way, but in much the same fashion that Neil Young and Bob Dylan have over the years (I wouldn’t say it’s held either of them back). Man Called Moon might just have quite the future in front of them.

Rating: 3.5 Stars (Out of 5)

You can learn more about Man Called Noon at www.myspace.com/mancallednoon. Broke And Beaten Down is available via CDBaby or as a download from iTunes.

Review: Tyler Blanski - Out From The Darkess

Tyler Blanski - Out From The Darkess
2008, Ezekiel Records

Tyler Blanski is a Minneapolis born and based singer/songwriter whose goal is telling stories in his songs. His muse seems to stem from the inspiration of artists such as Bob Dylan, Neil Young, Elliott Smith and even Jeff Tweedy. Blanski’s debut album, Out From The Darkness has been a work in progress since his earliest demo in 2006. Released in 2008, it may be a bit dated at this point, but is a fair representation of Blanski as an artist finding his voice.

Out From The Darkness opens with Two Inches Apart, the highlight of the album. Blanski's strong guitar intro serves as the backbone of the entire song, and is a beautiful thing heard through the ears of a guitar player. Blanski's lyrical style appears to be stream of consciousness and takes on a bland consistency early on. Out From The Darkness is a messy tune done in the style and tenor of Bob Dylan. It's a decent effort that gets bogged down in its own weight but shows some of the songwriting potential of Blanski. Hard Water is a tasty lilting tidbit that has a vaguely whiney feel (think REM meets Wilco). Whippoorwil is upbeat and driven with a lot of finesse shown on the acoustic guitar. It is also the musical outpost of the album, leading into a monochromatic and monotonous diaspora of songs lost in their numbing monochromatic sound. Much of the rest of the material on Out From The Darkness ranges from bland and innocuous to plodding cliché. The Sparrow tries to break free and fly with solid songwriting but gets lost in its own monochromatic sound. Laydee similarly tries to break the mold, picking up a more clearly Americana sound, but ultimately can't escape the inertia of the 2nd half of Out From The Darkness.

Tyler Blanski shows flashes as a writer, although lyrically he might benefit from collaboration, but he tends to get so mired in a single sound and style that he isolates himself from a lot of potential listeners. I'd love to hear Blanski take the songwriting talent that clearly exists and put it into use under slightly less serious and strident circumstances. Until then, Out From The Darkness is an interesting start.

Rating: 2.5 Stars (Out of 5)

You can learn more about Tyler Blanski at http://www.tylerblanski.com/ or www.myspace.com/tylerblanski. Blanski recently re-released Out From The Darkness digitally. It is available for free download from Blanski's web page, but donations are welcome. There is also an option to purchase copies on CD.

Review: Robert Valente - Alive

Robert Valente - Alive
2008, Robert Valente

Robert Valente chooses not to dwell on biography, letting his music speak for him. We'll follow his lead. Valente's latest, Alive opens with Gospel Man, a rocking Country tune that's irresistibly catchy. Gospel Man is fast-paced and full of sound, hiding, for one song, the anomalies in Valente's voice. They come fully into the light on True Again, where Valente sounds like Neil Young singing at pianissimo. You Don't Know gets more of an Early Rock feel (think Bill Haley), while bringing out more of the thinly veiled evangelical content of the songs on Alive. Valente co-opts elements of Dylan's Blowin' In The Wind on The Answer, walking a fine line between being derivative and outright borrowing. Love Has A Way is a nice rebound; a decent song with a pleasant melody. It does tend to be a bit too repetitive both in lyrics and arrangement, but at base is a pleasant listen.

Country Singer is a pure example of what is called "testifying". Valente acquaints listeners with his life before he was a Christian, how he became a Christian and how it has changed his life since that time. The song is presented in an old blend of Country and Easy Listening. The arrangement is bland and innocuous but will have emotional impact for those who enjoy this sort of testimonial. The title track, Alive, struggles to be celebratory but sounds a bit disjointed in the process. This Old World plods on over four minutes that seems interminable. Valente stumbles through In Your Mind and Candy on the way to the closing number, Take My Heart, a heartfelt if mildly clumsy love song (of sorts).

Valente starts slow on Alive, finding his groove as a songwriter in the middle but then fades at the end. The musicianship on Alive is solid throughout with a mixed bag of songwriting. The music is heartfelt enough, with Valente singing what he knows and believes rather than affecting a pose or style. When everything clicks, Valente is anachronistically charming. At worst, Alive is too innocuous to be abrasive, but can be difficult nonetheless. Valente likely falls into a gap between Popular Music and CCM that qualifies as a true niche. That means the demographic for this album is likely a small one, but they're likely to be highly devoted fans.

Rating: 2.5 Stars (Out of 5)

You can learn more about Robert Valente at http://www.robertvalente.com/, where you can purchase Alive on CD. Alive is also available as either a CD or digital download from Amazon.com.

Review: Kevin Burgess - Put Yourself Out There

Kevin Burgess - Put Yourself Out There
2009, Kevin Burgess

Westford, Massachusetts-based singer/songwriter Kevin Burgess makes post-genre waves on his latest album, Put Yourself Out There. Burgess eschews a particular style, incorporating whatever styles/sounds that seem to fit each given song. Folk, Country and Rock mix with international rhythms and sounds and Burgess' saxophone to create original musical tableaux. Burgess gets help from daughters Sofia (Djembe) and Gabrielle Burgess (Bongos), as well as from Greg Loughman (bass), Mike Connors (drums), Eric Kilburn (mandolin, weissenborn, guitar) and Lori Diamond (vocals).

Burgess opens with Little Bird, a pensive and circular meditation on an injured bird as a metaphor for someone who's been hurt. The arrangement is smooth and simplistic with solid solo work on the saxophone, but the vocal line is listless and the lyrics are bland and repetitive. On the whole the song is okay, but perhaps not a great opener to the album. Burgess hits a mildly jazzy CSNY note on The One And Only, mostly for the vocal harmonies and his occasional vocal similarities to Neil Young, but the song itself is on the bland side. Heal My Heart finds Burgess heading for more of a country sound than we've heard thus far on Put Yourself Out There. The song has more energy and life than those that have preceded it, and Burgess sounds a bit like Neil Young, particularly as he moves toward and into his upper register.

The funk comes out on So Beautiful, one of the liveliest and most enjoyable songs on the album. You can tell sometimes when the band was having fun, and that feel emanates off this song like heat off the pavement on a summer's day. With Connection, Burgess attempts a heartfelt love song, but the lyrical choices turn what might have been a sweet if overly simplistic song into a chuckler. In the chorus there's a line "Can you feel it, can you feel it, can you feel it now" that got me to thinking about the AT&T commercial (can you hear me now?) and the song is forever so tainted in my mind now. Burgess goes for sweet and sentimental once again on Mother's Love. The song is successful on sweetness, analyzing with an awkward simplicity the impact of an emotion without ever really capturing the essence of it. Put Yourself Out There winds down with Broken, a bland commentary on human nature and the inability accept ourselves for our selves.

Kevin Burgess is mired in influences and good ideas on Put Yourself Out There, and scores occasionally, but more often than not it seems as if performances fall short of intent. Burgess has a passable voice and a simplistic songwriting style, but there's just not a lot here to really dig into. Heal My Heart and So Beautiful find Burgess at his best; the rest of the time its a matter of mildly pleasant music that doesn't make a lot of impact.

Rating: 2.5 Stars (Out of 5)

You can learn more about Kevin Burgess at www.myspace.com/kevinburgessprojects, where you can purchase Put Yourself Out There on CD or Digitally using Nimbit.

Review: Taylor Mills - Under The Surface

Taylor Mills - Under The Surface
2009, Aqua Pulse Records

It's likely you've heard Taylor Mills' voice before and not realized it. Mills has been touring and recording with Brian Wilson's band for ten years now. You can't miss her, she's the only female member of the band; the electric blond with the angelic voice. She's also performed with the likes of Billy Joel, Elton John, Jeff Beck, John Legend, Neil Young, Bruce Springsteen, Eric Clapton and Paul McCartney. Mills' 2007 debut album, Lullagoodbye, incited a significant amount of critical praise. Never one to rest on her laurels, Mills is back with her sophomore effort, Under The Surface. Co-produced by Scott Bennett (Brian Wilson) and husband Todd Sucherman (Styx), Under The Surface takes a slightly more low-key approach that Lullagoodbye. With a voice like Mill's, you couldn't blame her for showing off a bit, but Mills lets the songs be a vehicle for her instrument rather than the other way around. Mills lets the songs shine, providing an enthralling listening experience.

Under The Surface opens with Melody, a song about an aging singer who sees his better days behind him. Melody expresses the power of music to uplift and at times even save someone, but also acknowledges that dreams don't always age well. Sparks Will Fly is a song about sitting on the fence. The protagonist views the world as something that is happening to her, waiting for romance to happen to her. Stuck, she pines for a time to come. The song is very well-written, and Mills illuminates it with a gorgeous and precise vocal line. Mills truly shines on Kiss My Soul, a classic 1980's style rock ballad in a relaxed, quasi-acoustic setting. The song itself is decent, but Mills shines so bright here she actually makes the song better. Best Intentions is a heartbreaker about those times when a relationship falls apart not because of a lack of love or desire but simple inertia. Taylor Mills is at her most vulnerable in a song that rings too real and true to be pure creation. Best Intentions it the best of the best in the crowded field that makes up Under The Surface.

Living Room finds Mills shaking off the outside world to be fully with the one she loves. It's a great bit of low-key rock with a powerful, dynamic vocal line that could shake up a room in a live setting. Mills is joined by Scott Bennett on the duet If We Let Go. The vocals are great and the sound is professional, but this tune sounds too much like something from a 1970's movie drama/romance. As before, the performance makes the song better than it would be on its own. Mills closes out with St. Louis Misery, a song about adultery that begs for some country twang. Mills' vocal is impassioned and incredible, but you can almost hear the ghost of a pedal steel guitar playing along.

There's not much to be said about Taylor Mills' voice that hasn't already been said. Her performances on Under The Surface are brilliant, eschewing the now standard histrionic displays of modern pop for pure artistry. Mills digs into each song on Under The Surface, allowing the process and performance to reveal the layers and magic in her voice, rather than trying to impose herself on the songs. The result is an album that doesn't necessarily blow you away on first brush, but gets better with each successive listen. Under The Surface is aptly titled; don't be surprised if this album ends up on a lot of end-of-year "best" lists.

Rating: 4 Stars (Out of 5)

You can learn more about Taylor Mills at http://www.taylormills.com/ or www.myspace.com/taylormillsmusic. You can purchase copies of Under The Surface, signed or unsigned through Taylor Mills’ webstore.

Review: F&M - Every Light Must Fade

F&M - Every Light Must Fade
2008, Shameless Records Canada

Edmonton, Alberta is the home to F&M, a quintet that has grown from power couple Ryan and Becky Anderson. Comparisons will be made to Leonard Cohen, Neil Young, Natalie Merchant, Feist and Nick Cave, but don't let the darkness fool you. F&M writes strong music dealing with difficult issues with a positive outlook (or at least the hope for one). Their latest album, Every Light Must Fade, deals with death and loss from the perspective of a life cycle where death means new life or new beginnings. Ryan (vox, guitar) and Becky Anderson (vox, piano, accordion, guitar, cymbeline) are joined by Brian "Miot" Reichert (lead guitar, vox); Chad Andriowski (percussion) and Kevin Anderson (bass). Ryan Anderson claims the band once sucked, and it’s hard to be debate such subjective outlooks, but there are definite highs and lows here.

Every Light Must Fade opens with the title track, a dark and ambling tune acknowledging that the end comes to us all in stark and poetic terms. Ryan and Becky Anderson manage to create some moments of beauty in the darkness, he with his somewhat gruff voice and her ethereal harmonies. Stuttering Boy is our first opportunity to hear Becky Anderson in a lead vocal capacity. Her voice is eclectic and unique and interesting to listen to; ranging from a fluttering and ischemic soprano to a full and warm alto. Lyrically the song is a bit halting and awkward, but the overall effect is a positive one. Bad Advice From A Bad Singer is all about fearing the end; the sort of insecurities most people have about what comes after death, if anything. It's well-written and addresses the issue without taking sides with regard to beliefs.

Becky Anderson shows the more pleasant side of her upper range on Rising To The Moon; a voice that's part Marian Call and part Hope Sandoval. Anderson shines in this dark piece about not getting where you want to be and the inevitability of death/failure/loss. Shy is a repetitive and circular picture of social awkwardness; lyrical paucity and a skittish acceptance of self are at the center of this song, which works on several levels. Industrious displays the lyrical awkwardness that seems to be one of the trademarks of the band; as if thoughts come in halting and difficult leaps. You Will Die is a stark reminder of the obvious, starting with the most story of the most unlikely and most-well known case of all. The repetitive nature of the arrangement is the driving force of the song; given its incessant and semi-urgent quality. Another Closing Number emphasizes the dichotomy of age; how we crave more when we have less and vice versa. It's an examination of human nature in darks and lights that is perhaps the most perceptive and well-written song on the disc. F&M closes out with a hidden track, The Grey Havens, an ethereal, angelic fugue that celebrates one conception of the hereafter.

F&M takes on difficult material on a difficult album in Every Light Must Fade. I can't say I enjoyed the album, yet I somewhat liked it nonetheless. This is a listening experience that makes you uncomfortable and pushes at your buttons. It's messy and dark and buoyant in its own Cimmerian waters. Ryan and Becky Anderson have voices that are distinctive and intriguing, and when they sing together they're at their collective best. Every Light Must Fade is going to be a difficult experience for some; it's not clean and easy to listen to, but it's a robust artistic statement on mortality, done in the fumbling awkward terms in which we tend to address the subject. Are you up for a challenge?

Rating: 3.5 Stars (Out of 5)

You can learn more about F&M at http://www.fandmtheband.com/ or www.myspace.com/fandmtheband. You can purchase a copy of Every Light Must Fade at CDBaby.com. If you like renting your music, you can download it through iTunes.

Review: Jenn Grant - Echoes

Jenn Grant - Echoes
2009, Six Shooter Records

If you don’t know who Jenn Grant is, you might want to make the calendar for today as the day you first encountered her. Besides being Wildy's World's Artist of the Month for September, 2009, the Prince Edward Island, Canada native has made a name for herself with highly personal songs that flow from the heart like warmth from the sun. Grant has earned several East Coast Music Award nominations, and opening slots for such Canadian artists as Martin Tielli (Rheostatics), Hawksley Workman, Hayden, Great Lake Swimmers and The Weakerthans. Grant releases her third CD, Echoes, in the United States on September 29, 2009. Echoes, continues in the same, heart-on-her-sleeve vein under the guiding hand of Producer/pianist Jonathan Goldsmith (Bruce Cockburn). Echoes may be a challenging listen, and is certainly a bit off the beaten path, but is worth the time you’ll put into it.

Echoes opens with the rambling, pensive Heartbreaker, which rises out of the depths of melancholy sounding like the Yin to Feist's Yang. This impression is fed by both Grant's shadowy alto voice and a quirky, Feist-like nature drawn in burgundy and charcoal. Where Are You Now is a beautiful song of longing and loss with an almost classical feel to it; the accompanying string arrangement lends a depth and weight to balance Grant's lyric vocal line, creating a moment of musical beauty that is deeply tangible. Blue Mountains has a vaguely dream-like feel to it; a love song built as much on the ideal of running off together as in stand still. It's an unusual and beautiful testament to emotion that's part Be Good Tanyas and part Feist. Parachutes is a wonderful conglomeration of Emo art song and girl-group glitz (although only briefly). The song is dark and light and thoroughly ambivalent on love, life and anything else that's important. It's a statement from the heart in all of its mixed beauty and darkness in song.

I Was Your Woman has a strong link stylistically to Fiona Apple; a look at what was and the process of getting over the loss. Grant's voice is full of dark sorrow here, wrapped up in that gorgeous alto with a metal edge running through the center. This song could be something of a show-stopper, but it's also imbued with that sort of temporary madness that comes with heartbreak. You'll think that Jenn Grant took a sabbatical with The Be Good Tanyas filling in on (I've Got) The Two Of You. Gorgeous vocal harmonies and an Appalachian feel inform this Chamber/Folk/Rock tune. The chorus is a bit repetitive, but it works here in a song deeper in emotion than thought. Sailing By Silverships sounds like the culmination of sonic development of the female songwriter in the past twenty years wrapped into one shining moment. Fans will hear elements of Tori Amos, Sarah McLachlan, Fiona Apple and even Sinead O'Connor in this fantastical song juxtaposing the pain of loss with the search for understanding and purpose. The rhythmic and layered crescendo and then fade at the song is as powerful as a musical moment gets without words to accent meaning.

Fireflies takes on a distant country feel, accented by the presence of violin and hints of pedal steel guitar; wandering the magical corridor of catching lightning in a bottle and the fear of doing so. The arrangement here is beautiful in a vaguely haunting way, demanding the listener's attention with variegation and texture that usually resides far from anything in the popular realm. Hawaii continues the process of recovery, finding magic and the loss of words to describe it. Grant's voice is right on the raw edge of emotion here, deep within an arrangement that's full of gorgeous quirk. The cover of Neil Young's Only Love Can Break Your Heart might seem a bit cliché at first, but Grant's performance makes it anything but cliché. It doesn't quite measure up to the Waltons' cover from the 1990's (perhaps not even Young's original does), but it's likely the second best cover of the song I've heard. Grant closes out Echoes with Everybody Loves You, a song of mourning of what's been lost and of hope for what's to come. There's a core of emotional strength here that's so apparent it will practically bowl over the listener. A brief epilogue, a half minute of I'll See You Again features Grant on piano sounding as if the recording were pulled from an old vinyl copy.

Echoes is an album full of heartbreak and hope. It is an acknowledgement of what Grant learned halfway through writing the album; Echoes is a breakup album born of a tumultuous relationship Grant was in at its beginning. In this case life imitated art, as it was the songwriting process that helped Grant to see where her heart was going. Consequently Echoes is a highly personal album full of the shadows and dark closets of Grant's heart as well as the patches of light. Pathos and power mix to inform the human spirit in the process of loss across the thirteen songs presented here. There are moments of beauty in both light and shadow, as Grant reveals her heart in a much more intimate fashion than you might expect. Echoes is brilliant in so many dimensions because it features Jenn Grant eschewing any sense of popular acceptance in favor of straightforward, honest writing. The song craft is highly involved and entrancing, and Grant's voice mixes elements of beauty and with starkly unique qualities to create a listening experience you simply can't pull yourself away from. I like an album to challenge me as a listener; Echoes does. And it's well worth the challenge. Echoes is a Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Jenn Grant at http://www.jenngrant.com/ or www.myspace.com/jenngrant1. Echoes drops in the US on September 29, 2009. If you can't wait until then you can purchase a copy of Echoes at Maple Music, or you can download the album through iTunes.

Artist Of The Month: Jenn Grant (September, 2009)

Too see and hear Jenn Grant these days, you’d never guess she gave up performing as a teenage due to horrible stage fright. The Prince Edward Island native and Halifax, Nova Scotia resident has carved out a niche for herself as one of the most intimate modern Folk/Rock artists in Canada. With an entrancing voice that can run from lyric to edgy in the same breath, Grant can hold a crowd spellbound as she bares her soul in song. These qualities have earned her rave reviews across her native Canada for both 2007’s Orchestra For The Moon and her latest album, Echoes. After hearing Echoes, there was no doubt who would be Wildy’s World’s Artist Of The Month for September, 2009.

Grant’s talents have earned her touring/opening slots with The Rheostatics’ Martini Tielli, The Weakerthans, Great Lakes Swimmers, Hawksley Workman and Hayden, among others. Her songs are full of melancholy emotion and honest words, as stark as a diary entry and twice as honest. Grant’s music is performance and catharsis all woven into one. Over the course of the month we’ll try to give you the opportunity to get to know a bit more about Jenn Grant. Take the time; there’s really no one else like her in popular music.

You can learn more about Jenn Grant at http://www.jenngrant.com/ or www.myspace.com/jenngrant1. And don't forget to check out our review of Echoes, one of the most intriguing releases of 2009 to date!

Review: Abi Robins - A Conversation With Myself

Abi Robins - A Conversation With Myself
2009, Morning Bird Records

Most people fall into one of two categories in life: those who follow the rules and those who break them. There is a third category that generally holds select company: those carefree enough to simply make their own rules and their own way. Abi Robins is of the latter ilk, choosing an Indie path that not only has served her well but has become a resource for other independent artists as well. Originally of The Winter Wakeup with singer/songwriter Jess Parsons, the Kansas-born Robins started her own record label, Morning Bird Records in 2008, releasing her Hey, Sunshine! EP as well as four EPs from other artists in less than one year. Robins now returns with her first full-length album, A Conversation With Myself, trading on a blend of Folk and Rock N Roll that's immediately comfortable without forfeiting an ounce of originality.

Robins opens the conversation with The Blue Waltz, a disarmingly honest anti-love song with passive-aggressive tendencies. It took a few listens but I really came to like this tune; it's a bit out of the box but very well written. Robins gives a delightful turn on The Drive, a quasi-escapist musical fantasy with melody that's to-die-for. The autobiographical quality of Robins' writing is noteworthy, wielding disarming candor with a deft touch that's part subtlety and part artistry. God And Science reflects a level of self-knowledge and a mix of disgust and acceptance at the narrator's inability to change in a great Folk/Pop arrangement that shows maturity well beyond Robins' years. If The Shoe Fits is a highly catchy tune about a relationship that's not working out; the peppy arrangement is the perfect foil to lyrics that are less than happy. You won't be able to get this song out of your head.

Robins treats listeners with a gentle instrumental entitled Battman, mixing Latin elements with Jazz and Psychedelia to create a pleasant sonic interlude. On This Easy, Robins follows an Americana path that's part Blue Rodeo and part Aimee Mann in a song about frailty and vulnerability of relationships and the sort of fear and bad decisions those states can engender. Once again, Robins displays a maturity and sense-of-self well beyond her years wrapped up with an ability to create a picture in song that's not only clear but lasting. Someday addresses the dichotomy of having an uncertain future with a certain end; mortality being set in stone but moveable in time and unpredictable. Robins examines this loosely from within the bounds of a relationship, applying the principle of uncertainty from life to the relationship and questioning the mortality of the same. The song is highly personal and honest, displaying ambivalence between hope and hopelessness that is striking. Robins closes out with Wanna Stay, a song of hope and resolution that counters the dark thoughts that run throughout A Conversation With Myself. Robins has spent the past forty-two minutes spilling the guts of her thought process for the listener's pleasure, including all of the dark uncertain thoughts that accompany being young and uncertain in a world full of questions and dangers that are only half-glimpsed and less understood, but ends with a resilient note that asks for more even if she isn't entirely sure what it is yet.

A Conversation With Myself shows distinct growth from Robins as a songwriter over her Hey, Sunshine! EP, delving into the dark nooks and crannies of her mind and baring insecurities and shadows that most people never see. For raw honesty and artistry the album is a 5-star effort. The writing and arrangement of music on A Conversation With Myself are top-notch, too, although there are some out there who will struggle a bit with Robins' vocals. Technically speaking there is a tendency for Robins to play fast and loose with pitch, particularly on the end of phrases. Robin's is never fully out of tune but certainly flirts with the concept consistently on A Conversation With Myself. Add to this Robins' voice, which has a dark beauty to it but isn't necessarily what you might describe as "pretty", and some folks will be turned off by this aspect of the disc. But Robins has a uniquely personal style that comes through that voice, and as a whole these vocal qualities add up to more than the sum of their parts, ala Bob Dylan or Neil Young. The end result is a listening experience that is unique and enthralling for its mix of artistry, beauty, and yes, it's flaws. A Conversation With Myself is a dazzling effort from Abi Robins; make sure you check it out.

Rating: 4.5 Stars (Out of 5)

You can learn more about Abi Robins at http://www.abirobinsmusic.com/ or www.myspace.com/abirobins. I was unable to find an online outlet for A Conversation With Myself, although you can stream tracks on her Robins’ MySpace page. Contact Robins there if you’d like to buy a copy, I’m sure you can work something out.