What you're seeing today folks, are our final reviews for 2009. Over the next 10 days we'll be unveiling our Top 50 albums of the year as well as our Top 10 EPs. We'll roll them out a little at a time to keep the suspense high, and even the artists themselves don't know where they've finished. We've reviewed 972 recordings in the past 12 months, and it's been tough to pare them all down, but we've come up with a good list that's reflective of the best material we reviewed in 2009.
There are a handful of major label artists on this year's countdown. As major labels have had a bit more presence on the blog this year we felt it appropriate to include them, but the high quality of the Indie music world continues to win out over the major labels, and that's reflected in our charts as well. Today I'll be sharing with you albums #41-50 in just a simple list. These are the folks who made the final tally, but there were a bunch of other worthy artists/bands in the running. You can click on the link for each to catch the original Wildy's World Review.
For the rest of the week we'll provide you with a little more information on the band/album. Today is just to whet your collective whistles. Without further adieu...
50. Atoosa Grey - When The Cardinals Come
49. Louder Than Love - Dark Days
48. Chris Kirby - Vampire Hotel
47. Erik Scott - Other Planets
46. Spring Creek - Way Up On A Mountain
45. Assembly Of Dust - Some Assembly Required
44. Stuart McNair - Growing A Garden
43. The Erin Hobson Compact - Talk Radio
42. Elvis Costello - Secret, Profane & Sugarcane
41. Kevin Carlson - Museum
Tomorrow we'll be back with #'s 34-40, and EPs #9 & #10. Until then...
Monday, December 21, 2009
Review: Jerin Falkner - Pyro Aesthetic
Jerin Falkner - Pyro Aesthetic
2009, Pyro Aesthetic
Seattle’s Jerin Falkner is just like your typical girl next door. Typical, that is, until she steps onstage and her inner fire lights up the stage like a spotlight. Falkner has written over sixty songs since 2004, release four independent albums and being highly competitive in a host of songwriting competitions across the US. Falkner’s latest release, Pyro Aesthetic, is breathtaking.
2009, Pyro Aesthetic
Seattle’s Jerin Falkner is just like your typical girl next door. Typical, that is, until she steps onstage and her inner fire lights up the stage like a spotlight. Falkner has written over sixty songs since 2004, release four independent albums and being highly competitive in a host of songwriting competitions across the US. Falkner’s latest release, Pyro Aesthetic, is breathtaking.
Falkner opens with Count Of Three, sounding more than a bit like Sarah McLachlan. The arrangement is simply piano with electronic accoutrements; its one of the gentler, more ethereal kiss off songs I've heard. The melody and arrangement is a thing of beauty. Falkner goes to the other end of the spectrum with the frenetic Dance/Pop of Let Down, which is more reminiscent of the maniacal energy of Devo than any Alternapop chanteuse. Right In Front is back in the middle of the spectrum; a mid-tempo Pop tune that truly highlights Falkner's wonderfully textured voice. All of the songs thus far on Pyro Aesthetic are about or based on a relationship that's fallen or is falling apart. The trend continues on the rhythmically inspired Flight. The mood here is turmoil, and is delivered in a wonderfully upbeat arrangement that will inspire repeat plays. For You has a tragic cabaret feel, sounding like something Sarah Slean might have written. Falkner seems to have a knack for tragic beauty and melancholy in her melodies and it's never more apparent than on For You. Copy Me wanders over the borderlands between unusual and truly bizarre, wrapping Falkner's wonderful bit of madness in the golden hues of Pop Rock. The song is fun and vaguely danceable and breaks into total perspective distortion before returning to its roots. Falkner closes out with Sunrise, a wish for the light after a period of personal torment. It's a recovery and rebirth from the loss of a relationship that's detailed throughout Pyro Aesthetic; layered and multi-textured and beautiful in its singular sense of hope.
I knew nothing about Jerin Falkner when I sat down to listen to Pyro Aesthetic; but this is one amazing artist. Falkner walks to the beat of her own drummer, creating music somewhere in the Outlands beyond Sarah McLachlan where folks like Kate Bush, Tori Amos, Bjork and Sarah Slean frolic and play. Falkner's sense of melody is distinctive, and her ability to emote the tragedies of everyday life through both her piano and her voice is singular in nature. Pyro Aesthetic perhaps isn't perfect, but Falkner is working on her own lattice so even the imperfections become perfect parts of the whole. Pyro Aesthetic is brilliant; a Wildy's World Certified Desert Island Disc, and Jerin Falkner is just getting started.
Rating: 5 Stars (Out of 5)
You can learn more about Jerin Falkner at http://www.jerinfalkner.com/ or www.myspace.com/jerinfalknermusic. You can purchase Pyro Aesthetic on CD from CDBaby, or you can download the album via iTunes.
I knew nothing about Jerin Falkner when I sat down to listen to Pyro Aesthetic; but this is one amazing artist. Falkner walks to the beat of her own drummer, creating music somewhere in the Outlands beyond Sarah McLachlan where folks like Kate Bush, Tori Amos, Bjork and Sarah Slean frolic and play. Falkner's sense of melody is distinctive, and her ability to emote the tragedies of everyday life through both her piano and her voice is singular in nature. Pyro Aesthetic perhaps isn't perfect, but Falkner is working on her own lattice so even the imperfections become perfect parts of the whole. Pyro Aesthetic is brilliant; a Wildy's World Certified Desert Island Disc, and Jerin Falkner is just getting started.
Rating: 5 Stars (Out of 5)
You can learn more about Jerin Falkner at http://www.jerinfalkner.com/ or www.myspace.com/jerinfalknermusic. You can purchase Pyro Aesthetic on CD from CDBaby, or you can download the album via iTunes.
Review: Woven Green - Woven Green
Woven Green - Woven Green
2009, Woven Green
Jim and Ashley Cash met while students at George Mason University. Him a late-blooming songwriter with a penchant for deep lyrics and esoteric yet memorable melodies; she with a voice that turns heads and drops jaws. It was a match made in musical heaven. Nowadays the married couple are the core of Woven Green, the Sterling, Virginia-based rock quartet with an unusually vibrant and intelligent sound. Woven Green’s debut EP, Woven Green, is sure to please.
Woven Green opens with the effervescent Folk Rocker Wild Love. This uplifting song carries a Carpe Diem optimism, a memorable melody and the amazing voice of Ashley Cash who could front anything from a wedding band to an arena rock powerhouse without breaking a sweat. Woven Green breaks out the funk of Generation Zero, a song that calls out society for failing our children with less-than-competent education and healthcare. The song is highly danceable and yet runs deep with heavy subject matter; calling for a revolution of sorts -- a return to the American Dream that pre-dated the "Greed Is Good" generation. Sixth Sun starts out with a Middle-Eastern feel, ironic in that Sixth Sun is a reference to Toltec/Aztec prophecies about the end of the world as we know it (and I feel fine). It is a play into the coming mass hysteria over 2012, but calls for the sort of transformational change of society that is called for in the same prophecies. Woven Green says goodnight with Between Worlds, a spiritual call for self-consolidation; the sort of rising on consciousness required for humanity to evolve into whatever some believe we are to come next.
Woven Green is a bit off the beaten path; creating wonderfully addictive Pop/Folk/Rock songs with highly unusual subject matter. Truth to tell, Woven Green is more like a religious album than secular one. The band sings their beliefs and is obviously looking to change the world through their music. I wouldn't make any judgments on that up front, as I don't know exactly what system of belief underlies it all, but it is something to bear in mind when you listen to them. Ashley Cash is going to get comparisons to Grace Slick, among others, and her voice is well-deserving of praise. Jim Cash's songwriting is also superb; nuanced and complex without ever overdoing on either quality. Woven Green is a superb introduction.
Rating: 4.5 Stars (Out of 5)
You can learn more about Woven Green at http://www.jimandashleycash.com/ or www.myspace.com/wovengreen. You can purchase the Woven Green EP on CD at Woven Green’s web store.
2009, Woven Green
Jim and Ashley Cash met while students at George Mason University. Him a late-blooming songwriter with a penchant for deep lyrics and esoteric yet memorable melodies; she with a voice that turns heads and drops jaws. It was a match made in musical heaven. Nowadays the married couple are the core of Woven Green, the Sterling, Virginia-based rock quartet with an unusually vibrant and intelligent sound. Woven Green’s debut EP, Woven Green, is sure to please.
Woven Green opens with the effervescent Folk Rocker Wild Love. This uplifting song carries a Carpe Diem optimism, a memorable melody and the amazing voice of Ashley Cash who could front anything from a wedding band to an arena rock powerhouse without breaking a sweat. Woven Green breaks out the funk of Generation Zero, a song that calls out society for failing our children with less-than-competent education and healthcare. The song is highly danceable and yet runs deep with heavy subject matter; calling for a revolution of sorts -- a return to the American Dream that pre-dated the "Greed Is Good" generation. Sixth Sun starts out with a Middle-Eastern feel, ironic in that Sixth Sun is a reference to Toltec/Aztec prophecies about the end of the world as we know it (and I feel fine). It is a play into the coming mass hysteria over 2012, but calls for the sort of transformational change of society that is called for in the same prophecies. Woven Green says goodnight with Between Worlds, a spiritual call for self-consolidation; the sort of rising on consciousness required for humanity to evolve into whatever some believe we are to come next.
Woven Green is a bit off the beaten path; creating wonderfully addictive Pop/Folk/Rock songs with highly unusual subject matter. Truth to tell, Woven Green is more like a religious album than secular one. The band sings their beliefs and is obviously looking to change the world through their music. I wouldn't make any judgments on that up front, as I don't know exactly what system of belief underlies it all, but it is something to bear in mind when you listen to them. Ashley Cash is going to get comparisons to Grace Slick, among others, and her voice is well-deserving of praise. Jim Cash's songwriting is also superb; nuanced and complex without ever overdoing on either quality. Woven Green is a superb introduction.
Rating: 4.5 Stars (Out of 5)
You can learn more about Woven Green at http://www.jimandashleycash.com/ or www.myspace.com/wovengreen. You can purchase the Woven Green EP on CD at Woven Green’s web store.
Review: Louder Than Love - Dark Days
Louder Than Love - Dark Days
2009, Louder Than Love
No matter how far you travel or how much you learn, sometimes you have to go home to start over. Paul Lambert left Vancouver, British Columbia for Montreal to study music, and then continued on to New York City where he played with several bands. A visit from a childhood friend got him to thinking about playing with friends from back home, and Lambert began to write new material with those friends in mind. Returning home, Lambert (lead vox/lead guitar); Ras Contractor (guitar/vox); Dan Okano (keys/vox); Tyler Thompson (drums) and Tony Lambert (bass) began jamming together and coalescing into the group that would be known as Louder Than Love. When Louder Than Love finally got together and began to play the material Paul Lambert had been writing they knew they were on to something. The culmination of this long road home is Dark Days, Louder Than Love's debut album. Trolling the dark waters between Progressive Rock, Modern Rock and Metal, Louder Than Love play such a vibrant and intriguing mix of styles you might just keep Dark Days on continuous repeat.
Dark Days opens with the title track, a wonderfully melancholy tune built around a classical sounding piano lick done in variations. It's a song about loneliness in a difficult world and features a distinctive Prog Rock influence. Just Like You is a moderately aggressive hard rocker about dark secrets and the costs they extol. Bringing You In digs into a myth that originated with the ancient Greeks and been perpetuated by every seafaring culture since. The call of the Siren is explored here in musical prose set in a Baroque Metal setting. The odd dichotomy of urgent need and aesthetic beauty makes Bringing You In highly unusual, and the Pink Floyd influence really isn't a surprise in that context. Louder Than Love takes a whimsical turn on That Ghost, a cute and quirky song about a pretend ghost friend. Anyone who ever had an imaginary friend as a child will identify with this song on one level or another.
Louder Than Love works in the seemingly pre-requisite anti-war song with Never Going Back, looking at war from the perspective of a veteran who’s already been there. The song is decent but a little on the predictable side. The vocoder portion of the vocal line is more of a distraction than a strength. Chemical Love sounds like the cynical radio song of the album. By design or otherwise this is probably the most commercial marketable track to Modern Rock radio. Not surprisingly it’s perhaps the weakest track on the album. Louder Than Love goes for a retro sound with Jazz influence and an improvised feel on Searchlight Soul. The chorus here is brilliant.
On Bad Apple, Louder Than Love describe someone we all know, a friend who seems destined to self-destruct. The theme is a bit over-simplified in clear Pop terms, but the song might have a real chance at Commercial Radio. Flood Gates is something of a change of pace, and the accompaniment in the first verse sounds suspiciously like a minor-key Goodbye Stranger (Supertramp). The chorus is one of the strongest on the album, driven by guitar and bass with a strong vocal harmony bridge over the top. Michelle is an upbeat song about letting the decline and fall of a relationship roll off your back. It's a great tune, full of a big, layered guitar sound and strong vocals. Louder Than Love closes out with Rain, a tense yet melodically meandering ballad that seemed more like an afterthought than a cohesive part of the album.
Dark Days has its issues, as does any album, but there's a startling sense of originality that runs throughout the album. Louder Than Love is distinctive, creating music that seems likely to be lasting and significant. Paul Lambert is a consummate front man, offering compelling songwriting, searing guitar work and vocals that stand up to some of the best in the Hard/Progressive Rock genres. The rest of Louder Than Love more than effectively fill in the gaps and create a dynamic sound that is sure to garner significant attention. Dark Days is a late-comer, but deserves real consideration for end-of-year lists.
Rating: 4 Stars (Out of 5)
You can learn more about Louder Than Love at http://www.louderthanlovemusic.com/ or www.myspace.com/louderthanlovemusic. Dark Days is a digital-only album available through Amazon.com or iTunes.
2009, Louder Than Love
No matter how far you travel or how much you learn, sometimes you have to go home to start over. Paul Lambert left Vancouver, British Columbia for Montreal to study music, and then continued on to New York City where he played with several bands. A visit from a childhood friend got him to thinking about playing with friends from back home, and Lambert began to write new material with those friends in mind. Returning home, Lambert (lead vox/lead guitar); Ras Contractor (guitar/vox); Dan Okano (keys/vox); Tyler Thompson (drums) and Tony Lambert (bass) began jamming together and coalescing into the group that would be known as Louder Than Love. When Louder Than Love finally got together and began to play the material Paul Lambert had been writing they knew they were on to something. The culmination of this long road home is Dark Days, Louder Than Love's debut album. Trolling the dark waters between Progressive Rock, Modern Rock and Metal, Louder Than Love play such a vibrant and intriguing mix of styles you might just keep Dark Days on continuous repeat.
Dark Days opens with the title track, a wonderfully melancholy tune built around a classical sounding piano lick done in variations. It's a song about loneliness in a difficult world and features a distinctive Prog Rock influence. Just Like You is a moderately aggressive hard rocker about dark secrets and the costs they extol. Bringing You In digs into a myth that originated with the ancient Greeks and been perpetuated by every seafaring culture since. The call of the Siren is explored here in musical prose set in a Baroque Metal setting. The odd dichotomy of urgent need and aesthetic beauty makes Bringing You In highly unusual, and the Pink Floyd influence really isn't a surprise in that context. Louder Than Love takes a whimsical turn on That Ghost, a cute and quirky song about a pretend ghost friend. Anyone who ever had an imaginary friend as a child will identify with this song on one level or another.
Louder Than Love works in the seemingly pre-requisite anti-war song with Never Going Back, looking at war from the perspective of a veteran who’s already been there. The song is decent but a little on the predictable side. The vocoder portion of the vocal line is more of a distraction than a strength. Chemical Love sounds like the cynical radio song of the album. By design or otherwise this is probably the most commercial marketable track to Modern Rock radio. Not surprisingly it’s perhaps the weakest track on the album. Louder Than Love goes for a retro sound with Jazz influence and an improvised feel on Searchlight Soul. The chorus here is brilliant.
On Bad Apple, Louder Than Love describe someone we all know, a friend who seems destined to self-destruct. The theme is a bit over-simplified in clear Pop terms, but the song might have a real chance at Commercial Radio. Flood Gates is something of a change of pace, and the accompaniment in the first verse sounds suspiciously like a minor-key Goodbye Stranger (Supertramp). The chorus is one of the strongest on the album, driven by guitar and bass with a strong vocal harmony bridge over the top. Michelle is an upbeat song about letting the decline and fall of a relationship roll off your back. It's a great tune, full of a big, layered guitar sound and strong vocals. Louder Than Love closes out with Rain, a tense yet melodically meandering ballad that seemed more like an afterthought than a cohesive part of the album.
Dark Days has its issues, as does any album, but there's a startling sense of originality that runs throughout the album. Louder Than Love is distinctive, creating music that seems likely to be lasting and significant. Paul Lambert is a consummate front man, offering compelling songwriting, searing guitar work and vocals that stand up to some of the best in the Hard/Progressive Rock genres. The rest of Louder Than Love more than effectively fill in the gaps and create a dynamic sound that is sure to garner significant attention. Dark Days is a late-comer, but deserves real consideration for end-of-year lists.
Rating: 4 Stars (Out of 5)
You can learn more about Louder Than Love at http://www.louderthanlovemusic.com/ or www.myspace.com/louderthanlovemusic. Dark Days is a digital-only album available through Amazon.com or iTunes.
Review: Rodney Carrington - Make It Christmas
Rodney Carrington - Make It Christmas
2009, Capitol Nashville
Rodney Carrington is something of a jack-of-all trades: comedian, actor, entertainer, and now a singer. Carrington recently released a Christmas album, Make It Christmas. It’s better than you might expect.
Carrington opens with a version of Have Yourself A Merry Little Christmas that sounds like it was taken from the Tony Bennett songbook. Carrington's voice is pleasant, although it’s clear that singing isn't his primary vocation. Grown Up Christmas List is an altruistic wish for the world that carries a touching authenticity. Carrington's singing style is a bit reminiscent of Barry Manilow on this tune. Winter Wonderland has a similar big band as that heard on the opening track. Carrington sticks to the song as written, preferring tradition to his own imprint. Camouflage And Christmas Lights is a touching holiday tune written from the perspective of a soldier spending another Christmas away from his/her loved ones. This tune will hit home hard for those overseas and the families they've left behind; it's an entirely apolitical look at the personal cost of war, and all the more powerful for that fact.
No Christmas album is truly complete without Irving Berlin's I'll Be Home For Christmas. Carrington sticks with the big band/orchestra style arrangement he seems most comfortable with. The reverie of the song gets a little lost here, as the pacing of the song doesn't lend itself to that feel, but it's still an affable take on a classic song. In another nod to tradition, Carrington sings the full version of White Christmas (the first verse/prologue is often dropped nowadays). It's a decent rendition, but once again there's a gloss on the tune that seems to belie the melancholy reverie of the original. Carrington tackles the Mark Lowry/Buddy Greene penned Mary Did You Know with a sense of reverence but also an emotional distance that just doesn't entire fit the song. On second thought, it's not really emotional distance, but a dearth of emotive modulation or expressiveness that makes Carrington seem less than fully committed to the tune.
The Presents Under The Tree (Better Be For Me) is a cute, non-traditional (but honest) sentiment for a narcissistic Christmas. Make It Christmas attempts to be the sort of unifying pop Anthem that defines a holiday but misses badly. Carrington's rendition is decent, but the song is just a bit too rote to really ring true. Carrington closes with Presence Of Love, a reminder of what Christmas is all about. Once again, the intent gets a bit lost in the formulaic feel of the song, but Carrington's heart is in the right place.
2009, Capitol Nashville
Rodney Carrington is something of a jack-of-all trades: comedian, actor, entertainer, and now a singer. Carrington recently released a Christmas album, Make It Christmas. It’s better than you might expect.
Carrington opens with a version of Have Yourself A Merry Little Christmas that sounds like it was taken from the Tony Bennett songbook. Carrington's voice is pleasant, although it’s clear that singing isn't his primary vocation. Grown Up Christmas List is an altruistic wish for the world that carries a touching authenticity. Carrington's singing style is a bit reminiscent of Barry Manilow on this tune. Winter Wonderland has a similar big band as that heard on the opening track. Carrington sticks to the song as written, preferring tradition to his own imprint. Camouflage And Christmas Lights is a touching holiday tune written from the perspective of a soldier spending another Christmas away from his/her loved ones. This tune will hit home hard for those overseas and the families they've left behind; it's an entirely apolitical look at the personal cost of war, and all the more powerful for that fact.
No Christmas album is truly complete without Irving Berlin's I'll Be Home For Christmas. Carrington sticks with the big band/orchestra style arrangement he seems most comfortable with. The reverie of the song gets a little lost here, as the pacing of the song doesn't lend itself to that feel, but it's still an affable take on a classic song. In another nod to tradition, Carrington sings the full version of White Christmas (the first verse/prologue is often dropped nowadays). It's a decent rendition, but once again there's a gloss on the tune that seems to belie the melancholy reverie of the original. Carrington tackles the Mark Lowry/Buddy Greene penned Mary Did You Know with a sense of reverence but also an emotional distance that just doesn't entire fit the song. On second thought, it's not really emotional distance, but a dearth of emotive modulation or expressiveness that makes Carrington seem less than fully committed to the tune.
The Presents Under The Tree (Better Be For Me) is a cute, non-traditional (but honest) sentiment for a narcissistic Christmas. Make It Christmas attempts to be the sort of unifying pop Anthem that defines a holiday but misses badly. Carrington's rendition is decent, but the song is just a bit too rote to really ring true. Carrington closes with Presence Of Love, a reminder of what Christmas is all about. Once again, the intent gets a bit lost in the formulaic feel of the song, but Carrington's heart is in the right place.
Rodney Carrington presents a decent and moderately charming effort in Make It Christmas. Carrington won't be confused with the great vocalists any time soon, but his voice is pleasant enough to listen to. The album is a bit on the traditional side, but offers a brilliant original turn in Camouflage And Christmas Lights as well. If your tastes run anywhere from Country to Big Band Jazz, Make It Christmas is a Christmas album you'll enjoy.
Rating: 3 Stars (Out of 5)
You can learn more about Rodney Carrington at his web site, where you can purchase a copy of Make It Christmas in the store section.
Rating: 3 Stars (Out of 5)
You can learn more about Rodney Carrington at his web site, where you can purchase a copy of Make It Christmas in the store section.
Review: Myra Flynn - Crooked Measures
Myra Flynn - Crooked Measures
2009, Myra Flynn
2009, Myra Flynn
Vermont's Myra Flynn was writing songs before she ever thought to take the stage herself. Leaving home at the age of 16, Flynn found her way to New York City where she worked with Wyclef Jean's Refugee All Stars both in the studio and as a student for three years. She has opened for Ivan Neville, Alexa Ray Joel, Slick Rick and Lee "Scratch" Perry, and has been compared to Erykah Badu, Adele and Norah Jones. Flynn released her debut album, Crooked Measures in mid-2009, blending R&B, Soul, Folk and Rock into an intriguing mix of songs.
Flynn opens with Feels Like The Sunshine, mixing soulful vocals and a classic singer/songwriter pastiche into a melody that feels familiar right from the first listen. Long Fall Down is representative of the sort of relationship insecurities that can evolve from a simple look or tone of voice. Flynn is incredibly vulnerable here, and some of the deeper textures in her voice come shining through. Imagine if Tina Turner, Fiona Apple and Dionne Warwick were somehow combined into one DNA set; the voice might sound a bit like Myra Flynn. Flynn offers up something of a non-traditional love song on So It Goes; an introspective and self-aware examination of her own state of mind. Flynn's vocal here is outstanding as she emotes every crest and trough of the emotional roller coaster she's on. Bones, on the other hand, highlights some of the harder edge qualities of Flynn's voice and just doesn't work in this light.
Flynn dives into some torchy Blues/Folk on Small Talk, the best and most vibrant songwriting on Crooked Measures. This song will get your feet tapping and draw you in. What Am I is wonderfully minimalist, highlighting Flynn's vocals and harmonies in a compact arrangement that uses a very familiar chord progression. Where Do You Go is a lonely, melancholy tune in a dark Americana arrangement. The melody here is absolutely gorgeous, and Flynn gives a performance that's award-worthy. Flynn goes the a Capella route on Miss Independence, creating a very balanced intriguing arrangement that's a pleasure to listen to. Flynn closes out with the electronica/dance influenced Fragile. Fragile doesn't have the depth or sense of gravity that accompanies may of Flynn's songs, but is decent enough for what it is. On a positive note, the chorus is gorgeous.
Myra Flynn has a compelling voice, able to go from nearly-whispered vulnerability to full-out belting at the drop of the hate. Her band is solid and the production is deft. Crooked Measures ultimately lives and dies on the songwriting itself, which is mixed. Myra Flynn is the product of a very small music market, and her sound suggests a bending/blending of R&B styles with the local flavor. Flynn seems very comfortable with her sound, but it seems at times as if she might be holding back some other musical impulse. It would be quite interesting at some point to hear what that is. In the mean time, Crooked Measures is a strong introduction to a very talented singer/songwriter whom out to be on your "to check out" list.
Rating: 3 Stars (Out of 5)
You can learn more about Myra Flynn at http://www.myraflynn.com/. You can purchase a copy of Crooked Measures on CD from CDBaby.com. You may download the album through iTunes or Amazon.com.
Flynn opens with Feels Like The Sunshine, mixing soulful vocals and a classic singer/songwriter pastiche into a melody that feels familiar right from the first listen. Long Fall Down is representative of the sort of relationship insecurities that can evolve from a simple look or tone of voice. Flynn is incredibly vulnerable here, and some of the deeper textures in her voice come shining through. Imagine if Tina Turner, Fiona Apple and Dionne Warwick were somehow combined into one DNA set; the voice might sound a bit like Myra Flynn. Flynn offers up something of a non-traditional love song on So It Goes; an introspective and self-aware examination of her own state of mind. Flynn's vocal here is outstanding as she emotes every crest and trough of the emotional roller coaster she's on. Bones, on the other hand, highlights some of the harder edge qualities of Flynn's voice and just doesn't work in this light.
Flynn dives into some torchy Blues/Folk on Small Talk, the best and most vibrant songwriting on Crooked Measures. This song will get your feet tapping and draw you in. What Am I is wonderfully minimalist, highlighting Flynn's vocals and harmonies in a compact arrangement that uses a very familiar chord progression. Where Do You Go is a lonely, melancholy tune in a dark Americana arrangement. The melody here is absolutely gorgeous, and Flynn gives a performance that's award-worthy. Flynn goes the a Capella route on Miss Independence, creating a very balanced intriguing arrangement that's a pleasure to listen to. Flynn closes out with the electronica/dance influenced Fragile. Fragile doesn't have the depth or sense of gravity that accompanies may of Flynn's songs, but is decent enough for what it is. On a positive note, the chorus is gorgeous.
Myra Flynn has a compelling voice, able to go from nearly-whispered vulnerability to full-out belting at the drop of the hate. Her band is solid and the production is deft. Crooked Measures ultimately lives and dies on the songwriting itself, which is mixed. Myra Flynn is the product of a very small music market, and her sound suggests a bending/blending of R&B styles with the local flavor. Flynn seems very comfortable with her sound, but it seems at times as if she might be holding back some other musical impulse. It would be quite interesting at some point to hear what that is. In the mean time, Crooked Measures is a strong introduction to a very talented singer/songwriter whom out to be on your "to check out" list.
Rating: 3 Stars (Out of 5)
You can learn more about Myra Flynn at http://www.myraflynn.com/. You can purchase a copy of Crooked Measures on CD from CDBaby.com. You may download the album through iTunes or Amazon.com.
Sunday, December 20, 2009
Review: Arc Angels - Living In A Dream
Arc Angels - Living In A Dream
2009, Visions
2009, Visions
Arc Angels are a Blues/Rock super group of sorts, consisting of Doyle Bramhall II (guitar/vox); Charlie Sexton (guitar/vox); Marc Campbell (Arc Master); Chris Layton (drums) and Mark Newmark (bass). Newmark is a new addition to the band in 2009, replacing original bassist Tommy Shannon. Layton and Shannon were members of Stevie Ray Vaughan's Double Trouble until his untimely death, and have also recorded with Buddy Guy, Kenny Wayne Shepherd, John Mayer and Storyville. Bramhall has played with Eric Clapton and Roger Waters, while Sexton has toured with Bob Dylan. The band short-circuited in 1999 due to Bramhall’s substance abuse, but has reunited for shows periodically since 2002. In 2009, Arc Angels decided to give it a try once again. The resulting CD, Living In A Dream, is a live recording that captures the intensity and talent of a band that never really got a chance to find what they were made of the first time around. Living In A Dream is a three-disc set. Disc one is the live CD; Disc two is 4-track EP featuring three new studio tracks and one live track from Antone's. The other disc is a DVD videos, live cuts and other material.
Arc Angels survive in the Diaspora between Southern Rock, Blues and Americana, and Living In A Dream captures that zeitgeist perfectly. Arc Angels open with Paradise Cafe, a delicious bit of Southern Rock that sounds like a catchy, danceable Bob Seger tune. Carry Me On is a decent power-ballad that's a bit on the bland side but otherwise well done. My favorite song on the disc, The Famous Jane, explores the life of a Hollywood starlet (possibly Jane Seymour?) in fairly real-life terms. It's an incredibly mature and thoughtful biography in song. Good Time is top-flight Blues-Rock with an amazingly soulful vocal. She powerful Blues influence carries over to She's Alright, although the extended guitar jam is a bit much.
My other favorite from the live disc is Sent By Angels, which features a strong, memorable chorus and outstanding guitar work. Crave And Wonder finds Arc Angels stepping back a bit in a mildly catchy Americana/Rock arrangement. It's a good listen and a strong change of pace. Shape I'm In features some of the best guitar work on the album in a high energy tune you won't be able to get out of your head. Living In A Dream sounds a bit like The Black Crowes, leading into the final track, a ten-minute instrumental called Too Many Ways To Fall. No one will dispute the talents of the respective members of the band, but this one lasts perhaps five minutes too long.
The bonus CD includes three new tracks and a live version of Spanish Moon recorded at Antone's). Spanish Moon is a bit drawn out but a great song. Crave And Wonder is presented here as a studio track, actually surpassing the live version on Disc One. What I'm Looking For is a dark and moody mid-tempo rocker that's decent but not their best. Too Many People is a pleasant surprise, featuring a Beatles-esque chorus that should be an instant crowd favorite and inspire sing-a-longs from the seats.
Arc Angels still have the energy and sound that made them a critical favorite back in 1992. It's a shame that it's taken so long, but the Arc Angels are back. Living In A Dream is a wonderfully balanced and enjoyable listen, and the new tracks give fans big hopes for what might be coming down the line. Living In A Dream is a definite keeper.
Arc Angels still have the energy and sound that made them a critical favorite back in 1992. It's a shame that it's taken so long, but the Arc Angels are back. Living In A Dream is a wonderfully balanced and enjoyable listen, and the new tracks give fans big hopes for what might be coming down the line. Living In A Dream is a definite keeper.
Rating: 3.5 Stars (Out of 5)
You can learn more about Arc Angels at http://www.arcangelsmusic.com/ or www.myspace.com/arcangelsmusic. You can purchase Living In A Dream online from Double Stereo.
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