Steph Barrak - Words To Break Your Heart

Steph Barrak – Words To Break Your Heart
2013, Steph Barrak

Steph Barrak is a rare gem.  The Boston-based indie singer/songwriter blends a poetic stream of consciousness lyrical style with an artful melodic sensibility and a distinctive pop pulse.  While Barrak’s desire to write and sing began at a young age, it wasn’t until her college years when she really began to play in public.  Her open mic appearances quickly turned into headline shows.  Barrak spent two years working with producer Mike Davidson to craft her sonic visions into the album Words To Break Your Heart.  The end result is stunning, beautiful and raw, with a living heartbeat you cannot ignore.

Barrak sets sail with “Connecticut”, an engaging take on a failed relationship written in two distinct musical movements.  She manages to come across as articulate and authentic in dissecting her own heartbreak without falling into stereotypical bouts of vitriol.  The catchy folk/pop arrangement will have your toes tapping, and seems like it should have some real commercial punch.  “Painted Face” is a quiet monologue about waiting for the winds to change.  She recognizes the relationship is over, but is waiting around just in case.  Barrak’s chorus is near-perfect, although the song does drag a bit at the end due to repetition.  “Robot” carries with a mild melancholy, written from the perspective of an automaton.  This could be interpreted as commentary on a relationship drifter who engages but never commits or taken at face value.  Either away it’s highly entertaining and musical.

With “Hardwired”, Barrak digs into an ear-friendly bit of 1970’s singer/songwriter panache.  There’s a bit of the melancholy of Mazzy Starr here, but Steph Barrak is pragmatically hopeful in her approach.  The song plays like a lullaby, and Barrak’s warm alto is the perfect salve.  “Fossil Tears” is a post-breakup monologue on the healing process that retains a glint of hope for the hopeless.  This quietly catchy number will get stuck in your grille and stay there.  “Oh Lo Lo” is a bit more pointed in style, with a relentless post-pop sensibility that pulls at the listener.  Here Barrak is focused on her inability to shake her former love.  It’s a nice tune that feels a bit stuck instrumentally, but that’s sort of the point.

There’s a sense of breaking free evident in “Natural Progression”.  This uplifting folk/pop number has a vibrant energy and a memorable melody, as the focus shifts from decay to transformation.  “Drift With It” is a down-tempo take on the same theme, an acknowledgement that things are falling apart.  The go with the flow feel runs all through the arrangement, and Barrak’s dulcet tones frame it all perfectly.  Once again she shows a flair for infectiously hooky choruses that get caught between your ears.  “The Way You Make Me Smile” would seem to be a turning point.  She’s come to peace with the process of decay, understanding its necessary based on the two actors in this little play.  Nevertheless, she tries to wring one last gasp from what was lost.  The mournful country guitar is a nice touch in communicating the mix of heartbreak and wistful hope found in this moment.  She falls back into an utter unwillingness to let go by song’s end.  This parallel of decay creates one of the loveliest sonic moments on the album, with a chorus that you’ll be humming to yourself for ages.

It’s hard to know whether “Married To A Robber” is a continuation of the story line or a jump start, but the former is as plausible as the latter.  Steph Barrak creates a true musical moment here, crafting the beauty of tragedy into musical stone (or is it the other way around?)  In any case, this is a masterful piece of songwriter.  Barrak winds things down with “Watch For Me”, a declaration of civil war, if you will.  She has finally found the words to match the feelings in her heart, and she is ready to fight.  The song carries the power of simple truths, evocatively turned out in a sparse musical arrangement.  What’s most intriguing is Barrak never offers the payoff.  We come to the brink of the final confrontation, but that moment is never revealed. 

You can argue the end of Words To Break Your Heart all you want, but the takeaway is that this is a compelling musical work that is worth arguing over.  Barrak lays her heart bare across eleven songs that convey the ambivalence of needing to get away yet needing to stay.  It’s not the conclusion that is the focus here, however; that is left to the listener’s imagination.  The journey is the thing.  Barrak’s songs are compositionally never more or less than what they need to be to complement the complicated emotions she conveys.  A relationship’s decay plays out to the precipice without closure, but either way you see that the narrator has grown.  Whatever comes, she’ll be okay.  So while we are left to wonder what is next for Steph Barrak, most anyone who hears Words To Break Your Heart will be anxious for the sequel.

Rating:  4.5 Stars (Out of 5)

Learn more at www.stephbarrak.com. 

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. 

Review: Molly Jenson - Maybe Tomorrow

Molly Jenson - Maybe Tomorrow
2009, Bully! Pulpit Records

Molly Jenson came to our attention because of her duet with Sherwood's Nate Henry on that band's Worn (from their debut album, Qu, which we reviewed here.) We were so intrigued by her voice we wrote Jenson and asked her to submit an album for review. We're apparently not the only ones impressed, as Jenson continues to wrack up the accolades. The 2007 “Best Acoustic Act” from the San Diego Music Awards was named by Teen Vogue one of the three best new artists on MySpace that same year. In 2008, Jenson’s song Give It Time was selected to be part of the Freshman Survival Kit, given to incoming college freshmen around the country. She also had songs selected from the soundtracks of NBC’s Knight Rider and the CW’s Privileged. Jenson kept the momentum rolling into 2009 with the release of her debut album, Maybe Tomorrow. With a growing fan base on three continents (North America, Europe and Asia), the sky’s the limit for Jenson.

Jenson has a voice that falls somewhere between Sarah Harmer and Chantal Kreviazuk; a pleasant sound with enough texture to make you sit up and listen more closely. She opens Maybe Tomorrow with Give It Time, a song of wisdom in a gentle but catchy pop arrangement. This is a great lead track and definitely has legs as a single. Beginning Here is a melancholy tune with a pleasant melody. Jenson's voice slides across the vocal line with an ease that's breathtaking. The texture and beauty of her voice are perfect for the song. Maybe Tomorrow finds Jenson in a magical moment full of hope, longing and vulnerability. All shine through in a solid pop song that's more powerful and subtle than you might think at first blush. Jenson hits a bit of Mix-Tape magic on Thinking Of You; a catchy, bouncy love song with an unforgettable chorus. The vocal harmony work here is a real treat; with the right breaks, Thinking Of You could be a major pop hit.

Jenson goes for a fingerpick waltz on And You Were, a love song that works without sounding mushy or cliché. It's a song about the perfect day with the perfect someone. We get a change of pace on The Edgy 8 Ball Song; big crunchy guitars and a Suzanne Vega style narrative about a run-in with an ex are the order of the day. It's a decent song, but definitely divergent from the album style to this point. Alongside You is another potential single; A song about the feeling that accompanies love where you feel like you can do anything as long as the appropriate person is by your side. Alongside You (Part 2) is a melancholy and turbulent epilogue complete with full orchestration. It's a pretty and intriguing contrast to the original song.

I'm Sorry For Me is a musical mea culpa of sorts; it almost sounds like unrequited love from the view of the one who can't return the feelings. The song is beautifully written and intelligent; full of disappointment and regret. Jenson is joined by Jon Foreman of Switchfoot in a great duet on Do You Only Love The Ones That Look Like You. The song wants to be a country tune; here it's presented in a mild Americana arrangement. Either way it's a great tune. Thank You My Friend is a Jazz/Pop hybrid in the style of Norah Jones. The dynamics here are great, and there's real licensing potential for this song. Jenson closes out in a flash of musical brilliance on Wait For You Here. The ultimate act of love can be patience, particularly in a relationship where one person needs time. This song displays patience without judgment, or foolishness, depending on your perspective. It's a nuanced, mature and beautiful piece of songwriting, whatever you think of the motives.

We requested Jenson submit her CD because of her voice; such things are always hit or miss. Luckily for us, Jenson turns out to be a first-class songwriter as well. Maybe Tomorrow is a brilliant debut, full of texture, nuance and honesty. The arrangements are well-done and each a perfect fit to the lyrics they are married to. Jenson herself is charming, with a voice you could listen to all day. Make sure you spend some time with Molly Jenson and Maybe Tomorrow. You'll be glad you did.

Rating: 4 Stars (Out of 5)

You can learn more about Molly Jenson at http://www.mollyjenson.com/ or www.myspace.com/mollyjenson. You can order Maybe Tomorrow from Amazon.com as either a CD or download. Downloads are also available from iTunes.

Review: Melissa Axel - Transition [EP]

Melissa Axel – Transition
2009, Melissa Axel

Denver’s Melissa Axel is a woman with a piano. Following in the footsteps of Tori Amos, Axel uses the piano as more than just an instrument, it is the narrow focus through which she delineates the world using her personal perspective. The Berklee College of Music grad is working on a full length album at the moment, but in the mean time sent along her first EP, Transition, for review.

Axel has an interesting and pleasant voice that is deep and full, with a lot of implied strength. There’s no breathy pop maven quality here, but a sound reminiscent of earth and nature. Consequently Axel puts the listener instantly at easy (la Carly Simon or Joan Baez). The music is quite enjoyable as well, but Axel does run into some issues with the wordiness of her songs. Axel comes across as well spoken in her songs, but is wordy to the point of losing the listener at times. Fall This Hard opens the set with a wonderful piano and violin-sourced Pop ballad. This song is lovely and a joy to listen to and Axel manages to stay somewhat lyrically succinct. On Transition (No More Fairytales), Axel delivers what sounds like a Broadway soliloquy in song. The word count rises here and borders on distraction, but the song is so good it doesn’t quite intrude on the listening experience. By the time we get to Transparency and Madness the verbosity has become too much to bear. This is unfortunate as its somewhere in here that many listeners may choose to turn off the disc; the best song is yet to come. Transition closes out with Out Of Nowhere. Axel has reined herself in here, delivering a gorgeous piano/pop ballad with incredible harmonies.

Melissa Axel has a voice you’ll love listening to, and when she stays in control of the lyrics her songs are a pleasure. Axel appears to have a tendency toward extreme verbosity in her lyrics that detracts from the essential beauty of the music she writes. When Axel controls this tendency the results are sublime. Transition is a pleasure when she does and a difficult listen when she does not.

Rating: 3 Stars (Out of 5)

You can learn more about Melissa Axel at http://www.melissaaxel.com/ or www.myspace.com/melissaaxel. You can purchase a copy of Transition at www.cdbaby.com/cd/melissaaxel3.

Review: Gisele Scales - 2 Think

Gisele Scales – 2 Think
2008, Gisele Scales

Sydney, Australia’s Gisele Scales is no stranger to European audiences. Her song Mother Egypt, with the band Vega, soared to the top of the European Pop charts. She’s also recorded with the likes of Midnight Oil, Eurogliders and Jeannie Lewis. The vocalist and electronic violinist released 2 Think in 2008, full of sizzling fiddle runs and big dance beats. What struck me most about this CD is that it is amazingly one dimensional for an artist of Scales’ talent. The violin here is more of an accent than an instrument; the album is so over-produced that any real sense of musicality has been reprocessed into an unrecognizable state. This is a heavy electro-dance album more in the line of Kraftwerk than of fellow electric fiddler Lili Hayden. Many of the songs here will do well on the club scene, but much of the album lacks the musical soul I was expecting.
Scales shows flashes of virtuosity (Can U Love 1 Another), but in generally becomes a slave to the beats and production. In the end it is what it is, a dance album made up of mass produced beats, rhythms and electronic sounds that is certain to do well on the club circuit, but there’s no challenge or stretch for either Scales or the listener. 2 Think had the potential to be so much more.

Rating: 2 Stars (Out of 5)

You can learn more about Gisele Scales at www.myspace.com/myspacecomgiselescales or http://www.giselescales.com/. You can purchase 2 Think at www.cdbaby.com/cd/giselescales or download it through iTunes.

Review: Tamara Hey - Miserably Happy

Tamara Hey - Miserably Happy
2008, Miserably Happy Records

Tamara Hey is a product of New York City. All the humor, intelligence, sarcasm and soul searching that goes with being a New Yorker is reflected perfectly on her latest album, Miserably Happy. Her press materials site influences such as The Beatles, Fleetwood Mac, The Rolling Stones, Suzanne Vega and Aimee Mann, and you can hear shades of each within her songwriting, but Tamara Hey would appear to have a musical progenitor in Christine Lavin. Hey is a bit edgier than Lavin perhaps, but carries that same sense of intelligent wit and mischief that infuses the best of Lavin's material. The subtle essence of wit is ever-presented on Hey's most recent album, Miserably Happy. No subject is devoid of opportunity in Hey's capable hands.

Miserably Happy opens with You Wear Me Out, a reflection on a boyfriend whose amorous intent is based more in his own insecurities than affection. The arrangement is peppy pop sweetness that encapsulates the quiet angst that runs through the song. Round Peg is contrasts the distaste or discomfort some people feel with regards to an acquaintance or friend with a real weight issue, and yet it contrasts this feeling against the feelings of inadequacy engendered by the struggle for the perfect body. The narrator ends up deciding the less than perfect body and fun life are more desirable than the pursuit of elusive perfection. Umbrella is a humorous song that residents of any large pedestrian metropolis will understand. It's cute and understatedly funny.

Somebody's Girl reflects an almost neurotic sense of hope or knowledge that the perfect person it out there somewhere. It's a sweet song with a great pop arrangement. Isabelle incorporates subtly beautiful Spanish guitar licks into a song about how friends sometimes change once they get married or seriously involved. It's as much a lamentation of friendship lost as it is a passive or internal exhortation for the friend to see the truth about her choice. Drive is probably my favorite song on the record, nailing the angry urgency with which New Yorkers live every single day. Drive is about the need to get away from time to time to refresh yourself, and is delivered with a wink of wit. Other highlights include David #3, Long Dog Day and Miserably Happy. Tamara Hey closes out with October Sun, a musical painting of images and understandings drawn from the sun in decline. This is the prettiest and most poignant song on Miserably Happy.

Tamara Hey is quite the songwriter. Intelligent and funny lyrics back up against strong country/folk/rock arrangements that serve as perfect vehicles for Hey's sweet voice. Tamara Hey is just quirky enough to be instantly memorable/recognizable. Once you've heard her sing you'll always know Hey's voice right away. That is a quality most singers would die for. Add to that the obvious talent and you have quite a package. Miserably Happy is well-written and well-performed, and an indication that Tamara Hey should be a viable force in folk and rock for some time to come.

Rating: 4 Stars (Out of 5)

You can learn more about Tamara Hey at www.myspace.com/tamarahey or http://www.tamarahey.com/, where you can purchase a copy of Miserably Happy. You can also pick up a copy at www.cdbaby.com/cd/tamaramusic3.