YUCA - Rebuilding The Empire

YUCA - Rebuilding the Fallen Empire
2013, Rising Empire Records

Langley, British Columbia rockers YUCA don’t follow the typical formula for rock and roll success.  High minded and wide open arrangements are the order of the day on their second full-length album Rebuilding The Empire.  The band has a love for all things U2, or so you would gather from their sound, which is at times derivative but very commercial.  Rebuilding The Empire finds lead vocalist Matt Borck stretching his voice to the limits, while the rest of the band struggles to find a sound that includes their innate ethereality and a sense of vitality.

YUCA launches out of the gate with "Skeletal Desires", adding a touch of Latin jazz flair to a hard-driving melodic arrangement with a slinky horn section.  "Melt" is a big, wide open commercial rock song predicated on minimalist verses and a bland arena style chorus. The saving grace of the song is Matt Borck's voice. "Maybe We'll Riot" suffers from its own ambiguity.  An energetic, neo-disco arrangement surrounds lyrics that are more speculative than anything else. "Heavy As A Stone" keeps up the highly refined sound and the almost detached lyrical air that has been evident thus far. The chorus of the song is dressed up on gorgeous vocal triads, but there is a decided lack of conviction in the performance. 

"I'm Alive She Said" is a stadium churner done in the style of U2. Borck has the right sound, and the band presents the right approach, but the energy that turns this from ho hum to rattle and hum never materializes.   "Love" is a big skulking musical monster that tests the edges of Borck's voice. The song is all tension and no resolution, substituting drama for development.  YUCA gets personal on "Where Are My Soldiers At?"  The opening of the song is pretty and stripped down with a misty air, but this quickly resolves into a sort of cookie cutter adult rock arrangement. 

"Anthem Of Need" tries to shake off the distance with an insistent bass-driven rhythm, and YUCA partially succeeds with a memorable chorus. Unfortunately the cookie cutter feel of the songwriting never subsides. "Give Up My Ghost" amps up the energy, but the bland, post adult rock sound continues in what should be a dynamic rock track. YUCA closes with "Sparrow", which starts out as a stripped down, ethereal number. It stays there, bathing a song of support in emotional melancholy. 

YUCA mines the sound of bands such as U2 and Coldplay in trying to put forth their own band persona.  This ethereal, big rock sound is both enjoyable and frustrating as YUCA spends the time on Rebuilding The Empire making musical shadow animals when they should carving out their own niche.  The result is a well meant but hollow and derivative sound.  YUCA knows who they are trying to be, but it doesn’t seem like they know who they are yet.  That being said, there’s very solid musicianship here, and Matt Borck has a voice that can front a big time band. YUCA just needs to find that thing that makes the unique and bring it out in their music.

Rating: 2.5 Stars (Out of 5)

Learn more at www.yuca.ca.  

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. 

Shirock - Everything Burns

Shirock - Everything Burns
2009/2011 - Shirock

Nashville rockers Shirock blend singer/songwriter pastiche with well-honed pop/rock songs on their debut album, Everything Burns.  Produced by Jay Ruston (The Donnas, Matisyahu, Everclear, Cold War Kids), Everything Burns is full of grand intentions, bold melodies, big energy and a story-teller’s art. 

Everything Burns opens with "New Solution", a catchy, U2 style pop song.  Chuck Shirock sings a bit like Bono, and the harmony vocals are perfectly complementary.  This one also has a big, radio-friendly chorus that should catch the attention of radio programmers.  "Time Goes By" sounds like a formulaic ballad designed for radio play, but conceals a considerable angst as the narrator questions existence and his reason to be.  "Still Young" suggests a hopeful proposition wrapped in a deep melancholy.  "I'll Take Rain" is a song about finding the perfect one, but has a funereal feel that's at odds with the lyrics.  The song features Pap Shirock on lead vocal; she turns out to be the vocal class of the group.

"Say It Out" is a love song with real energy and passion exuding from the arrangement.  There's a definite U2 influence here.  "Drag You Down" is highly commercial in sound but a bit empty for substance.  You can't blame a band for including a track like this in an album in the hope of catching on with mass media, but "Drag You Down" is sufficiently self-reflexive to make you wonder what Shirock was thinking.  "Silver" features Pap Shirock once again on vocals for a big, enduring ballad.  She sounds wonderful here, but it would be nice to hear her let loose on one of the rock tunes.  Pap Shirock's harmony vocals elsewhere suggest that she is sorely underutilized. 

"Everything Burns" is an admonition to make the most of your time and do something meaningful.  Opening with a spoken word part, Shirock drags this one out across six-plus minutes of ashes-to-ashes commentary.  "I Have Been Redeemed (Reprisal)" is not, in fact, a reprisal of anything on the album.  It's a solid tune with a spiritual theme, marking a transition that we do not yet see.  The album closes in a wash of ethereal sounds and reverb.

Shirock is a band with multiple personalities, and as of Everything Burns it's not clear that one has won out over the others.  With Chuck Shirock on the mic there is a quality of showmanship to the group that generally works in their favor, as well as a penchant for big, wide-open arrangements with soaring melodies ala U2.  With Pap Shirock up front, Shirock becomes more of a musical juggernaut.  While Everything Burns does not feature her on any rock-oriented songs, it's easy to see/hear that she's the best singer in the group.  Shirock takes on different aspects depending on the vocalist, and right now seems to be fighting to be one thing while more naturally disposed to being the other.  This is the sort of internal tension that, if not resolved, can tear a band apart.  Yet, like many other groups with multiple vocalists and personalities (Fleetwood Mac, The Eagles, Styx), the ride before the crash can be fantastic.

Rating: 3 Stars (Out of 5)

Learn more about Shirock at www.shirock.net or www.myspace.com/shirock.  Everything Burns is available digitally from Amazon.com and itunes.

Marie Glad – Bedroom Stories, Part One

Marie Glad – Bedroom Stories, Part One
2010, Royal Sister

Marie Glad is a Swedish singer, songwriter, visual artist, designer, film maker and yoga instructor.  That’s enough vocations to prove a point of some sort.  As a singer/songwriter Glad  saw moderate success with her 2009 debut album Rescue Me.  She returned in 2010 with a four-song EP entitled Bedroom Stories, Part One.  The EP is full of bland, fluffy pop music that’s easily convertible to the dance scene with the appropriate remixes.  Glad has a nice enough voice, but the material presented here is the musical equivalent of empty calories.  The peak of the EP comes on the last track, a second version of the song “Butterfly” featuring Duvestar.  Duvestar is a partnership between Glad and Irish DJ/producer Oisin Lunny (U2, Gangstarr, Sinead O’Connor).  There are points of promise here, but little is truly realized.

Rating: 2 Stars (Out of 5)

Learn more about Marie Glad at www.marieglad.com or www.myspace.com/marieglad.  Bedroom Stories, Part is available digitally from Amazon.com and iTunes.

 

Dexter Freebish – Shine On

Dexter Freebish – Shine On
2010, Copper Moon Records

Dexter Freebish rocketed into the national consciousness in 1999, winning the John Lennon Songwriting Contest with a number entitled “Leaving Town”.  The win led to a recording contract with Capitol Records and a top-40 single from their debut album Life Of Saturdays.  The relationship with Capital Records didn’t last long due to creative differences, but going independent never stopped the Austin’s quartet’s flirtations with success.  Two additional albums have seen Dexter Freebish land multiple songs on MTV’s The Real World, as well as placement in several video games and the movie Superman Returns, as well as racking up a second John Lennon Songwriting Competition Award in 2004.  After a six year hiatus, Dexter Freebish returned in October of 2010 with Shine On, their best work to date.

Shine On opens with “Wide Awake”, a highly catchy piece of pure pop music with a chorus that will ring in your ears.  This is the sort of tune that will have people running to Google to find out who sings it.  “Save The Last Dance” is in the same vein; highly danceable pop/rock with great harmonies.  The energy here is amazing.  “Do You Want To” shows off distinctive harmonies ala Yes or 1980’s Asia in a tune vaguely reminiscent of classic Rolling Stones.  “Made Some Friends Along The Way” shows a solid U2 influence in a soul searching tune full of big airs in a wide open arrangement.  “When The Sun Shines” maintains Dexter Freebish’s big pop momentum before moving into the album’s apex, “Shine On”.  “Shine On” could be either a love song or a song about making dreams come true; either interpretation works, but ultimately it’s a great pop song.  “Beautiful Girl” is a low key pop love song whose greatest weapon is the subtlety and touch in the songwriting. 

Dexter Freebish returns in fine style with “Shine On”; their most well rounded and complete work to date.  You don’t win the John Lennon songwriting contest twice for no reason, but Dexter Freebish continues their tradition of writing stand out songs.  Even if the industry at large and pop radio don’t pay attention, this turns out to be one of the more satisfying pop/rock albums of the past year.

Rating: 4 Stars (Out of 5)

Learn more about Dexter Freebish at www.dexterfreebish.com or www.myspace.com/dexterfreebish.  Shine On is available digitally from Amazon.com and iTunes.

Centrevol - Momentum

Centrevol - Momentum
2010, Centrevol Music

Long Beach, California rockers (by way of Boston) Centrevol made a splash with their 2008 debut album, the Wyn Davis (Sublime, No Doubt) produced Beggars And Thieves showed a propensity for grand rock songs with distinctive melodies in the tradition of bands such as U2, The Police, The Killers and Coldplay. Centrevol returns on September 29, 2010 with their third EP, Momentum. Produced by Eric Palmquist (The Ataris), Momentum is likely to be a self-fulfilling prophecy.

Momentum opens with "Don't Hear Me Wrong", showing off an open sound with great pop sensibility that's reminiscent of U2 (or U2 jamming with the Geoff Downes version of Asia. The chorus here is brilliant, the sort that catches attention on the radio. "Ready To Go" is a bit more mundane than the opener but is a solid album track "I Walk The Line" is an intriguing cover of the Johnny Cash classic that sounds very little like the original. Centrevol brings out a different feel in the song; where Cash's version was confident and proud, the version presented here is melancholy and resigned. "Save Yourself" is very catchy, and jumps right out of the speakers into your ears. Centrevol's ability to come up with these big choruses filled with ample hooks and harmonies bodes well. The best comes last, however. "Shine A Light" is a prospective love song; hopeful in a prayer-like fashion. Melody is king here, and even if the lyrics dance on the edge of trite at times the song works for what it is.

Centrevol overcomes the sophomore jinx with Momentum. Even with a couple of tracks here that just take up space, Centrevol exceeds all expectations by blending a distinct pop sensibility with great melodies and the occasional chorus that will simply blow your over. With the right luck Momentum could be a breakout EP on the strength of a few of the tracks here. Don't miss it.

Rating: 3.5 Stars (Out of 5)

Learn more about Centrevol at www.myspace.com/centrevol.  Get Involved drops September 29, 2010.  You can pre-order your digital copy from Amazon.com.  Expect wider availability both on CD and digitally soon.

Merry-Go - Merry-Go [EP]

Merry-Go - Merry-Go [EP]
2009, Merry-Go

British quartet Merry-Go (Matthew Norris - drums/backing vox; Adam Robertshaw - guitar/backing vox; Jonathan Smith - guitar/keys/backing vox and David Fisher - bass/lead vox) have received comparisons ranging from Big Country to Biffy Clyro, Nada Surf and even U2. While you might think that such an eclectic mix of comparisons would describe an anachronistic sound, Merry-Go sticks to a fuzzy-yet-melodic straight-forward style of rock n roll. Merry-Go must be doing something right, having spent more than three months on the UK unsigned band chart with their single "Invisible Girl". Merry-Go tries to recreate that success with their self-titled EP, released late in 2009.

Merry-Go opens with the lushly driven alt-pop of "Intentions", a reminder that every moment is fleeting and that intentions, when not acted upon become lost opportunities. "Places" is a catchy active rocker with a solid melody line but too much fuzz and too little diction to be understandable. Merry-Go closes with "Whatever Happens", a catchy fuzz-rocker full of fatalism and a catchy hook that will stick with you once the EP is done. The Merry-Go EP is a sharp fuzzy rock, built on solid hooks, singable melodies and a consistent presentation. This isn't a groundbreaking EP by any means, but it's a solid and promising effort from a young band.

Rating: 3 Stars (Out of 5)

Learn more about Merry-Go at http://www.merrygo.bandvista.com/ or www.myspace.com/merrygo05.  No active online purchase points appear tobe available for Merry Go, although tracks can be downloaded from the band's Bandvista site.

Halie Loren - Stages

Halie Loren - Stages
2010, White Moon Productions

No matter how vibrant the performer; no matter how talented the producer, it's simply not possible to get the full power of a live show into a studio recording. Even one-off sessions with no overdubs fail to get the whole aural picture on tape. This seems an important consideration as I sit here listening to Wildy’s World Artist Of The Month for June, 2010 Halie Loren's newest album, Stages, recorded during 2009 at two different venues in Oregon. Loren has an amazing voice, warm and sultry in a way that recalls the Great Ladies of Song. That voice has always been apparent on her albums Full Circle and They Oughta Write A Song, but if you want to be blown away, grab a copy of Stages and get comfy.

Stages opens with "Danger In Loving You", a virtuosic opening that recalls names like Etta James, Sarah Vaughan and Billie Holliday. Loren has the innate ability to sell a song like she's lived it, making the experience so real that listeners can lose themselves for a moment. "On A Sunny Afternoon" is to the same level, but allows Loren's band to show off a bit. Particularly notable here is pianist Matt Treder, who brings the backdrop alive with a piano part that's so vibrant it's practically alive. Loren's take on U2's "I Still Haven't Found What I'm Looking For" sounds as if it might have been arranged by Hoagy Carmichael; keeping the essential melody intact but taking some mixolydian liberties in the process. On this tune in particular Loren sounds like a cross between Norah Jones and Sade, offering a soulful twist on her warm alto.

"More" starts out in a 1970's singer/songwriter pastiche before turning into a classic cabaret tune. Loren waxes poetic on her perfect love and questions whether her current love matches up to the ideal. The song alternates between a dreamy, pensive chorus and upbeat, jaunty verses and sounds like it might have come from a stage show. Loren really digs in on the classic "Cry Me A River", leaving goose bumps in her wake. You'll walk away thinking you finally heard the song as Arthur Hamilton originally envisioned it as he put pen to paper. Loren's take on Antonia Carlos Jobim's "The Girl From Ipanema" is lighter fare but no less inspired; capturing the carefree feel of the original.

On "Free To Be Loved By Me", Loren has a magical moment. Back in singer/songwriter mode, Loren delivers a tune that could have been a top-10 pop hit in the mid-1970's, and might still take the charts by storm in a country arrangement in today's marketplace. It's a brilliant tune, and plays exceedingly well live, where Loren sells it like a Tony-winning actress. Moving quickly to pick up the pace, Loren and band launch into Louis Jordan's "Is You Is Or Is You Ain't My Baby", done in a peppy, syncopated arrangement that will have your toes tapping from the outset. Loren shifts once again into "Great Ladies Of Song" mode for "Love Me Like A River Does", offering a textured, nuanced and ultimately beautiful vocal performance. Bassist Mark Schneider provides rhythmic and musical support with a line that stumbles, and then walks as Loren asks for it all. Pianist Matt Treder fills around them like the air we breathe, creating an amazing ensemble that's as in-sync for the three and a half minutes of the song as it’s possible to get.

Loren's "They Oughta Write A Song" has the sound of a classic jazz vocal tune, but is a Loren original. It's the title track of her last studio album, which was recently released in Japan by Victor Records. Loren's performance here is flawless. "High Heel Blues" offers a moment of whimsy as Loren sings about the draw a great pair of shoes can have, and the afflictions caused by a good pair of high heel shoes. It's a Capella blues and a real connection with the crowd that happens to allow listeners to hear the full tone and color of Loren's voice devoid of surrounding instrumentation. After such a diversion, you'd expect a song of impact. Loren chooses "Summertime", one of the best known songs in the Gershwin catalogue. This one's been done so many times it can either be a safe choice or a disastrous one. There are enough great versions of "Summertime" out there to make anything less than magic seem mundane. Loren delivers with a warm delivery and an understated read on the tune that eschews the histrionics many modern singers try to inject into the song. Stages closes with gentle calypso of "Rainbow Race", a song about the need for all peoples to get along and live together. It's a sweet tune, a fitting concert close with a gentle social message but light enough to end the show on a bright note.

Haley Loren continues to grow and develop as an artist, and she's seeing the fruits of her labors. Her previous album, They Oughta Write A Song, recently crested in the top-20 albums in Japan. It's only a matter of time before Loren sees the same sort of numbers on this side of the Pacific. It's already reached a point where if you want to talk about the best female jazz vocalists working today, a discussion that doesn't include Loren in the mix is incomplete. Stages is brilliant, capturing Loren in a live setting, where the warm textures of her voice and her pitch-perfect phrasing blend with a band that supports her flawlessly. Halie Loren is the sort of vocalist who comes along once or twice a generation, combining technical ability, sound, passion, sensuality and a natural ability to connect with listeners; she creates magic on stage, as on Stages. Stages is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. You can order Stages and any of Loren's other albums on CD through her website in the store section. You can also order the album as either a CD or Download from Amazon.com.

herMajesty - Images From The Vanishing Night

herMajesty - Images From The Vanishing Night
2010, Bittersweet Records

herMajesty has been crashing the New York City scene since 2005, mixing ethereal rock expositions with highly emotive lyrics and grand melody. herMajesty’s latest release, Images From The Vanishing Night, ventures into solid rock/pop territory at times.

Images From The Vanishing Night opens with the soaring strains of "Operator (NYC)". herMajesty shows off guitar work inspired by The Edge in a song reminiscent of the ethereal rock feel of early U2. "Into The Light" is a solid pop tune, although the vocalist somewhat implodes on the high notes in the transition to verse two. It's a decent tune otherwise. "My Dear Friend" is decent, middle of the road rock that's perhaps a bit overdone emotionally. "World Smiles" goes for a big sonic impression, soaring with anthemic power but not really grabbing the listener in the process. The EP closes with "Wish", a great song of love and longing; of missing someone who is far away. "Wish" is the class of the EP.

Images From The Vanishing Night is a highly uneven experience, ranging from sublime songwriting ("Wish") to experiments in big bland sound ("World Smiles"). herMajesty shows the ability on Images From The Vanishing Night to craft solid pop/rock songs, but was perhaps a bit too much in a hurry to get an EP out to wait for a couple more high quality songs to be born. Nevertheless, Images From The Vanishing Night offers a solid introduction to herMajesty; enough so that you won't hesitate to check out the next release after you've heard this one.

Rating: 3 Stars (Out of 5)

Learn more about herMajesty at http://www.hermajestyny.com/. Images From The Vanishing Night is available as either a CD or Download from Amazon.com.

Evan Bliss - ShhhPOW!

Evan Bliss - ShhhPOW!
2010, Holster Records

Former The Low Life front man Evan Bliss re-united with his old band Evan Bliss & The Welchers this year to release his second solo album, ShhhPOW! Writing in a sharply post-genre collection of styles, Bliss will recall for listeners such acts as Maroon 5, Ray LaMontagne, David Bowie and U2 on ShhhPOW!, while blending rock, soul and even a dash of reggae in the process.

ShhhPow! is a solid effort full of singer-songwriter songs with a quirky pop edge that's part Train and part Radiohead. Bliss has a voice that will stick out in your mind; it works very well on some songs but occasionally comes face to face with his limitations on ShhhPow! Bliss carries on either in spite of or oblivious to such concerns, delivering the songs as he hears them. The effort is generally successful, with highlights such as the thoughtful "On Live And Life", the Train-styled "Fleiss", and the Radiohead-essence of "Awake". Bliss is particularly enjoyable on the gritty R&B-based rocker "Passerby"; the wagon-train country-punk intensity of "Come Shine" and the messy but enjoyable "Shotgun Ho-Down". Make sure you stick around for "Pula Aena", a stirring gem stuck at the end of the album that features the African Children's Choir and voiceovers telling what the group is and how it came to be. Bliss is at his vocal best here, and the choir very accomplished on backing vocals.

Rating: 3 Stars (Out of 5)

Learn more: website, MySpace

Buy: AmazonMP3, iTunes

Review: Saints Of Valory - Saints Of Valory

Saints Of Valory - Saints Of Valory
2009, Saints Of Valory

Saints Of Valory formed in Atlanta, Georgia in late 2008, but Godfrey Thompson and Gavin Jasper were both established professional musicians before the band came along, allowing the band to transition quickly from inception to gigging to recording and releasing an album. With roots in classical and film scoring, Jazz, Latin and Rock N Roll, Saints Of Valory were bound to create some interesting and unusual sounds. That's why it's no surprise that the band's debut, self-titled EP is so compellingly good.

Saints Of Valory opens with Love Junkie (Drama Queen), an off, off-kilter heavy rocker with distinct Pop sensibilities. This is dark and elusive Rock N Roll that remains accessibly by planting itself firmly in your forebrain and refusing to vacate the premises. Mary-Go-Round has a compelling, edgy sound that's part Brit-Rock and part Arena Rock. Vocalist Gavin Jasper is enigmatic but perfect for this setting. Crash Monday straddles thin buffer between Classic Rock, Modern Rock and Pop with a danceable mix that's fresh and exciting. This is the best tune on the album, and don't be surprised if sooner or later it turns into a big commercial hit for somebody. Saints Of Valory closes out with two live in studio tracks. The first, Nowhere To Land, makes me think of what U2 might sound like if they came along twenty years later, while Stay Wild is a classic big Rock anthem. The wide open arrangement and instantly likeable melody would sound perfect in a stadium filled with 80,000 screaming fans.

Saints Of Valory are the real deal, a big-time rock band that's comfortable in its own skin and not trying to be anything other than what they are. If you get a chance to see Saints Of Valory live I highly recommend you make the effort. In the mean time, this is an essential debut album. It's perhaps not quite Desert Island material, but I wouldn't be surprised if Saints Of Valory turn out their share of Desert Island discs in their time.

Rating: 4.5 Stars (Out of 5)

You can learn more about Saints Of Valory at www.myspace.com/saintsofvalory. No online outlets were noted for the Saints Of Valory EP. You can stream the songs on the band’s MySpace page.

Review: Gooding - The Return

Gooding - The Return
2010, S3 Records

Kansas native Gooding makes his living these days in Los Angeles; the songwriter/composer has a dozen albums under his belt and has scored elements for Walk The Line, The Animatrix, Children Of Men and Tourgasm. Gooding has also produced hundreds of artists and founded his own Indie Label, S3 Records. The prolific songwriter/singer/musician is back at in 2010 with The Return.

The Return opens with Make The Devil Cry, a quirky and vibrant rocker with edge. Gooding takes control right from the outset, helping to create a song that would make a memorable single. You can't listen to this song and not feel the urge to move. Go Kid Go is a catchy tune; a bit on the repetitive side but quirky and guitar-driven. Once again, try not to move when this song is playing. You can't sit still. Love Will Rule sounds calculated to gain Pop Radio airplay. The hooks are there, but this tune sounds a bit too crafted.

No One Gets Out Alive is a great listen featuring some nasty blues guitar licks. Gooding returns with the quirky edge that they opened the album with for one of the better tracks on The Return. Please is a pleading power ballad with a repetitive chorus and simplistic melody. Similar to Love Will Rule, this sounds more contrived than from the heart. Even the delivery is a little flat, missing the needful feeling the lyrics imply. Vagabond is a strong entry as well, combining a rootless song subject and telling a hard tale against the background of Poppy, upbeat-sounding music. After You finds Gooding moving more toward an electro-rock sound with dance beats; the song is successful as a transitional piece but the jury's out on the sound. I'm Not Listening sounds a bit like mid-90's U2, although perhaps a bit more melancholy than Bono might emote. Gooding closes with Animals All, another quirky Pop/Rocker with moderate commercial appeal.

Gooding seems to be at their best when they maintain their quirky, asymmetric Pop quality. The instances on The Return where Gooding perhaps writes more to a commercial sound stand out like a sore thumb as highly crafted attempts to fit in. Gooding's sound is a bit off the beaten path; and they are most enjoyable when following in their own footsteps. The Return is a strong album; definitely worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Gooding at http://www.goodingmusic.com/ or www.myspace.com/gooding. You can download The Return for free for a limited time through a link on Gooding’s MySpace page. The Return will be commercially available in early 2010.

Review: Road - Long Player

Road - Long Player
2009, Brown Elephant Records

Road combines the edge of Modern Rock, the crunchy grit of a 1960's Garage Band and a bass player with Funk running in his veins. The Doylestown, Pennsylvania trio rock for all they're worth in their third album, Long Player. Paul Waters (vox, keys, guitar) sounds a bit like John Lennon at times, with J.D. "Jed" Schumann holding the line on drums, percussion and vox. Ben Cleal makes it all work in the middle with electrifying bass work. Long Player was mixed and mastered by Ted Richardson and Shelly Yakus (John Lennon, Tom Petty, U2) at Cedar Street Studios in Philadelphia, PA.

Road opens with Long Player (Jackie's Ruse), sounding a bit like the Beatles jamming with the Knickerbockers. The song itself is very catchy, and Cleal adds an incredible amount of texture to the song with a bass line that erupts all over the place. Come Back Home has a sounds like early Who. If this song were released 40 years ago it would have been the biggest thing on radio. Little Guatemala takes on a heavier sound, digging into a serious garage realm with a fun tune about a relationship gone sour told from the third person. This is all done with a deft storytellers touch, big rock hooks and a melody that sticks around once the song is done. Don't Know Why is the song that will put Road on the map; a catchy, funky rocker with real potential for college radio and beyond. This is great pop songwriting all around.

There's a definite Beatles vibe on Count The Stars, right down to the "perfect pop song" style arrangement. You'll want to dance and sing along. The same goes for Even Real, with its funk-laden bass line and energetic interplay between the three members of Road. For pure dance-ability this the primo pick of the litter. The Sunday Song (Jackie's Demise) is a strong mix of modern sound with a 1960's Garage aesthetic. Cleal and Schumann provide a funky backbeat and bass line to drive Walters' smooth to smiteful vocal line. This is yet another great tune that would have ruled the airwaves had it been released in the late 60's or early 70's. Road closes out with Six Bottles Of Beer, a paean to the weekend and what it takes to find companionship sometimes. This one is very tongue-in-cheek and provides a good chuckle to say goodnight.

Road is one highly entertaining band; they certainly haven't forgotten the roots of Rock N Roll on Long Player. Boomers will think they've found a fountain of musical youth here, but Road keeps things fresh enough to interest younger rock fans. These are guys I'd definitely go see live, as the show would be a hoot. There's an inherent sense of humor running deep below the melody, like the band is sharing a joke that's passed back and forth between the instruments. The humor breaks loose on the final song, but that spark of mischievous wit is always there. Long Player might not be gourmet music; it's more like comfort food. You'll keep coming back.

Rating: 3.5 Stars (Out of 5)

You can learn more about Road at www.myspace.com/roadstuff or http://www.brownelephantrecords.com/. You can purchase Long Player through CDBaby.com or as a download via iTunes. If you're the brick and mortar type, Long Player is being distributed through Independent Record Stores across the US.

Review: Loomis & The Lust - Nagasha EP

Loomis & The Lust - Nagasha EP
2009, Kings Of Spain/BMI

Santa Barbara, California is home base for Loomis & The Lust, but after listening to their debut EP, Nagasha (July, 2009) I suspect they'll be spending a lot less time at home. With such diverse influences as The Kinks, The Animals, Chet Atkins, David Bowie, Red Hot Chili Peppers and Franz Ferdinand, Loomis & The Lust create an original brand of Rock N Roll with an honest affection for 1970's classic rock and a hook-laden philosophy straight out of the 1980's. Nagasha was produced by Brandon Mason (David Bowie, Secret Machines, Bono, The Edge), and features some of the catchiest, most danceable Rock N Roll of the year.

Nagasha opens with Bright Red Chords, a song that will lodge itself in your brain before you even know it's happened. The melody here has a universal feel, like something you've heard so many times you know it even as you hear it the first time. With a catchy, dance-inducing arrangement, Bright Red Chords will stick with you for a good long time. Break On Love has a classic, Blues/Rock feel and would fit right into an AOR playlist. Sweetness sounds like it could be a mix of The Wallflowers and Dave Matthews (solo), carrying a chorus that's unforgettable, while Cure For Sale slows things down a bit in a gentle rocker that entrenches in the Wallflowers sound. Cure For Sale may well be the most marketable song on the disc, likely having significant allure for the licensing world. Girl Next Door is a big, raucous blues-influenced rocker that sounds like it could be the basis for a movie. The theme here is a classic for Rock N Roll, and Loomis & The Lust show what they're really made of, using double entendre and testosterone-laden intentions for an amusing bit of musical confusion.

Loomis & The Lust take Rock N Roll back where it belongs in the five songs presented on Nagasha, blending deep classic rock roots with some of the zeitgeist of the 1980's and a modern twist. I suspect Loomis & The Lust will see a lot of commercial success in the licensing realm, although I am not sure where they fit in currently in the world of radio. From anything I have read about the band the live show is the thing. Loomis & The Lust seems to convert new fans every time they step on stage. Consequently, while I highly recommend you check out Nagasha, I would urge you to make a point of seeing Loomis & The Lust if they come to your town.

Rating: 4 Stars (Out of 5)

You can learn more about Loomis & The Lust at www.myspace.com/loomisandthelust or http://www.loomisandthelust.com/. You can purchase the Nagasha EP directly from their band via their web store, or digitally via iTunes.

Review: Derek Webb - Stockholm Syndrome

Derek Webb - Stockholm Syndrome
2009, INO Records

Derek Webb is a trailblazer. Webb was an integral part of the creative force of Caedmon's Call until his departure in 2003 to pursue a solo career. While Caedmon's Call continued without Webb, the band was never quite been the same. On his own, Webb has proven to have a keen eye for the business side of music, using unique marketing techniques to drive up concert attendance and ultimately launch a new online music distribution system called NoiseTrade. On September 1, 2009, Derek Webb releases his latest album, Stockholm Syndrome. Webb co-produced the album with former Caedmon's Call bandmate and hip-hop producer Josh Moore (Bun B., Slim Thug). Webb has abandoned his folk/pop ways for an electronic sound that draws on hip-hop beats and musical styles that range across the entire Pop music era.

Stockholm Syndrome is all about becoming a prisoner to society, technology and any other icon that may influence day-to-day life, and is structured loosely like a story. Black Eye starts out with tendency of people to stay in familiar situations even when they are uncomfortable, using relationships as an example. The song is built in a heavily fortified electronic arrangement but takes a curious turn with a Beatles-esque chorus. Freddy, Please has a vocal line that sounds like it was taken right out of a late 1950's Pop song. The allegory here is unclear and the lyrical content floats on top of the song like an unkempt child, making for a confusing but intriguing listen. The Spirit Vs. The Kick Drum underlines both societal and individual obsession with worldly objects and institutions in an arrangement that sounds a bit like U2 in their "techno" phase. The State is a song of bittersweet regret from one who has thrown their lot in with the power brokers but still remembers the beauty of the world before. The song follows the corruption breeds corruption concept of power and expresses a duality; a desire for the way the world was as well as a continued desire for the destructive path of the state.

I Love/Hate You continues with this duality of man, this time in a relationship. The protagonist loves the person he's singing to and yet hates being tied down to her. He needs her but wants to push her away. The song itself is artfully written, although I think this would sound better with a more organic arrangement. The church-like organ flourishes seem to suggest that the traditional sense of commitment (marriage) hangs over the relationship and that is part of what fills the narrator with dread. This could be an extension of an earlier concept in The State that suggests the unwinding of traditional values as a means to consolidate the power of the state. Becoming A Slave marks the downfall of choice through choice, showing an Aldous Huxley vision of the future of mankind based on the current societal trends.

Heaven is a puzzling tune. It returns largely to the folk/acoustic background from which Webb comes, but conjures a post-modernist vision of the afterlife that almost has to be allegorical. I am not sure what exactly he was going for but I didn't walk away from the song understanding the vision behind it. What You Give Up To Get It is a morality tale that sets much of Stockholm Syndrome in bas relief against the light of logic. The song has a highly infectious rhythm that will translate well to the club scene (although the subject matter may be a little too substantive for mindless dancing). Webb closes out Stockholm Syndrome with American Flag Umbrella, exploring in philosophical terms the divergence of the American dream of liberty & equality for all and the whims of a populace governed by fear. The song is highly intelligent and likely to labeled irresponsible and dangerous by the political right; visionary by the left, and much discussed the real people in the middle.

Stockholm Syndrome, musically speaking, is more like an intellectual publication than popular music. The concepts and delivery are a bit heavy-handed and seem to draw unspoken lines between the current social and political environment in the US and stories such as 1984 and Brave New World. Musically speaking the album is something of a wash. The music is background against which Professor Webb details the decline and fall of Western Society but doesn't necessarily offer anything new or exciting. On the whole it's a very strong work, however whatever Webb has gained in flexibility by moving to a digital music environment is countered by a loss of nuance and color may help illuminate this story all the more.

Rating: 3.5 Stars (Out of 5)

You can learn more about Derek Webb at http://www.derekwebb.com/ or www.myspace.com/derekwebb. Stockholm Syndrome hits the streets on September 1, 2009. You can pre-order your copy through Amazon.com.

Review: Sipo - The Year Of The White Rose

Sipo - Year Of The White Rose
2009, Sipo Music

Freddie Sipo walked away from it all to create. Sipo gave up a lucrative job as a sound engineer in LA to build his own studio and create his own music, turning down several projects that would turn out to be huge commercial successes. Sipo admits that during the process finances got tight and the temptation was strong to go back behind the boards, but he held his ground. The result is a stunning alternative rock album entitled Year Of The White Rose. The album represents a death of the old giving way to a birth of the new, and the evolution of consciousness that results from walking away from the world and getting in touch with yourself.

Year Of The White Rose opens with He Who Has Ears Let Him Hear..., a song about tuning out from the constant push and pull of the world around you and learning to listen to your inner voice. The arrangement is stark and rhythmic and the vocals carry an uncommon urgency. Sipo comes off sounding like a cross between U2 and Radiohead here and at points throughout the album. Dare You -I- has an urgency to it that rivals the opening track, while Dare You -II- is almost more of a ballad. Sipo's vocals may lose a few points on technical issues here, but the heart that comes through more than makes up for any sonic mischance. White Light is the musical representation of a dream Sipo had while in his self-imposed seclusion and has a vaguely theatrical aspect to it. As noted previously, Sipo's vocals here are more about heart and ambience than technical perfection, but they work as the wailing inner voice struggling to be heard.

Lover If You Lay is a song about dropping out of the rat race and taking in the moments you are in, and how that pertains to the ability to love someone other than yourself. The song is melancholy, as if this realization came too late in one case. Burning Slow is highly contemplative, a melancholy examination of how bad thinking can derail even the best laid plans or intentions ("fear and doubt can lead to long, long years"). See Change is a wail to the universe; a statement of intent or perhaps even a self-demand for change. The vocal dynamics are about what they have been throughout the album, and the music fluctuates appropriately, see-sawing back and forth amidst three essential chords. The album closes out with Rise, a message of transcendence that is welcome but sudden, and therefore a little out of place.

Year Of The White Rose is stunning but retains its human flaws. The songwriting here is deep, with highly pensive lyrics presented in heartfelt vocals that run from the occasional musical mumble to extensive cathartic wails. Sipo isn't a great vocalist, and he's one you might tire of after a time, but his style works very well with the songs presented here. The only negative that really struck me here is that no matter where Sipo starts vocally he always ends up on the same level; singing at the very reaches of his range in a wail that is affecting but might border on annoying with enough exposure. The arrangements themselves are simple platforms embellished as Sipo sees fit from song to song. The two-drummer arrangement makes for highly rhythmic songs, and there is certainly room for fleshing out the sound with other instrumentation than what's offered here, but the album itself is a very positive experience.

Rating: 3 Stars (Out of 5)

You can learn more about Sipo at www.myspace.com/sipomusic. You can order Year Of The White Rose as a digital download from Amazon MP3.

Review: Cupéro - Cupéro

Cupéro - Cupéro
2009, Cupéro

Wow.

Warwick, NY native Clarissa Cupéro just bowled me over. Cupéro's self-titled 6-song EP is the sort of introduction that knocks a listener off their feet. Whether it's the distinctly mature tone of 19-year-old Cupéro's songwriting, the no-holds-barred emotional strength of her songs or the absolutely amazing instrument that is her voice, Cupéro is a purely unexpected and welcome surprise on the musical scene. The Siena College student has influences all over the music map, from KT Tunstall to various classic rock artists to Columbian rocker Juanes (17 Latin Grammys). Juanes has inspired Cupéro to be a bilingual artist, writing and singing in both English and Spanish. The EP, Cupéro, was produced by Patrick Ermlich and E-Shy Gazit, who brought Cupéro's songs to life in ways even she didn't suspect when she contacted them as a high school senior. Now, Cupéro is a college student trying to build her fan base in the Albany, NY and New York City markets who has her eyes on bigger stages down the road.

Those bigger stages shouldn't be a problem at all. Not since Marian Call came along with Vanilla have I been so utterly stilled by a debut album. Cupéro makes you want to just drop everything and listen, and she handles active rock tunes and ballads with equal aplomb. With a voice that falls somewhere on a line between Sarah McLachlan and Bonnie Tyler, Cupéro makes fans every time she opens her mouth to sing. Cupéro opens with I've Got Your Number, a song she wrote for a high school talent show that has become her signature song. I've Got Your Number could have been a hit anytime in the last 25 years, and with the right breaks would vie for radio spins even in today's fractured market. La Sombra is a Spanish language song, and while I can't comment on the lyrics (no habla), the song has a powerful, sensuous feel that borders on overwhelming. Cupéro rips the roof on this vibrant rocker.

I Thought I Knew Love is a commanding love song that's chart ready as you read this. It's a bit off the beaten love song track but ideal mix-tape material and the sort of song that lights up request/dedication lines. Life Is A Moment is a song about striving for dreams and never giving up. It's a powerful message delivered in a powerful vocal performance. The arrangement opens with Cupéro and piano, adding in cello and other instrumentation as the song progresses. There's a Paula Cole "I Don't Want To Wait" feel to this song that's unmistakable. Don't be surprised if Life Is A Moment ends up licensed, movies or even gets covered by big name artists down the road (by then Cupéro may be one herself). Quiero Tu Amor is the other Spanish language song on the EP, a gorgeous ballad that would sell a million copies in an English version. I have to say though that the Spanish language brings out a certain sensuality in Cupéro's voice that's more reserved in English, increasing her marketability in an increasingly multi-ethnic culture a hundred fold. Cupéro closes out with You'll Never Be There, an urgent acoustic rocker with Americana leanings that just about proves that she can do, play or sing almost anything.

Clarissa Cupéro has everything but the breaks. Talent and composure well beyond her nineteen years and a killer voice make it very possible that down the road the name Cupéro will be as familiar as names like Prince, Madonna and Beyonce. Yes, it's a grand statement, and practically everything in Cupéro's life and career would have to go just right for that to happen. But based on what I've heard on Cupéro, it's not out of the realm of imagination. Yes, she's that good. Find out for yourself. Cupéro is a Wildy's World Certified Desert Island Disc. Don't wait, get it now.

Rating: 5 Stars (Out of 5)

You can learn more about Cupéro at http://www.myspace.com/cupero or http://www.cuperomusic.com/. You can download a copy of Cupéro through iTunes or through Amazon MP3. I don’t have any word on CD distribution at the time of publication, but will update with links when/if they become available.

Review: J.A.C.K. - Deletist

J.A.C.K. - Deletist

2009, Yabyum Records

Brooklyn-based alt-rock quarter J.A.C.K. keep the meaning of their acronym secret, but the word of mouth about their sound was uncontainable almost from the start. Three rip-roaring sons of Rock N Roll met while enrolled in New York University's music program, and after cementing their sound with the highly flying falsetto of vocalist/guitarist Scott Holland knew they had something special. Their sophomore release (and first full-length), Deletist, is out today. J.A.C.K. may be secretive about the original of their name, and DIY to the bone, but their sphere of influence is likely to expand significantly in the near future.

Deletist opens with the chaotic track Dracula, which spends most of its time as an alternative rocker but closes out with a keyboard driven classic rock section that would make Dennis DeYoung weep with joy. One thing you should understand about lead vocalist Scott Holland is that he can be something of a chameleon. On The Leader, Holland sounds like a cross between Klaus Meine and Bon Scott, whereas on a track like Extinguisher he can sound like a particularly raspy Bono. I Cut Off My Arms is perhaps the greatest “relationship gone wrong” songs I’ve ever heard, although it may be a bit disturbing for some. A distinctly poppy love song with some heavy guitar work represents the alternately lovesick and disturbed states of the protagonist. Bug appears to be a song about torture, or perhaps it’s just an allegory for crossing lines. Either way it’s at least mildly disturbing and gets your attention, right down to the lyric dueling guitar work in the bridge. Suicide Man opens with what might only be described as a gospel choir in Hell before turning into an alternately minimalist and noisy arrangement. The song itself is intriguing and definitely off the beaten track. You’ll also want to check out Summer’s War and Rainbow Blood.

J.A.C.K., J.A.C.K., J.A.C.K., what are we going to do with you? You don’t fit in with the other bands. You have some of the loftier musical ideals of a Radiohead, the occasional slow-heavy drive of Black Sabbath or Heaven And Hell, an ability to write songs like what Bono might come up on a dark day and a wonderfully and slightly worrying warped world perspective. We’ll find a place for you, because I believe a lot of people will be intrigued by your sound, I am just not sure how we present you to the world. Hey, I know! Let’s bring everyone to a show in Brooklyn! After you melt all their faces for a couple of hours they’ll be hooked! They’ll be buying copies of Deletist hand over fist!

Rating: 4 Stars (Out of 5)

You can learn more about J.A.C.K. at http://www.jackbandnyc.com/ or www.myspace.com/jacknyc. You can get a digital copy of Deletist at either Amazon MP3 or iTunes. If you want a hard copy, the only place to get one right now is at a live show (Face melting is included in the price of admission), but if you contact J.A.C.K. through their MySpace page perhaps they’ll hook you up.

Review: Matthew Kennedy - Avise La Fin

Matthew Kennedy - Avise La Fin
2009, Interleague Records

Matthew Kennedy, born in Zimbabwe and raised in South Africa, found his way to America as a member of Christian band Khanyisa. After touring the US, Europe, Africa and Asia the group disbanded and Kennedy relocated to Los Angeles. From this musical high Kennedy quickly descended a dark road into drug and alcohol addiction. After his debut solo CD, Makes Me Alright, Kennedy re-examined his life and re-connected with his faith. These personal changes bred others, with Kennedy regaining control over his life. Kennedy's sophomore CD, Avise La Fin, consists of eleven songs informed by faith and hope. The title, taken from the Kennedy family crest (Consider The End), informs the philosophy that runs throughout the album.

The first thing that struck me about Kennedy is how much he sounds like Bono at times; indeed, about half of the music on Avise La Fin sounds like it could have been drawn from mid-career U2 sessions of the 1990’s. The album opens with Sing, a dark and edgy pop tune full of a hopeful, almost joy emerging from darkness. Salvation In A Box starts the serious U2 references with a soaring rocker featuring the sort of big Chorus Bono and the gang are known for. Kennedy hits potential radio gold with You Are Beautiful, another big soaring rock song with the sort of hooks that keep a song on the air for months. Say may be the best balanced song on the album, full of a melancholy feel and an infectious pop hook. Pick Up has a mellow vibe but strives to be a big pop/rock tune. Kennedy manages to make it soar in spite of the very relaxed feel to the song.

Like many albums, Avise La Fin gets a bit thin in the late going; the last few tracks are pleasant and well-written but just not up to the level Kennedy hit on the first 2/3 of the album. Avise La Fin reflects a more mature artist in Matthew Kennedy; one who has grown from his past misadventures, overcome personal obstacles, and learned to look at life through his songwriting rather than using his songwriting as a means to see things. Avise La Fin is a wonderful mix of dark and light with strong songwriting and the tremendous vocal performances Kennedy gives while pouring his heart into each song. It’s a definite keeper.

Rating: 3.5 Stars (Out of 5)

You can learn more about Matthew Kennedy at www.myspace.com/matthewkennedy. You can purchase a copy of Avise La Fin at www.cdbaby.com/cd/matthewkennedy2, or you can download the album from iTunes.

Review: Future Future - Future Future EP

Future Future - Future Future EP
2009, Future Future

Brothers Jordan (vox, guitar, keys, bass) and Jamie (drums, percussion) Lawlor have become. Growing out of the Jersey punk scene, the teen duo has managed to craft a sound reminiscent of classic British New Wave while keeping their feet firmly planted in their punk roots. Experimental to the core, Future Future has crafted a sound wholly from their own environment, right down to the broken Rhodes Piano and Theramin-in-plastic-baby-head combination. Their debut EP, Future Future will startle you awake with its fresh mix of old and new sounds; just enough edge to get a basement party going, just enough electronic rhythm to hit the clubs, and just enough pop sensibility to give this project real commercial oomph.

Future Future opens with Television Glow, sounding like a U2 rock anthem done in New Wave style. Television Glow has real potential for radio as presented here. Teeth finds Future Future dwelling in the fuzzy land of electronic rock. My Machine stays with that buzzy chic but restores some of the pop sensibility from the first track for an incredibly balanced and listenable song. This one has radio written all over it. Dr. Albert is a paean to the Albert Hofmann, the creator of LSD, and is written in surreal and blocky chord changes with psychedelic flourishes. Hard To Exist takes the fuzzy/noise aesthetic and mixes it with a Smiths-esque depressive style and strong harmonies to create an experience that is as disjointed as it is melodic. The final track (Alone) sounds like a demo recording, featuring Jordan Lawler solo on acoustic guitar and voice. From a raw songwriting perspective this is the best tune on the album; hopefully Future Future will flesh this one out and feature it in the future.

Future Future has the chemistry of family and a tendency toward soaring pop songs gussied up in fuzzy/electronic effects. The Future Future EP is a bit uneven but shows great promise, and when they're on, they're definitely on. Make sure you check these guys out!

Rating: 3.5 Stars (Out of 5)

You can learn more about Future Future at www.myspace.com/futuretwice, where you can purchase a copy of the Future Future EP.