Muzik Reviews

Heart - Red Velvet Car

It’s hard to believe it has been six years since the release of the fantastic Jupiter’s Darling album. Heart and the sisters Wilson have been very busy with live performances, DVDs, solo albums and various side projects. So are they still relevant as Heart after a six year absence from the studio?

After hearing the opening track from their new album Red Velvet Car “There You Go” it was easy to determine that not only are Nancy and Ann Wilson still relevant, they are still making vital rocking music just as they always have. As Ann said in an Amazon Video - “If we stop making music we become a jukebox” and I don’t think they are about to rest on their laurels and let that happen. When you hear “WTF” it makes the statement, “We still rock and are not going away.” I hear that message loud and clear throughout this outstanding recording. I have to admit I have never been disappointed by anything these talented ladies produce and this release is no exception to that high standard.

The title track is reminiscent of the Dog and Butterfly recording period while the rocking “WTF” is along the lines of rock classics like “Barracuda”. The band thinks this a record for the times and after a complete run through of the album I must agree it is spot on and one their best studio albums to date. Certainly their legacy follows them wherever they go however this is fresh material that reminds you that great musicians and songwriters are not done until they say so. In this case it sounds like the Wilson sisters and their crackerjack band are showing no signs of slowing down. The album features equal measures of rocking electric guitars and acoustic flourishes with mandolins with all the trimmings. It’s all here.

Nancy’s elegant acoustic masterpiece “Hey You” shows the gentler and diverse Heart at their very best. “Sunflower” is another track destined to be a hit as well while “Wheels” brings to fore the reality of the crazy world we now live in with rocking angst. They can rock you or handle you with kid gloves and make you feel all warm and fuzzy. Being realistic and sticking to their formula is the reason Heart has been so successful for so long. You know going in that what you will hear is a nice variety and different paced compositions that would satisfy any rock listener’s demanding palette.

Exceptional musicianship, incredible emotional vocals, energetic and down to earth lyrics, that is rock ‘n’ rock and that is Heart again back strong as ever on Red Velvet Car.

Keith “MuzikMan” Hannaleck—MuzikReviews.com Founder

August 31, 2010

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Bray - Amphibian

Bray is the kind of talent that reminds you of hit radio when it was good and there was actual talent coming over the airwaves, not processed sounds and girls that just know how to shake their booty around. He has that golden throat that sounds so pleasing and inviting. On top of that his band is all amped up and they pump out some hard driving pop rock. You know the kind of music you play full blast while buzzing down the road with the wind blowing in your hair, singing at the top of your lungs? This is the ticket.

Amphibian is Bray’s third release. Hailing from the San Francisco Bay Area, it does not surprise me that there are oodles of talent oozing out of the music on the recording. And because of that you get ten tracks on this new release that will not leave you alone and consequently you will be craving for more.

This music excites and gives the proverbial chills up the spine. Yes it’s that good. It all comes flooding into your consciousness like a broken dam of emotions. Bray’s voice holds that kind of power over you while listening. The music is exceptionally done as well and quite appropriate for the vocalist and all his lyrics.

“Clone Me” is a quirky kick off to the proceedings and “Hair” sounds like it would work for any era from the sixties to present day and its delivered with enough vigor to make you pay attention. I loved the way “Subliminal Criminals” jumpstarts your heart with a spiffy surf-rock intro and how it then leap frogs right into the lyrics while the music switches over to more of a rock tone to match up with Bray’s lyrics note for note. “Long Gone” and “I Was Wrong” slows down the pace and proves this band is talented enough to pull off a convincing ballad. “Ocean” and “Tie Me Up” are as quirky and suggestive as it gets and they keep you focused with powerful chords and a pounding rhythm section. “O Sweet Love of Mine” sounds like it belongs on another album entirely, it’s the only song on the recording I did not appreciate. The acoustic backdrop and suddenly off kilter vocals are not a fit for anything else presented here, it breaks up the flow of this release and should have been stuck on the very end to close things out and leave you wondering. That would have been the ideal placement for that track, or perhaps even designated as a bonus track.

I was given access to more than this album so I listened to “Dracula” (a digital single) and “Van Gogh” (on Live In Germany however this is a mastered version) which are two interesting tracks indeed. Bray is a sci-fi enthusiast and he lets you know that if you are paying attention to the lyrics. “Dracula” is a great track featuring outstanding campy vocals and a scorching guitar lead. “Van Gogh” is very good as well with a twangy fuzz like garage rock guitar (think Davie Allen and The Arrows) line and the typically emotive lyrics packing a punch that Bray so expertly offers on every track he records.

This is highly recommended for those who appreciate power pop, rock, and outstanding vocals that you can actually understand. Great stuff!

Keith “MuzikMan” Hannaleck—MuzikReviews.com Founder

August 30, 2010

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There Is No Sin in My Body - There Is No Sin in My Body

There Is No Sin In My Body is a band fronted by Troy Keiper situated in Portland, Maine. The new CD is the arduous result of a year holed up in nightly tapings from basements, empty offices and spare rooms which is compiled into a single self titled album reaching just under thirty-five minutes.

A passion and roughness echoes through the album, which comparisons from Elliott Smith to Bright Eyes to the feathery vocals of Damien Rice are easy to draw upon. Keiper’s writing ability is evident on There is no Sin In My Body; in his arsenal, the multi-instrumentalist learned drums and guitar from members of the legendary Delaware Water Gap jazz scene.

The album is filled with stripped, bare boned songs with Keiper’s expressive vocals usually anchored by an acoustic guitar. Tracks like “Midleton's Killing Us” and “A Loss” are both detached and impassioned conversations that are both so sad and personal.

Elsewhere “There’s A Hole” one of the more richly produced tracks is more uptempo and feels like a walk on a cold winters’ day as is “Documenting ” which is a slowed down drunken ramble that has surprising clarity.

There Is No Sin In My Body is a very organic affair and is so grounded that at times it feels like it was recorded spontaneously with inflections and flaws that work in the albums favor. While there is a great expression on this album, it gets tiring when the majority of the tracks are focused so profoundly on the same set of emotions and heavy vocal and production values. This in turn doesn’t let the listener break and reflect on the journey, which is a bit of a disappointment considering the depth of the album’s content.

Key Tracks: There’s A Hole, Replaced, Midleton's Killing Us

Rukshan Thenuwara – MuzikReviews.com Staff

August 30, 2010

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Kle - K-L-E

About half-way through the first song on K-L-E, I had to stop and think about what makes a good R&B album. Because while some of the lyrics on K-L-E are absolutely ridiculous, no one ever said they were supposed to be anything else. R&B is entertainment in its most instantly gratifying way – there's nothing serious about it, and a good beat can make a good song great.

When you use those guidelines to grade K-L-E, it's pretty on par with anything on the radio, if not better. The beats and hooks are catchy and interesting. They don't sound sampled or reused – you could easily dance to these songs (in the club or in your car), and you wouldn't be bored or confuse them for another artist's songs.

Kle has a voice many rappers aim for and fail at (consider Eminem's recent foray into singing choruses instead of rapping them). He sings like Justin Timberlake – almost uncomfortably high, but still in tone and pitch, and he raps in a lower, more believable voice, bouncing between the two with ease and never using the wrong voice at the wrong time. It makes for interesting raps that you can hear the lyrics to and believable ballads (if you want to call the slow songs “ballads”).

You don't even have to compare the lyrics to what's on the radio to recognize that they're clever. While some of them are a little too vulgar, which comes across as an attempt to seem like Kle doesn't care, most of them are pretty funny and make good points. On “Satisfaction Guaranteed” he says, “5'5” with them cocoa brown eyes/hair braided back/she's so stacked” and AV, the guest rapper says, “Let your boy get under your skin/like nip tuck/when I'm done it's zipped up”. The lyrics are largely about sex, violence, and being in the club, but they're not meant to be about anything heavier.

Kle includes a note in the album's liner about having two sides: Kle, the more relaxed romantic, and K-L-E, the performer. He's obviously found a way to incorporate both into his music and it's hokey, but it works.

Key Tracks: Satisfaction Guaranteed Remix, Hatin' On Me, Heaven Sent

Abbey K. Davis – MuzikReviews.com Staff

August 28, 2010

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Miles Davis - Bitches Brew Legacy Edition (2 CD/1 DVD)

So where do you start with a recording that created a genre? Bitches Brew and its legendary and iconic status has not waned one iota since the celebrated release of the set in 1970. Miles Davis changed jazz forever more than once from the 50s all the way up to this marvelous concoction of jazz-rock fusion genius.

To honor the 40^th anniversary of Bitches Brew Sony Legacy has completely outdone everyone else with a remasters series by releasing three different exceedingly tempting configurations. This is the Legacy Edition then there will be the Legacy Collector’s Edition and to follow that, if that wasn’t enough for you jazz enthusiasts, the Super Deluxe 40^th Anniversary Collector’s Edition, which has a previously unissued performance from Tanglewood in August 1970. I happen to have the advance copy of that Tanglewood performance however this edition includes a live performance from Copenhagen in 1969. Confused yet? I guess it depends how much of a Davis fan you are and how many dollars you are willing to drop for these sets. You can snag up this gem for $18.99 at Amazon right now.

I think Bitches Brew remains unmatched for flat out jazz-rock fusion albums and then some considerations are necessary for the influences you hear in world music as well. There is a reason for that, several actually. The primary driving force, Mr. Miles Davis was an innovator of the trumpet the day he picked it up and as for his collaborators that lofty status applies as well. You cannot have one innovator and the rest of the band in a box musically, they all need to be flexible and stretch the boundaries of their genre and instruments to come up with a classic recording like Bitches Brew. I don’t have to remind you of how great this recording sounds but I will anyway. With the Columbia/Sony Legacy stamp adorning each disc you will see underneath that text ‘360 Sound’ STEREO ‘360 Sound’ with little arrows pointing in either direction. That little advertisement lives up to its billing you can be sure of that.

As the opening track “Pharaoh's Dance” kicks off you are immediately challenged to listen intently yet Miles and his cohorts gradually pull you in with more mellow passages and it all builds into amazing crescendos of sound with Miles leading the way. “Bitches Brew”, “Spanish Key” and “John McLaughlin” are jaw dropping examples of jazz-rock fusion, monuments in time and a tribute to men at the top of their game, With Shorter, Holland, Corea, DeJohnette (look up the names in Wikipedia) and a host of other musicians passing through the studios during the recording sessions it was like a hall of fame jazz gathering. Miles was the definitive leader of the pack and everyone else followed and the resulting music that was captured was groundbreaking and still totally mind blowing to this day.

The four tracks on disc one cover some ground; “Pharaoh’s Dance” (20:04), “Bitches Brew” (26:58), “Spanish Key” (17:31) and “John McLaughlin” (4:22). The title track alone is nearly one full LP and the Davis tribute to one the greatest six string benders, McLaughlin, seems like a short running single in comparison. Was this self indulgent, bombastic and long drawn out improvisation? You better believe it, and it was all so breathtaking. Where do you think progressive rock got its inspiration from besides classical music?

Disc two has some nice treats to offer as well including single edits and alternate versions. The opener “Miles Runs The Voodoo Down” is a real burner featuring that incredibly powerful rhythm section of Dave Holland (bass, who is stellar on the first four tracks as well) and check this out - dual drummers with Jack DeJohnette (right) and Don Alias (left) and some Congas for extra flavor. All that together created an amazing exercise in surround sound syncopated rhythms. And that is just the first track! You get seven more tracks after that then you can put on the DVD and watch some of these amazing performances in a live setting. The DVD is the icing on the cake of one phenomenal exhibition of flawless musical magic that can only be absorbed in chapters like a long, intense novel. To finalize the package a 23 page booklet is included; jam packed with photos and the most fitting and eloquent liner notes from Greg Tate.

I say no more, now the choice is yours what package you want. Anyway you look at it you are going to love every second of this if you are a jazz-rock fusion fan. Just think for a minute where music as a whole would be without brilliant individuals like Miles Davis to show us the way?

Key Tracks: Bitches Brew, Spanish Key, Miles Runs The Voodoo Down

Keith “MuzikMan” Hannaleck-MuzikReviews.com Founder

August 27, 2010

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Blue Cut - We Walk In Temperatures

When I first saw the Partridge Family on TV I was fascinated at the thought of starting a band within my family. As it turns out, the wolf pack that raised me were only good at howling at each other and no music can make that sound good. Thankfully, the Latham Family is nothing like mine. The Latham’s, better known as Blue Cut, have released an new album called We Walk in Temperatures that contains a great mix of modern folk songs that have elements of pop and rock and just about everything else mixed in for guaranteed foot stomping, hand clapping, swing your partner good time.

Father Michael, son Jacob, and daughter Bethany, pack the force of an overly friendly tornado that spirals into your yard and simply blows away the pile of junk in the corner of the back yard. They make you feel a bit better about things and maybe even make you dance a bit to some of the jauntier tunes on the album like “Me Too You”. The song features shared vocals by Bethany and Jacob whose voices blend like only brothers and sister voices can. It really makes me want to change my last name to Latham and find my old jug and so I can blow into it and be part of the band.

What’s amazing here is how good each one is with their instruments. Jacob sounds like he was born with a mandolin in his hands, which may explain why the mother is not in the band. I can’t imagine giving birth much less giving birth to a baby holding a mandolin; that has got to be something along the lines of traumatic. Bethany provides enough thump with her standard and upright bass guitar on some songs to raise the Kraken from his deep ocean lair. Michael’s guitar is smoother than a baby’s bottom at times and when added with his voice on songs like “French Broad River” and “Peel the Onion”, the two play together like peace loving Buddhist children.

There are enough bright spots on this album to dull the Aurora Borealis. “Harmless Dove” is a beautiful song that draws you into Bethany’s voice which seems to flicker like a flame on a pure white candle in a light breeze. The lyrics are pure rock genius applied to folk and it’s clear they have earned their ‘Bob Dylan as an Influence patch’ on their music vests. Another standout song from Bethany is “Blue Willow Plates”. It is a beautiful song and Bethany’s voice makes you feel like you are in small town America with laundry hung outside and fields to plow. “Grey and Plain” is an interesting solo piece by Jacob. In it he seems to channel the lost soul of the great Huddie William Ledbetter (better known as Lead Belly). The young man seems to grow older while he is singing it. Thank goodness the song isn’t too long or else he’d likely be a member of AARP by the end.

Blue Cut is a cut above the rest (sorry, I had to do that). For only three people they sound more powerful than The Great and Powerful Oz. Pull back the curtain here though and they remain just as powerful and as an added bonus, you don’t have to follow the yellow brick road to get to them.

Key Tracks: Harmless Dove, French Broad River, Me Too You

Doug Morrissey- MuzikReviews.com Staff

August 26, 2010

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One Step Away - For The Broken

Adam Carrington (vocals), Terrence Healy (guitar), Ben Trudeau (drums) and Michael Nuzzolo (bass) are the Boston based One Step Away. The rock pop outfit recently released their self released debut For The Broken.

My first impression of this band was “Oh no, another Disney band clone like the Jonas Brothers.” It’s difficult not to think that way with the way Disney has their artists all over TV and in ads etc. Ok I am reviewer and should not pass judgment like that no matter how difficult it is to do so. So I got rid of that thought and listened very carefully to all 11 tracks on this album.

Granted this music will appeal to teenage girls the most and if it was an all girl group the same would apply to the boys because that is the way it is. I had to focus on the songwriting, musicianship, and overall talent of these young men. In all instances they are totally locked in to be stars. The most impressive thing about these four guys is their musical abilities and how together they sound. Adam Carrington has a good vocal range and style and it is not annoying and repetitive, which kept me listening and washed away the stereotypes rather quickly. Terrence Healy is a first-rate guitar player, peeling off riffs like it was second nature, and the rhythm section action of Ben Trudeau (drums) and Michael Nuzzolo (bass) are equal to the task, making this quartet a power pop act to be reckoned with.

I think every track is radio ready and a potential hit for this band. This is not my typical listening experience and I would not seek out this type of music but that is a matter of personal taste. I do know talent and potential when I hear it and this band has it all. I know for a fact there are millions of kids out there that will eat this stuff up. If a major label misses picking up One Step Away they will be kicking themselves in the pants for eternity.

There is a predictable formula here with the music and lyrics but that is what sells folks so they are on the right track and dare I say…One Step Away from fulfilling all of their aspirations.

Keith “MuzikMan” Hannaleck-Muzikreviews.com Founder

August 26, 2010

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Nic Stevens - Willow Run EP

I found it hard to write about singer-songwriter Nic Stevens' Willow Run EP. His music isn't bad; in fact I think a lot of people are going to enjoy it. It was hard for me to form an opinion because his sound is so middle of the road and generic I wasn't sure what to say about it. Stevens is a solid singer with a plain, clear voice and a nice falsetto. This five-song EP runs just over twenty minutes and provides a snapshot of the artist, a harmless, heartfelt, soul-searching young dude with some stuff on his mind and a few chords under his belt.

He's got a good band backing him up on Willow Run. Most of the songs are driven by loud, distorted guitar and rounded out with acoustic axes, drums, bass, and piano. It's a classic combination that won't offend the ears, but it won't surprise them either. Everything sounds just fine as Stevens croons about life and his direction. The album reminds me of the 90's rock band Dishwalla (who still tour and record incidentally) only I'm not going to remember Nic Stevens 13 years from now. It's a smooth, melodic product, your basic pop-rock line-drive right down the middle.

I like the guitar playing on “My Beautiful,” a U2-derived jam with flickering guitar echoes, and an uplifting chorus about...well I'm not sure what it's about, but Stevens sings the word 'beautiful' so many times he may simply have been trying to set a new record. Seriously though, he describes scene after scene of nature clichés (waves on a beach, clouds parting, sun shining) and I think it's a general message to his “beautiful” to be hopeful and enjoy the time they have I think.

The best venue for Nic Stevens is American Idol. He has a nice voice and a non-threatening charm that could be perfect for prime-time family television. There isn't much to hang a hat on here, not enough substance to stand up on it's own, but with a little luck Willow Run EP could be the first step for a pop super-star.

Best Tracks: Perspective, Reality

Nathaniel Rolnick – MuzikReviews.com Staff

August 25, 2010

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David Wahler - A Star Danced

On his sophomore album, A Star Danced, David Wahler takes us away from everyday life without ever saying a word. Wahler uses electronic keyboards to create an atmosphere that is simultaneously whimsical and mysterious, and instantly brings to mind images of floating through space.

However, despite the celestial ideas the album evokes, the title A Star Danced isn’t entirely accurate. It’s more as though a star…hopped.

Being his second album, one would have expected Wahler to try pushing things to the edge, rather than relying on melodies that are simply pretty. Or, if that were the chosen route for the album, there could definitely have been more variation put into those melodies. Instead, Wahler presents an album that, between the length of the songs (several are five and six minutes long) and the similarities of each song, quickly starts to sound like one hour-long song.

About halfway through, A Star Danced takes a bit of a heavier turn, which is a nice break from the airiness of the first part of the album, but these heavier songs all start to sound like each other as well. This is unfortunate, seeing as it causes what could be a very beautiful instrumental album to instead come across like cotton candy: light and nice to enjoy for a little bit, but quickly reaches a point where it’s no longer satisfying.

The songs on A Star Danced are worth listening to individually, but as a whole A Star Danced is not an album to try to listen to all the way through at one shot.

Key Tracks: Yvonne, Come Gentle Night

Carly Doenges—MuzikReviews.com Staff

August 25, 2010

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District 97-PICK OF THE WEEK - Hybrid Child

Progressive rock is a curious beast. Rising from the psychedelia of Britain's late 60s, its heyday was some forty years ago. Of its reputation, album side-long suites, extensive soloing and cosmic album covers remain their legacy, one that is both revered by some, and dubious to others. It wasn't a total flash however, though flashy playing was certainly central to it. The mainstays, Yes, Genesis, Emerson Lake & Palmer, etc, still enjoy that infamy to this very day. After all, prog rock was a thing of excess, but one where more was truly more. It was big - gigantic, in fact. It had scale. Eventually however, the Goliath of a dinosaur met its David in a bunch of young punks. Nowadays, prog rock unfortunately resembles something a little more dated; the live experience resides in festivals, tribute bands and men in their forties, fifties, and sixties. So it's easy to forget that prog rock was once vital and exciting. Don't get me wrong, there is still plenty that is good about progressive rock, and like most of its adherents, I'm a total obsessive. I simply love the stuff. After all, the music was and still is an adventure for the listener.

But what relevance does prog rock have now, in the year 2010? Has it really made some sort of come back? Chat boards reel with prospects of a return - perhaps the second or third coming - of an old legend, even though you can probably count on your hands the number of bands that have succeeded in creating something really new. With decades, rather than years, now pass between albums, new offerings from the old guard are still feverishly anticipated, though they rarely sell more than well-packaged reissues. Tribute bands draw legions of the faithful, but really, isn't it just a guilty bite of nostalgia? More recently, some newer groups have started to wave the prog banner, discard it, then drape it back on when fitting, while others just provide a carbon copy to an original and then lay claim to influencing anything remotely close to it. Ahem.

So what happens when a bunch of twenty year olds bill themselves as Chicago's premiere progressive rock band? You check them out. Hailing from suburban Oak Park, District 97 is led by drummer and primary composer Jonathan Schang, along with two childhood friends: Patrick Mulcahy on bass and Rob Clearfield on 'boards. Guitarist Jim Tashjian and vocalist Leslie Hunt are slightly later additions, friends from their days at Roosevelt University. And the cellist, Katinka Kleijn, is on loan from the Chicago Symphony Orchestra, though her attendance in the live unit is unfortunately more mythical than present. But they're all consummate professionals, and despite their short years, each musician has a CV to back it up, whether it's playing with the likes of Goran Ivanovic or Fareed Haque, in a jazz combo, a Velvet Underground cover band, or as a finalist on American Idol.

Hybrid Child is D97's debut album. How fitting a title it is for an album of prog rock performed by a group of their (lack of) vintage. Rock music has been around for some five or six decades now. And with the ubiquity of the internet, every bit of its history is available to either enjoy - or completely ignore. So maybe it isn't so strange that a group of young musicians would pick up on prog rock and set their course towards its horizon. The pair of tracks that open the album, "I Don't Wanna Wait Another Day" and "I Can't Take You With Me", could have another life outside the prog context; while D97's sense for pop melody and an overtly simplistic lyric yank those lured in by the Idol connection, they're much more than mere fodder for the masses - whether they need to be or not. Next pair of tracks raises the bar further as they fully embrace the progressive: "The Man That Knows Your Name" rides their signature gun-metal rhythm, but it's those carefully orchestrated passages of unison and the huge symphonic refrain that not only cement them as prog, but even lend a nod to the most revered of Italian classics. "Termites" takes it into another, more concurrent direction. Yes, there's a fair amount of heavy in the D97 hybrid, and this one goes all the way to the proverbial eleven: the crunch is more aggressive, the vocal more relentless, and with head banging feverishly I'm expecting cookie monster vocals at any moment. Give me more!

Well, clocking in at 27:36, the album's centerpiece "Mindscan" is about as more as it gets. Offering an epic length track of album-side proportion is risky business. But is it really prog rock enough for a band to just rely on how well they play their chops, or wear their influences on their sleeve? Okay, someone's listened to Yes and Rush, and probably a few other legends from the classic era. Yet "Mindscan" is highly original and ambitious prog rock: ten sections of more atmospheric synths, more keyboard solos, more studio alchemy, more huge sweeping melodies, more metal crunch; it's an epic track that's based on composition. And here's the best part - it's a musical journey. Throughout its instrumental and vocal sections, "Mindscan" delivers the kind of music that you close your eyes to, turn your ears on to, and travel off far inside your the mind. I might go as far as to call the track a "Close to the Edge" for the 21st century, but those would be some fairly large shoes to fill. Yet after living with the album for more than a few listens, I'm starting to believe that it's no exaggeration. D97 are big, you know - gigantic, like the prog of old. And with "Mindscan" they deliver the epitome of prog rock: the album-side long piece. Who the hell has done that lately?

And then there's the voice. Who'd have ever thought a woman could sing prog rock with such authority? And with such conviction? No, I don't have issues with female vocalists, it's just that I haven't really heard a voice like hers in this context, and of the precious few that I have, never one quite this, um, ballsy. Leslie Hunt's talent is undeniable. But how will the prog cognoscenti react to her? That should be interesting! And the keyboardist, Rob Clearfield. He's slugged in quite a few fantastic solos throughout the record - just check out "Mindscan Part III: Realization". Can we only wish that he would write a solo record with such fury? And what about Jonathan Schang? A mild yet auspicious young man, he's the brain-child of D97 - composer, lyricist, manager, booking agent, and about to turn 27 years of age. What will the future hold for his young talent? And do I even need to mention Jim Tashjian, Patrick Mulcahy or Katinka Kleijn's contributions? Haven't you bought the album yet?

Here's a secret: I've seen D97 live a few times now. The band's not only tight and energetic; it's downright gratuitous at times - perhaps the ultimate quality of a prog band. They also sport a vocalist with more stage presence than any idol, American or otherwise. D97 is in fact the real deal and I haven't been this excited about a band in a very, very long time. Yet I'm reminded again that this is just the beginning, the first release from a group of musicians who were born well-after the golden age of prog, and not a band with decades of experience behind them. Is Hybrid Child perfect? No, but neither is any other child. Yet as every parent knows, with a little encouragement, the future is filled with endless possibilities. Enter District 97 and see why prog rock just got a new lease on life.

Charles Snider-MuzikReviews.com Contributor

Author, The Strawberry Bricks Guide To Progressive Rock

August 25, 2010

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VJ Kapur - Proto EP

VJ Kapur provides the vocals, guitar, bass, keys, and does all the writing and arranging on the three songs for the Proto EP. He gives you a chance to listen for free, which has become the way to get your music heard before you sign on with a label and actually try and sell your product.

This is a developing artist that is for certain. I like the songwriting and arrangements however the one area that got on my nerves like fingernails going across a blackboard was Kapur’s voice. Although he is not totally devoid of tone and melody, he sounds like a mellowed out Kurt Kobain. This is not to say there is not talent here, there is, he just needs to focus it in the proper areas of where all the strengths are. The song structure is good and Kapur plays a nice acoustic guitar so there are some positive things going on here.

It’s hard to tell what direction Kapur could go listening to three songs, anything is possible. I hate to discourage anyone with guts enough to put their music out to the masses, which he needs to be recognized for. I have to be honest in my assessment and say that when he sings “Make the pain stop” on the “Muted Scream” track I found myself saying “Make the singing stop” and was relieved when it was over. Stranger things have happened though, Alice Cooper and Lou Reed really can’t sing, they developed their own style and made up for their lack of vocal talent. I could never stand Johnny Cash and now I love to listen to him. And one thing you can count on, there are going to be people that love Kapur’s style and vocals.

VJ Kapur needs to get someone to sing his songs and then I think a valid career path could start to take shape.

Keith “MuzikMan” Hannaleck-Muzikreviews.com Founder

August 25, 2010

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The Echo Wall - These Shipwrecked Words

The Echo Wall is an Americana (more specifically alt country and folk) band consisting of Shannon Bailey (vocals & guitar), Nina Goodman (keyboards), Hallsi Killian (glockenspiel & vocals), Mike Shumann (bass) and Audrey Thomas-Googins (violin & vocals).

Their EP These Shipwrecked Words is four tracks of exceptional music that immediately hits you as mood setter. Whether it is melancholy or reflective, their sound leaves you wanting for more. What you are left wanting more of actually is their music. As with any EP that is particularly enjoyable, you find the experience too short.

For The Echo Wall that should be the exact tonic they are looking to have listeners come and taste.

“The Only Thing” is the most expressive and animated tune that features this band’s emotional lyrics and variable musical passages. It’s the entire package all rolled into one song. “At Your Door” is the most commercially accessible track and should be earmarked for radio play. It has just enough crossover appeal that could make it a hit. “Imogene” and “Uncanny Valley” carry a bit more of a dark mood with accompanying music for the finishing touches. All together I think they do everything that a band could possibly do in four songs, a job well done.

Although four tracks is a basic feel of a band’s repertoire, what you get is something that will heighten your senses and have you coming back for more. These Shipwrecked Words gives you a strong impression of what this band is capable of producing. The title implies that there are words carrying a weight with meaning that are overlooked or stuck and the person that needs to hear them the most simply cannot. It’s like a train you hear and see off in the distance but it never passes you by so you can actually see it rolling along progressing down the line. That is my correlation of words that are shipwrecked. To help you envision this, the music is very good and it certainly sets the pace for the lyrical content on this EP.

Shannon Bailey's vocals have a familiar tone and resonance and his guitar playing has that distinct echoing feature that at times sounds exactly like a spot on lap steel. You will be reminded of bands like the Eagles and the Laurel Canyon sound that became so popular in the 70s. I must acknowledge Bailey for making that so real throughout this recording.

This EP accomplishes what it should, a fine introduction to a band that has a bright future with more great music to look forward to.

Key Track: The Only Thing

Keith “MuzikMan” Hannaleck-MuzikReviews.com Founder

August 24, 2010

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Ben Woolman - Many Moods

Minnesota based finger-style guitarist, Ben Woolman lends his abilities to his latest album, Many Moods, a vast arrangement of musical genres ranging from the 1920s to the present century. The musician plays homage to the history of finger-style guitar as well as various samples of contemporary development of the style.

Many Moods features 8 original compositions and 3 arrangements with melodies hinting at diverse regional influences. The album was recorded by the artist, alone, for the first time, in his basement studio. Woolman describes the culmination as “a very intimate, natural, and transparent sound. There is no hiding on this record.”

The album is conceived in warmth more than anything else beginning with “One Afternoon,” a slow summer afternoon of a song. Elsewhere “Invisible Sun” tapers off into twilight and “Salamander Swing” breathes in a passionate night indoors, the guitar licks keeping the rhythm of the song.

The intimate nature of the album is heralded by “Me, Myself, and You” a soft and gentle song dedicated to Woolman’s wife. Conversely, “Legends of the Fall” and “Wicked Ascent” fall into the guitar folk sound that invoke imagery of campfires and smores.

There’s no real inconsistency in Many Moods, rather it’s the constant warmth exuded from the album that could leave a listener feeling like they’ve listened to an extended song rather than a fully conceived album. The musicianship however is spot on and Woolman is able to bring in the cozy feelings of a family home as the sun sets into a cold winters night.

Key Tracks: Me, Myself, and You, Sadie's Smile, Legends of the Fall

Rukshan Thenuwara – MuzikReviews.com Staff

August 23, 2010

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Aoeria - Waterwheel

There are a lot of genres of music that rose to popularity in the 1990s; nearly everyone can reminisce, whether they were fans of boy bands, alternative Train-esque bands, nerd rock, or “hard rock”, which is what Aoeria calls itself. If you spent the '90s in Tool t-shirts and combat boots, you'll probably like Waterwheel.

Unfortunately for the rest of us, Waterwheel is not that enjoyable for people who aren't interested in grimy guitars, vocals one notch away from screaming that leave the lyrics a confusing mass of throaty garbles, and basically every instrument turned up too loudly.

I can't really distinguish between songs because I had a hard time knowing when one ended and another began. The lyrics are unheard and while I guess the guitar parts are played well, they're so in-your-face that you barely notice.

Waterwheel isn't horrible, it just isn't an album that reaches past it's genre-based fans. Mostly, it just feels a little out-dated, perhaps because it came out in 2008, and perhaps because the band members have simply listened to too many Smashing Pumpkins records.

Abbey K. Davis – MuzikReviews.com Staff

August 22, 2010

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Jeff Antoniuk and The Jazz Update - Brotherhood

On their second album Brotherhood, Jeff Antoniuk and The Jazz Update have proven themselves to be a quartet to be reckoned with. They unleash their mastery over 10 songs that will leave you searching for their first album, Here Today, in an effort to buy everything they have on the shelves.

Brotherhood is a beautiful collection of Jazz/Bop that is instantly familiar and a necessity in any jazz lovers life. Antoniuk, an accomplished teacher of Jazz, schools us with his amazing saxophone playing. The Jazz Update, made up of Pianist Wade Beach, Bassist Tom Baldwin and Drummer Tony Martucci, plays their part in the quartet like a well oiled machine. They each get to step out into the spotlight at different times to show their own mastery of their craft. Great songs like “Mister No Bones” and “Brotherhood” have hooks that simply get stuck in your head. Thankfully they lend themselves well to being whistled so you can curb your craving while you are away from the original music.

Jeff Antoniuk and The Jazz Update have released a complete album that with satisfy most any jazz lover. As a perfectly balanced quartet, they nimbly make their way through a set list that includes a few legendary pieces like “All Of You” by Cole Porter and “Isfahan” by Billy Strayhorn that sit along side original pieces by Jeff Antoniuk and bass player Tom Baldwin. This album, like a real brotherhood, will stand the test of time well.

Key Tracks: Brotherhood, Mister No Bones, Isfahan

Doug Morrissey- Muzikreviews.com Staff

August 20, 2010

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Eleventhe Hour - Making It Real

Out of Augusta, GA comes the quartet the Eleventhe Hour. They’re very sneaky; they spell eleventh with an “e” on their end, and their album cover shows three people in the band even though they list four of them in the liner notes. The four consist of Ilhwa Gallo (vocals), Michael Ray (guitar, keys, and vocals), Adam Kronowski (percussion), and Ruth Berry (cello) (Apparently Ruth is not a full-time member).

Eleventhe Hour describes their sound as Acoustic Bluesy Jazz, which is pretty hard to argue with. Over eight tracks, their debut release Making It Real, provides just over a half hour of smooth, relaxing and soulful moments. Gallo’s vocals really are lovely and soothing. They really are exactly what is needed for the music they accompany. The inclusion of the cello also provides some nice variety when used.

Making It Real is a nice album for a Sunday morning or when you really just want to slow things down a bit. It is a bit short, but at the same time I think that the songs start sounding a bit similar the further you get into it, so the length is good. Lyrically the songs vary in their tone, which I find to be nice so it seems there is something that fits whatever mood you’re in. Altogether, it makes for a nice comforting debut for the Eleventhe Hour, and shows promising beginnings for this young band.

Hot Tracks: Loving You, Here I Be

Kevin Kozel- Sr. MuzikReviews.com Staff

August 18, 2010

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Happy Clinic - Memory Mound

Happy Clinic - Memory Mound - Stefan Sullivan

Happy Clinic is an independent collaborative recording from pianist/philosopher Stefan Sullivan and Tiger Lillies sound designer Claus Buehler. The end result is a strange and (at times) wonderful amalgam of darkness and sound. This does not come as a surprise when you venture into the very unique land of the Tiger Lillies, only then can you understand why this recording is…lets say off the beaten path as it were.

The best way to describe Memory Mound and its sound is - imagine if Lou Reed and Alex Harvey decided to start a band. Sullivan had a batch of poems that he decided to set to music after meeting with Buehler. To be perfectly honest I think that Sullivan should have left the poems alone and started another completely different project from scratch without the bizarre input of the said sound designer.

There is no question that there is talent lurking about here I think it is just misplaced, making the album sound so weird and disjointed that you may not be able to listen to it in its entirety, maybe piece meal is the way to go with this. I suppose your mood has to be quite unique to be able to take this is all in one sitting. The music as a stand alone entity was intriguing however the vocals of Sullivan seem a bit too gruff and unpolished yet at times it sounds perfect for the lyrics even if they did not make any sense. If you really want to understand where the artist is coming from you may need a poem interpreter to explain what the story is supposed to be about. I have to admit though that the music is very catchy and hard to ignore and that is the reason I stuck around long enough to hear it out. Perhaps at some point I will go back and listen again all the way through again to try and gain a different perspective but that is not likely to happen anytime soon.

The duo gets an A for effort and uniqueness on this release and if you happen to be in the market for something weird and different these days this could be your medicine. It is definitely worth a listen and each individual needs to come up with their own interpretation of what this is all about. My view is just not as favorable as most artists would like no doubt.

Keith “MuzikMan” Hannaleck—MuzikReviews.com Founder

August 16, 2010

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Cheap Trick - Setlist: The Very Best Of Cheap Trick Live

Cheap Trick has been around for what seems like forever. I swear they were the band that was onstage when Lincoln was assassinated. In reality, it was 1977 when their first album, Cheap Trick, came out. As the story goes, no one in the States paid any attention to them but when the boys went to Japan they were greeted like the “American Beatles”. Japan loves Cheap Trick like a butchers dog loves a work day. This crazed Japanese love of all things cheap and tricky leads us to Budokan. For those of you who have been living with the Pigmies in some dark remote part of South America, Budokan made Cheap Trick a household name. This only makes sense since Cheap Trick, like an emergency broadcast of a tornado heading your way, is best enjoyed live. I can testify to this having seen them sometime in the 90’s when they opened for Aerosmith (at least I think it was Aerosmith).

Cheap Trick Setlist: The Very Best of Cheap Trick Live is your chance to crawl out of your pigmy village and introduce yourself to some live Trick. This album serves as a great doorway for those unfamiliar with live Trick to acquaint themselves with what a live show should sound like. I personally suggest that you should, after listening to this, move immediately to the Budokan set as to continue your enjoyment but in a full and complete concert style rather than this cut and paste showing. The songs themselves have been selected from the expanded editions of Live at Budokan, Dream Police, All Shook Up, and Sex, America, Cheap Trick. There is sadly nothing previously unreleased here outside of a great version of “The Flame” which is more rocked up than the radio hit version. The band rocks through their hits and their more obscure songs giving more time to the lesser known which is good because the lesser known is often better.

This is a great album that will broaden your horizons into the world of live Cheap Trick and hopefully encourage you to go out and pick up some more. The Japanese were right when they screamed for Trick; now it’s your turn.

Key Tracks: Mrs. Henry, I Want You to Want Me, The Flame

Doug Morrissey- Muzikreviews.com Staff

August 14, 2010

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Ross Riskin - Keep Moving

Keep Moving - Ross Riskin

Ross Riskin has a surprisingly mature voice for a 19-year old. His ability to meld some pretty personal lyrics with a soft and yearning vocal ability lends itself well to Keep Moving, the singer songwriter’s first album.

The singer/songwriter from Orange, Connecticut has a great affinity for melodies with vestiges of Third Eye Blind, Weezer and Death Cab For Cutie are heard next to Radiohead and Coldplay as they come into contact with his own sound. This sound includes clips intermixed into the fabric of his songs that transition the songs into mini movie clips of some sort to keep things unique, but shatters the mood at times.

Keep Moving surrounds itself with issues such as finding oneself and relationship woes like on the chorusy “With the Sound ” and “Could You Be Mine.” The songs feel cavernous in sound but are composed of very few elements with Riskin’s voice at center stage. Thusly, background singers sound superfluous and awkward on several tracks. Similarly tracks like “Shine” and the stellar “Get You Back ” that nails the angst ridden feel that groups like Plain White T's have expounded upon with major label backing.

It would be easy to point fingers at production values, but it’s hard to do so when several tracks on the album are so deftly created. The whole concept of the album however is lost as Keep Moving sounds more like a frustrated lover who has been freshly spurned rather than an ex-lover who is in the process of actually moving on. Overall, the album allows Riskin’s vocals to shine through, the singer should definitely continue developing his vocal ability, since it is the most expressive instrument he has on deck, and for a singer-songwriter - that’s a great thing.

Stand Out Tracks: Shine, Get You Back, Could You Be Mine

Rukshan Thenuwara – MuzikReviews.com Staff

August 16, 2010

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Kito Peters - High Road

High Road - Kito Peters

Kito Peters' music springs from 60's rebellion, but it's modern enough for boomers and hipsters alike. His songs are mind-expanded folk rock epics in the vain of Leonard Cohen, Cat Stevens, and Bob Dylan, with all the usual modern folk themes. He sings plaintively about cultural and social change, love, and trampled hearts. Peters is a talented poet, whose vivid descriptions bring the intangible to life. There're stories in his songs, but he usually makes his point with striking imagery and metaphors. All this poetry glides atop surreal, psychedelic mixes of acoustic instruments and glossy synthesized ones. It brings to mind Leonard Cohen's later work, but Peters has a sunnier disposition and more youthful sensibility.

All fifteen songs are good, a few are very good, but many of his melodies sound interchangeable. It starts to seem mechanical after a few unvarying tunes. Maybe he has only a small vocal range, and can only hit so many notes. He stretches his voice a few times, for instance in “Grand Hotel,” and “New TV,” and it's a refreshing change. I think he should work on his range and experiment with melody more. He might not have chops as a singer (he's no worse than Dylan) but he conveys a lot of emotion and confidence in what he's singing about. He has a conversational style that comes right from the gut.

He mixes styles like a pro, never losing his own sound. I like the tune “Don't Get Me Wrong,” the bluesiest track on High Road. It's slow, with a gritty electric guitar riff, a straight up blues solo, and a horn section. Peters finds his inner Al Green on this tune and sings with a bluesy inflection. “Fading” is a more heady tune describing Peters' disappointment with his country and it's waning character. Like the folk-rock icons of his time he uses the power of the memorable one-liner, such as “we are chosen, it can't happen, every fool's refrain,” in “Fading” and “I don't miss you, but I miss what used to be,” in “Don't Get Me Wrong.”

Kito Peters is a great lyricist and a good songwriter, and prolific compared with most of the artists I review. High Road is a full hour long with 15 solid tracks. If you like artists like Leonard Cohen, Cat Stevens, Bob Dylan, Tim Hardin, and even Van Morrison, you'll probably dig Kito Peters and his unique combination of old and new.

Best Tracks: Low Life World, New TV, Don't Get Me Wrong, On The Patio

Nathaniel Rolnick – MuzikReviews.com Staff

August 14, 2010

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Lisa Brigantino - Wonder Wheel

Wonder Wheel - Lisa Brigantino

It's hard to place Lisa Brigantino in a genre. Maybe it's her rock background (she used to play in an all female Zeppelin cover band), or her phenomenal talent to play an array of instruments ranging from guitar to accordion, or her full, twangy voice, but something about this mixture is too unique to stuff in one genre.

It's this rarity that makes Wonder Wheel such a superb album. There's a little bit of everything, but it's done in such a well-put together way that it's fascinating. There's a definite twang and heart to everything, but there's an edge and an attitude, too.

Brigantino has a Joss Stone kind of voice without the hippie vibe – she's not scared to hold out a note, and she wants you to know that she can sing, she just doesn't want to rub it in. It's pleasant to see a woman not be afraid of her voice.

Lyrically, Wonder Wheel is catchy without being annoying and smart without being smug. “There were moments in my misty past/when the world was the street where I lived/but these days, now, they're unprotected days/and I find I'm no longer in the shade” she sings on “The Wandering”, just one of many wise quips she uses to reel you in to her way of thinking.

The music is where Brigantino really shines, though. She's a talented musician at everything she plays, and her range of available instruments makes each song sound different while still being played in the same style. It's touching when it needs to be and in your face in the very next song.

Brigantino has been put on all kinds of “artist to watch” lists. You should do more than watch. You should listen and then re-listen and re-listen again. Wonder Wheel will touch you, entertain you, and refresh you.

Key Tracks: The Wandering, Go And Find It, Wonder Wheel

Abbey K. Davis – MuzikReviews.com Staff

August 12, 2010

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Mitch Kashmar & The Pontiax - 100 Miles To Go

ECARD

Good Blues music has a lot in common with good BBQ. No matter where you go in this country someone is cooking it and the way they do it is to their own taste and style. Mitch Kashmar & the Pontiax version of the Blues is like a tour of the country. Somehow he manages to pack each song full of his own Blues spice, which contains seasonings from Chicago Blues, New Orleans R&B, West Coast Jump Blues and Swing, Boogie Woogie, Louisiana Swamp Rock, Texas Blues and straight forward Jazz. His mixture never overwhelms the listener but instead shows that 100 Miles To Go is a perfect recipe that requires additional helpings.

For those unfamiliar with Mitch’s Blues harp sound think of what Stevie wonder would have sounded like if instead of going to Detroit he went to the Delta. Mitch is in full command of the harp and your attention from the opening of “Night Creeper”. The beautiful blues song has a rock n’ rollin’ feeling that features a high note hit on the harp that seems to touch the heavens and politely shake hands with every legendary blues man who has gone on to the nightclub in the sky. “My Kinda Woman” is a great song that’s so swampy you’re going to need some waders to keep the mud off your jeans. The vibrato on the guitar resonates across your soul as Mitch’s voice swims into your ears like graceful fish.

The title track, “100 Miles To Go” features the classic call and response style of blues that Mitch and the Pontiax have perfected. His voice is so soulful as he sings it makes one wonder if he wasn’t at some point part of the Temptations. The classic twang of the guitar blends exceptionally with the organ that keeps the song grounded in blues reality. Throughout 100 Miles To Go the boys have mixed in some smokin’ instrumentals like “Lip Service” and “Horn of Plenty” which serve as Exhibits A and B in the case of can Mitch Kashmar & The Pontiaxs whip up a ruckus. But in my humble opinion the song “Let It All Fall Dead” is the North Star in the galaxy of Mitch Kashmar. It is a stunning song that gives Mitch a chance to show the true soul in his voice. The influence of R&B is loud and clear as he and the band take their time in revealing a stunner of a song that should be required listening for everyone with ears.

Mitch Kashmar & The Pontiaxs are cooking up a mess of their style of blues with their new album100 Miles To Go. There isn’t a bad taste to be had on any of the tracks and when you your finished listening to it you’ll be left licking your fingers in hopes of seconds and thirds. Bon Appétit
Blues fans!

Key Tracks: Let it All Fall Dead, Lip Service, 100 Miles To Go

Doug Morrissey- MuzikReviews.com Staff

August 12, 2010

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Bob Corritore and Friends - Harmonica Blues

ECARD

Buying a good harmonica Blues album is like buying a cow that provides you with fresh sweet milk every morning. Buying a great harmonica blues album like Bob Corritore and Friends, Harmonica Blues, is like buying a cow that not only provides you with fresh sweet milk but also comes with a deed to a South African diamond mine. Harmonica Blues is priceless. The line-up of talent that has been put together here is like an all-star team of Blues legends. From the opening song with Koko Taylor singing like only Koko can on “What Kind of Man is This?” to Pinetop Perkins talking about a “Big Fat Mama” to Little Milton singing “6 Bits in Your Dollar”, this album offers you a history of the blues tutorial in only one hour.

Bob Corritore’s harmonica acts as the tour guide on this walk through his newly built blues neighborhood. There aren’t any houses in this neighborhood though; only juke joints and step inside any one and you’re going to be blown away by the down-home blues being crafted by professionals. Every musician present here knows exactly what to play and say. Legends always seem to know when it’s time to shut up and let others shine. A perfect example is “Tin Pan Alley” featuring Big Pete Pearson on vocals. The band on this song functions as a perfect machine fading in and out when needed and play so beautifully they damn near take ownership of the legendary song.

Blues music has a formula that anyone can play. But playing the blues with your hands and playing the blues with your soul are as different as Cubic Zorconia and Diamonds. The second song on the album “Tell Me ‘Bout It” features one of the most widely known and used blues riffs ever, but it’s played as though it is the very first time those notes have been played in that order. Louisiana Red handles the vocals here like only a seasoned Bluesman can, with class. He tells his story like he is one of the Brothers Grimm that has given up on nursery rhymes and moved onto something more important, the Blues. The elder Delta Statesman, Pinetop Perkins, makes an appearance and sounds better than ever singing “Big Fat Mama”. His trademark voice and piano speed the blues along with a bit of the Delta boogie that would make a dead man tap his toe. This song, like the others, sounds like it was recorded 50 years ago and just found last week in someone’s basement next to some old paint cans thanks to the brilliant production by Mr. Corritore. Bob has shown that after 40 years of playing the harp and producing, he still has not only has “it” but he is also the definition of “it”.

This album is simply great Blues. Bob Corritore and his friends provide the listener with a solid hour of some of the best Roots and Blues music I’ve heard in a long time. Every “Friend” on Harmonica Blues has brought their “A” game and together they have made a beautiful argument against sitting in silence. With “Friends” like these, who needs any other CD’s?

Key Tracks: Tin Pan Alley, Tell Me ‘Bout It, Big Fat Mama

Doug Morrissey- MuzikReviews.com Staff

August 11, 2010

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Hunters & Runners - Of Classic Renown

Of Classic Renown - Hunters & Runners

There are some albums that are good without knocking your socks off. There isn’t anything wrong with them; they’re just missing that extra oomph that would push them from a good album to a great album.

This is the case with Of Classic Renown, the spring release from New York City band Hunters & Runners.

From the outset, Of Classic Renown has what I would call a ‘comfortable’ feel. The music is played well, the vocals are good, and, overall, it’s pleasant to listen to. However, it doesn’t quite catch the listener in such a way that they’re actually invested in the listening experience.

Rather, listening to Of Classic Renown is an easy listen. The listener doesn’t have to pay too close attention to get the vibe of the music, nor is it music that the listener can just tune out. It’s simply enjoyable. Listening to Of Classic Renown is like wearing an old, broken-in sweatshirt: there may not be much to it, but it still serves its purpose and has a familiarity about it.

This is by no means a bad thing, though. Who doesn’t love an album that feels like it’s one you’ve been listening to for years? There’s comfort in consistency, and Hunters & Runners achieve that all the way through. Of Classic Renown is kept at a pretty even keel, with a few gems of tracks thrown into the mix. For the most part, the album has an alt-rock sound to it, but there are a couple of tracks that take it in a different direction, such as the folk-tinged “All Right Woman” and the slight hint of reggae that can be found in “Baby’s Eyes” and “Badman.”

All in all, Of Classic Renown is a solid album. There’s really nothing lacking as far as the music is concerned: the members of Hunters & Runners are skilled musicians and Brady Oh has a great voice. The album just doesn’t push things as far as it could have to take it from a really good album, to an excellent one.

Hot Tracks: Baby’s Eyes, All Right Woman, Die

Carly Doenges—MuzikReviews.com Staff

August 12, 2010

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Foghat - Last Train Home

Last Train Home - Foghat

It was no surprise to me when I heard the legendary Foghat were putting together an all Blues album. They have, after all, been cranking out some well influenced Blues Rock for the better part of 38 years and 20 albums. Let us also not forget that the song that put Foghat on the map in 1972, “I Just Want To Make Love To You”, was a cover of the legends legend, Mr. Willie Dixon. If anything is clear it’s that these fine young lads know good blues. Last Train Home is a classic Blues Rock album that while not reinventing any of the songs they cover, serves as a great all around album that will be in your ears for a while.

The roots of Blues Rock lay in the hands of the guitarists that blow our minds with solos and little riffs that get worn into the fabric of your life like Cheetos dust get worn into the fabric of my couch. Bryan “Boiler” Bassett and “Choo Choo” Charlie Huhn are a master’s course in Blues Rock guitar trade offs. They lay down the blueprint for all young guitarists out there to try, and there is extra emphasis on “try”, to follow. Bassett and Huhn are like the train whistle on these 12 twelve tracks that come rumbling at you just like an old stream train powered by the sweet sound of the blues.

The band dives into its own historic catalog for a few songs like “It Hurts Me Too”, “Feel So Bad” and “Louisiana Blues”, before they go full tilt into such classics as “Needle & Spoon” and “Shake Your Money Maker”. It’s what they do to “So Many Roads, So Many Trains” that sets them apart. The guitar work alone calls out as if the guitar can actually feel the song and is simply directing the fingers where to touch it. This is a perfect example of the guitar work I spoke of earlier. You would think that Bassett and Huhn were Siamese twins they way they seem to be connected on the same scorching blues wave length.

The real gems here on Last Train Home are the 2 songs Foghat does with the eighty-six year old God of the Blues, Eddie Kirkland. “In My Dreams” and “Good Good Day” are perfect. This is not the first time Eddie and the Fog have teamed up. The first occasion was in 1977 when Kirkland and Foghat performed together for a blues benefit held at the Palladium in New York City. After listening to them repeatedly I want nothing more than a Foghat/Eddie Kirkland complete album. They play better together than children who have been bribed to like each other. Eddie’s voice is one that speaks of years of exposure to the blues that has left him with super blues powers which has given him the ability to make you stop in your tracks and tap a foot. It’s a Blues purist dream to hear him sound so good with a band that understands all they need to do is not screw up.

All in all, Last Train Home is a good album that would be great with more Eddie Kirkland but then it wouldn’t be a Foghat album now would it. Foghat doesn’t reinvent the wheel here but they don’t flatten it either. This album will stand tall amongst their best and is a great addition for anyone who enjoys good Blues Rock.

Hot Tracks- In My Dreams, Good Good Day, So Many Roads, So Many Trains

Doug Morrissey- Muzikreviews.com staff

August 8, 2010

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Magic Slim and The Teardrops - Raising The Bar

Raising The Bar - Magic Slim & The Teardrops

Magic Slim (born Morris Holt) is a blues musician through and through. Hailing from Mississippi, the recently turned 73 year old blues singer and guitarist began as a pianist, but switched to the guitar after losing his little finger in a cotton gin mishap. He began playing bass in Chicago in the 50s before moving to the guitar, and now over 50 years and over 20 albums later, Magic Slim, and his band, The Teardrops (Jon McDonald on guitar and backing vocals, Andre Howard on bass and backing vocals, and BJ Jones on drums and backing vocals), offer up their latest release, Raising the Bar.

Raising the Bar is a good blue album. If you don’t listen to much blues, it sounds more or less the way you expect it to. There are no frills or gimmicks when it comes to Magic Slim and The Teardrops, and why should there be? You are listening to a large part of what made that sound familiar. Magic Slim is a living legend and this is a sound that he helped create.

One issue with the blues is that, for better or worse, it is a genre that relies heavy on covering songs, of which there are several on Raising the Bar. Over 11 tracks, only three of them are originals, and I enjoyed those more than most. It seems that you get more personality and swagger out of Magic Slim on these tracks because they are his own. I would prefer to see more originals on here, but again this is representative of the genre. Regardless, Raising the Bar is a solid album from start to finish. It is blues at its purest from a musician that knows no other way to do it.

Hot Tracks: Do You Mean It, Cummins Prison Farm, Shame

Kevin Kozel- Sr. MuzikReviews.com Staff

August 8, 2010

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Beware Fashionable Women - Beware Fashionable Women

If playing indie rock means making music you like regardless of how well it's received, then Beware Fashionable Women (or BFW) are surely indie rockers. They do what they like, even if a few musical quirks, like jump jazz guitar chords and extended vocal harmonies, set them apart from their pop-rock peers. So they're a bit unique, which is terrific, but all the inventiveness in the world won't save an album if the songs aren't awesome and the band doesn't rock. Are the songs on Beware Fashionable Women awesome? Do they rock? Almost always.

The album opens strong with the cool track “Rock Bottom.” It's an upbeat, catchy tune performed with plenty of rock and roll energy. Those nice, layered harmonies are terrific in this song. Between the vocals and the loud punk-rock guitars, they get a really big sound. The lead vocals are done well on the first song, and it may be the best vocal performance of the album. “Girls On Fire” is a cool tune, also. It has that great pop catchiness and sounds a lot like the band Madness to me. Those jazzy chords come in handy for this one. The sophisticated harmonic choices blend with a tight melody and make a well-crafted jam. The sound of guitars is the main sonic element in the band's mix, and most of the guitar work is really cool. Besides face-melting eruptions of noisy rock guitar, there's jangly clean strumming and acoustic axes. Every tune on the disc has something to like and overall the band has a great sound.

There are a couple trouble spots I can point to. “Parade” is a cool song but it's not sung very well. It's a difficult tune to sing and the vocals sound stretched and off the mark. The band does great rhythm guitar work but I cringed during the clumsy solo on “Your Allegiance.” It's a highly Weezer-esque number and I'd love to hear the same song with the tasteful shredding of Rivers Cuomo (guitarist and songwriter of the aforementioned pop-rock supergroup). Finally, I thought some of the lyrics were awkward and unimaginative. I liked the group's dark humor but the words didn't always flow like they should have.

To sum it all up, this is a talented band and I like their sound, I just think they need to polish their chops a bit before the next record.

Best Tracks: Rock Bottom, Your Allegiance, Girls On fire

Nathaniel Rolnick – MuzikReviews.com Staff

July 26, 2010

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Laguna - Volcano

Volcano - Laguna

Laguna, a jazz outfit helmed by by Shane Peck who has collaborated with several Seattle musicians in the inception of Volcano, the group’s latest release. The group blends in several different influences that range from psychedelic rock to classical jazz.

While most bands who have singers place vocals on tracks expound upon that inclusion, the biggest setback Volcano has is the constant washing out of the vocals of the singers placed on tracks. Songs like “Falling” and “Soca 4” while melodically and instrumentally pleasing sounds poorly produced due to its vocals being constantly overpowered.

Title track “Volcano” fares better with a smooth mixture of synth and organ elements that sound like a summer picnic. Elsewhere “Into the Blue Night” and “Wedded Beat” continues the flow in an interesting tempo and use of xylophone elements. One of the albums strongest tracks is “You Will Be Here” with its 80s slow song vibe. “I Loved Saturn” is another contender with its confident vocal styling and interesting saxophone interplay.

Overall Volcano has a variety of aural textures awaiting the listener’s ear. However being influenced by psychedelic rock has hindered the group at some points. This hindrance manifests itself in the overload of sound that could leave the listener flooded with sound. Volcano does however produce several groovy tracks that flow so smoothly; listeners won’t be able to stop themselves from grooving along.

Stand Out Tracks: Wedded Beat, Into the Blue Night, Space Boy

Rukshan Thenuwara – MuzikReviews.com Staff

August 11, 2010

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Ran Blake/ Christine Correa - Out of the Shadows

Christine Correa has one of those voices that seem destined to sing jazz from an early age. It’s not your classic voice like Ella Fitzgerald. It’s a voice that has been lived in and can easy identify with the struggles of life and love. It’s a voice for a quiet bar after a long day of the worst of what life has to throw at you. Christine’s voice gets into your soul, into the very core of your existence. Her voice is a beautiful instrument that is in its glory when accompanied as it is on this album by a solitary piano played by the likes of Ran Blake. The two sounds blend as nicely as Scotch and water and can be just as relaxing.

Christine, who was born in Bombay, India, brings her avant-garde style vocals to accompany Ran Blake’s solo piano one their latest release Out of the Shadows. The two walk through a set of songs that allow both to showcase their talents while sharing a spotlight. “Una Matico De Ruda” is Christine’s place to display her vocal style long with the power of her voice. In places when the piano drops out her voice fills in the gap beautifully. She has a way of making you feel like she and you are the only ones in the room.

Christine has a confidence in her voice that shows itself in the powerful delivery, but it also has a vulnerable side that hides just below the surface which softens her voice just enough as to allow her to sing songs like “The Bad and the Beautiful”. She and Mr. Blake do wonders for the title song “Out of the Shadows.” There are 2 versions on this album for you to enjoy. The first is the perfect blending of Ran’s Piano and Christine’s voice that opens your eyes to the beauty of the song. The second is a solo vocal performance by Christine. It is a perfect way to end the album by just letting her voice slowly draw the curtain on the show.

Christine and Ran Blake have released a very good album. The issue of course is that avant-garde style Jazz is a taste not enjoyed by everyone and they don’t try to make it any more accessible on Out of the Shadows. It can be an acquired taste but the taste once acquired is well worth it.

Key Tracks: Out of the Shadows, Una Matica De Ruda, The Bad and the Beautiful

Doug Morrissey- MuzikReviews.com Staff

Aug 1, 2010

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Dane Drewis - Rock & Soul

Dane Drewis brings a slew of different guitar work that are throwbacks to the greats like Santana and Stevie Ray Vaughan while his vocals serve as homage to the Motown Era. A veteran in performing covers of rock and soul classics, the musician has released his third album of original work, aptly titled Rock & Soul.

Serving as the lead singer for the rock-funk fusion band Cuesta Drive saw him singing, composing, and playing guitar for the band which lead him to write and produce three records with Cuesta Drive. The band was featured on NPR for a full 30-minute segment on "Insights, with Jeffery Callison."

On Rock & Soul takes a step into solo territory with well crafted tracks like “Full of It” and “Friday Night” which are reminiscent of the bluesy rock that bands like Los Lonely Boys brought to the airwaves a few years ago. “Sweet Music” is another track that has potential to be a single as Drewis croons over a set of solid guitar licks.

Praise must be given to Drewis’s attempts to make each song on Rock & Soul sound as distinct as possible. Songs like “Get Level” and “Speed Bumps” are built on the same basic ingredients but sound off in two different moods. However, the tempo of the songs begins to stagnate the album as it rides a mid tempo vibe from start to finish with little distraction. Drewis is strongest when he croons about love and life, but he does venture into rockier territory with the aptly titled “Wildly On” and “Rollin” with mixed results.

Overall the album is a pleasant listen and there aren’t too many places where Drewis stumbles. However, at thirteen tracks the album could wear on the listener. A change in lyrical direction and the introduction of different sounds once in a while would bring the album into different territory and would serve well for his next album.

Stand Out Tracks: Years Without Speech, Speed Bumps Wild On

Rukshan Thenuwara – MuzikReviews.com Staff

August 3, 2010

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Spinn - She Was Heartache

The first thing I noticed about She Was Heartache, the debut recording by rock group Spinn, is the raw acoustic sound. That unprocessed, live sound is used for most of the thirty minute album. It's a refreshing approach and it suits the candid emotions in these nine, heart-on-the-sleeve songs. The solid performances by vocalists Cheryl Lynn Spinner, Stephanie Spinner, and Megan Battaglia also leaped out. Their sweet harmonies were usually in the spotlight and I would have liked to hear even more of their vocal teamwork.

“Praying For Disaster” was the best tune on the album, and, although only two of them sing on this particular track, it's a great example of the vocal chops displayed on the album. The performances on the song are awesome, and their voices melded together in creative ways. The harmonies were thoughtful and not run-of-the-mill. The song was a melancholy story that was orchestrated well and catchy enough for radio. The chorus featured a cool synth effect juxtaposed with the natural sounds of acoustic guitars and female voices. I liked the interesting friction between the two styles. It's an all around well-done track.

“Praying For Disaster” was the only really satisfying tune with everything going for it. Still, “Bottom Of The Bottle” was a pretty cool song. It was a tongue-in-cheek country number with clever lyrics. If you only heard that one you'd think Spinn was more like the Dixie Chicks than anything else. The variety is a plus and I'd have enjoyed the record more if the band had changed up their sound more often. “Meri-Goes-'Round” is a decent tune, maybe the only one with some instrumental flourishes. There was nice bass guitar and piano interplay and I kept waiting for more. The refrain of the song was “love destroys the weak,” a good example of the album's melodramatic bent.

Then there was “High Road.” It wasn't a bad tune but it contains an obvious mistake that was as unfortunate as a fly in a bowl of soup. As best as I can tell, the piano changes to a new chord too early and it clashes with the vocal harmony. It made me wonder if anyone listened to the track after they finished recording it. It's a shame because the vocals are practically elegant. The tune was further tarnished by a piano interlude that I found silly and annoying. It sounded like it was recorded as a place-holder until the real piano part was laid down. The only other low point on the record was the song “One Good Reason.” It was an angry mess that I found confusing, and the vocals weren't up to the same standard as the rest of the record. Halfway through the song I tried to think of “one good reason” to keep listening.

I'm not totally sour on Spinn but I'm definitely not sold on the group either. They have a good mesh of Dixie Chicks harmony and fun, Counting Crows sensitive rock and roll, and Indigo Girls feminine awareness. I was impressed with their vocal harmonies and how well the three singers performed. I'd like to hear more effort and creativity put into the vocals. There were some mediocre tracks and a couple of amateur mistakes on She Was Heartache. Spinn needs to bring their recording and songwriting skills up to a higher level if they want to make a name for themselves.

Best Tracks: Reckless, Praying For Disaster, Bottom Of The Bottle

Nathaniel Rolnick – MuzikReviews.com Staff

August 1, 2010

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Koshari - Reappear

Koshari is a three-piece noise-rock band based out of the Arlington, VA/Washington, DC area. Their sound is often described as “shoegaze”, but unless you like that style, chances are you don’t really know what that sounds like. Referring to a band as “noise” usually seems unfair though, so to be more fair, Koshari (and the shoegaze style) have a similar sound to acts like My Bloody Valentine, The Jesus and Mary Chain, and Lush.

Koshari is comprised of Barbara Western on vocals, Bryan Baxter on guitar, bass and backing vocals, and Dan Ralston on drums (David Gassmann has also been added on bass, but is not listed on this album). Reappear is their second album, their first being 2005’s Unless.

This style is usually pretty hit or miss for me honestly. Often times the fuzz and noise is overpowering, the lyrics seem excessively complex, and the band simply seems to be trying too hard to be deep. I didn’t get that impression with Koshari at all though, and I quite enjoyed Reappear because of it.

Vocally Western provides some soft and haunting vocals that sound wonderful with the build in the distortion throughout most of the songs. At times she reminds me of Aimee Mann. Bryan Baxter is primarily credited with writing all of the music, and he really seems to be the driving force in Koshari. The sound of his guitars really pulls all of the songs along before they eventually take them over, and then bringing them back down again. The songs aren’t complex in their basic structure, but Baxter’s use of effects easily takes his songs up a notch.

Overall, Reappear is a pretty strong collection of 10 songs. The more up tempo tracks didn’t really work for me, and some of them sound a little similar, but that can be the case with the sound in this genre. That said I found that I enjoyed most of this record the louder I listened to it. You’ll thank me for it after you hear some of the songs rise to their howling, screeching, distorted, feedback-full climax. I would expect this to be all the more reason to see Koshari live as well.

Hot Tracks: All The Things That She’d Seen, Cloaked and Draped, Seep In

Kevin Kozel- Sr. MuzikReviews.com Staff

July 31, 2010

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Kim Divine - Square One

If, when I die and go to that magical place called heaven, the angels don’t sing like Kim Divine I’m switching to Hinduism so I can be reborn and have a chance to hear her voice again. When you listen to Ms. Divine’s new album Square One, Irecommend wearing headphones as to allow Ms. Divine the chance to whisper into your ears. I don’t mean that in a sexy way but rather in a way that allows you to hear her voice in which I believe it was to be intended, smack dab in the middle of your brain.

On certain songs, like “All Night”, it has a way of blowing into your mind like the wind blows into a window on a quiet star filled night. Some voices have the element of color to them but Kim’s is as pure as spring water in the Fiji Islands that has bubbled up from the purified volcanic rock. Kim’s lyrics give me the idea that she has some volcanic rock of her own that she has worked through to bring her to this Square One purity she demonstrates for us. Her lyrics speak of a lifetime of experiences, both good and bad, that she has been able to shape into brilliant songs that are as pleasing to the ears as warm gloves to cold hands.

Listening to this CD gives one pause as the thought of this talent not being shared with the world is a clear sign the cream of the crop has somehow been held down below the surface. “It’ll be Alright” is an amazing song that gives Kim a chance to sing like a bird in front of Bob Marley’s house. Her voice sounds like it should be greeting you in a tunnel of light giving the indication that you have just died. Thankfully you don’t have to be dead to hear something so beautiful. “Without You” is a powerful song from a daughter to a father who has left. The emotion in this song is heavy but her voice lifts it up as a pillar of strength to rise above what was done. It really should be a standard to every new father as a reminder of what happens when you turn you back on your children.

Thankfully the album doesn’t wallow at all in sadness but always seems to have the cheerful attitude of a fresh beginning. It basks in the light of simplicity that falls through your bedroom window on an easy Sunday morning. “Little Things” is a perfect example of this idea. The song drifts in like a dream that you never want to end. It has a way of bringing your life back into focus in only 2 minutes 51 seconds. Try asking your expensive therapist to do that!

All is well with Kim Divine’s Square One as it delivers beautiful music full of heart and soul with lyrics provided by an angel. Find this album and allow it to make a few minutes of your life vastly improved.

Key Tracks- Little Things, All Night, Cheers

Doug Morrissey- Muzikreviews.com Staff

July 29, 2010

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Tribal Machine - The Orwellian Night

Chances are, if you were born past 1980 and you hear the words “concept album”, your mind automatically jumps to Green Day and their most recent two albums. However, they're not the only band making such albums today (and they were hardly the first), and other than a political theme, Tribal Machine shares nothing in common with the California pop-punk-sters, so before you listen to The Orwellian Night, get that thought out of your head.

It's necessary that you do this not just because of genre differences – The Orwellian Night is also phenomenally better than American Idiot and 21^st Century Breakdown (and this is coming from a Green Day fan). The album is broken down into acts - “An Emerging Shadow”, “The Sky Goes Dark”, “A Patriotic Family”, and “Love and Regret”, and each act tells a story in itself while still relating to the overall moral and story.

Songs like “Eye Spy” are like better versions of Green Day songs (“Holiday”, for example, a hit on the radio but probably not for its political morals). With lyrics like “And you thought the faith was bad/I control the press – so sad”, “Eye Spy” is a twanging, deep-voiced, anger-filled anthem and it doesn't sound trite or fake. The best thing about The Orwellian Night is that it works – all of it sounds like it's something the band wants to say – they're not just making a concept album to say they did.

Sever Bronny's vocals are always appropriate for the sentiment – no matter if they're singing, screaming, talking, whispering, hollering, or grumbling. Bronny's range is incredible without being show-y and it makes the songs what they are.

That's not to say the music, also done mostly by Bronny, isn't great, too. It's never too heavy or too slow, and each song moves fluently into the next while still making sense in the story-telling train of thought. The genre doesn't really matter – whether you like heavier rock or you don't, you'll like this music in this context.

People try to make concept albums and they either fail epically or they succeed brilliantly. Tribal Machine has succeeded where most fail. No matter what theme or idea you take from The Orwellian Night, you are guaranteed to take something from it, and there isn't much more you can ask from an album.

Key Tracks: Eye Spy, Disillusion, The Infiltrator

Abbey K. Davis – MuzikReviews.com Staff

July 29, 2010

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Nnenna Freelon - Homefree

When you think back to some of the “greats” in jazz history, several of the superstars are women. Billie Holiday, Ella Fitzgerald, Peggy Lee, Etta Jones—these women were, and still are, considered among the elite of the jazz world.

With her latest album, Homefree, Nnenna Freelon makes it clear that she’s well on her way to being regarded as in the same league as those old-school jazz queens.

Taken just at surface-level, Freelon has an aesthetically pleasing voice—it’s as smooth as silk, and it has a gorgeous warm tone to it. Listening deeper, one hears in Freelon the qualities that set her jazz predecessors in stone as stars.

When Freelon sings, she oozes the same class, confidence, and undeniable “cool factor” that characterized the leading ladies of jazz. At the same time, however, it never feels as though Freelon is trying to imitate those artists or be a throwback to an age gone by. Instead, it’s more as though she channeled the artists, and then used their inspiration to take a standard and make it her own.

This is especially evident, seeing as almost all of the tracks on Homefree are covers of classic songs. Despite the fact that the songs have been done before, Freelon makes them feel fresh and modern. She embraces the tradition of the songs, yet brilliantly adds her own touch to them. The result is pure gold.

Freelon is an incredibly talented artist. She has a voice that can easily stand on its own, but there is also an attitude that comes across in her music. That attitude is one of a woman who is completely comfortable in her skin, and has used that personal maturity to achieve an artistic maturity to match. That’s something that no record company can teach, and something that can’t be faked.

Nnenna Freelon is the real deal, and from beginning to end Homefree is a fantastic album. Billie, Ella, Peggy and Etta would be proud to call Freelon one of their own.

Key Tracks: I Feel Pretty, Smile, Cell Phone Blues

Carly Doenges—MuzikReviews.com Staff

July 27, 2010

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Mercury Falls - Quadrangle

Mercury Falls is a quartet lead by guitarist Ryan Francesconi and baritone saxophonist Patrick Cress. The group utilizes anorganic combination of ambient beats and textures with the free form influences of jazz on their debut effort titled Quadrangle.

The groups’ approach to melody is an effort to forge a connection between acoustic instrumentals and ambient electronic sounds. This is particularly emphasized on tracks like “Years Without Speech” and “Spring Pools” which both create atmospheric landscapes filled with melancholy sounds through the use of drum beats and bass elements.

Quadrangle builds on the singular sounds created from the acoustic guitar and baritone saxophone like on the shrouded calm that exists on “Quad Idea” and the aching “Insurance Rep” that both linger in the listener’s ears. On another stance, songs like “Speak Without Ears” bring in livelier guitar sounds and a stronger, more rhythmic percussion influence.

One of the most interesting tracks on Quadrangle is “Solar Plexus” which brings in the rustling of what sounds like cicadas singing in the summer night. This element, adds to the originality of the track and such diverse elements should have been used as part of the base for several other tracks on the record.

The production and instrumental prowess on the album is well addressed and helps drive it. However some misplaced musical elements bring Quadrangle into mundane territory. At times, the acoustic guitar elements sound plain and boring rather than functioning as building blocks for more innovative sounds. Overall, the album has a cohesive narrative, but seems to repeat itself a little too much to differentiate itself entirely from other fusion groups.

Stand Out Tracks: Years Without Speech, Spring Pools Lullaby for Beane

Rukshan Thenuwara – MuzikReviews.com Staff

July 26, 2010

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Avantasia - Angel of Babylon

Angel of Babylon is the third and final chapter of Avantasia’s Scarecrow Trilogy. I can only imagine the pressure on mastermind Tobias Sammet as he tried to effectively wrap up this project. After how impressive The Wicked Symphony was, I couldn’t wait to hear more Avantasia. Unfortunately, this isn’t the incredible ending I was hoping for.

Starting off with a bang, “Stargazers” is a speedy 9 minute track featuring Avantasia veterans Jorn Lande (Masterplan), Michael Kiske (ex-Helloween), and Russell Allen (Symphony X). It’s epics like this that really shine in Avantasia, and that is exactly what Angel of Babylon lacks.

Unlike The Wicked Symphony, Angel of Babylon is plagued with dull power metal tracks such as “Rat Race”, “Your Love is Evil”, and “Down in the Dark”. One track that really piqued my interest was “Alone I Remember”. It starts off with a very Skid Row-esque guitar riff, and the song has a hard rock influence all up to the chorus. The chorus sharply contrasts the rest of the song, which instead has a poppier feel. Because of this, the song seems to lose focus and makes for a sort of confusing listen.

Unfortunately, Alice Cooper didn’t make an appearance this time around, but we still have a song similar in mood as “The Toy Master”. Lead by Jon Oliva’s (Savatage) powerful, raspy voice, he delivers with “Death Is Just a Feeling”, and it quickly became a favorite of mine. Next, “Blowing Out the Flame” is the only ballad in the Scarecrow Trilogy I’ve enjoyed, probably because it doesn’t sound like it belongs in a Disney movie (hear “What Kind of Love” and you’ll know what I mean). Sammet leads this song, and he does a fantastic job. The strangest of all the inclusions on Angel of Babylon has to be “Symphony of Life”. Sung by another newcomer, Cloudy Yang, it is a very dark track and doesn’t fit in well with the overall upbeat mood of the album.

If you have heard the “Lost in Space” EPs, “Promised Land” makes a return, minus Michael Kiske. Instead, Jorn Lande takes the reigns, and while it’s not as fun to hear as Kiske, Sammet, and Lande taking turns, it’s still an enjoyable take on the song. Finally, the album closes with another gem, “Journey to Arcadia”, a 7 minute track that ends the trilogy on a high note. Unfortunately, “Journey to Arcadia” is such a quality track that the rest of the album pales in comparison, and as a result, is a bit of a letdown.

Don’t get me wrong, Angel of Babylon isn’t a bad album, but it is mildly disappointing. I can still appreciate the work put into it, but the originality of the tracks and a few questionable choices make this a mixed bag. If you are an Avantasia fan, I would still recommend buying it to finish the trilogy and snatch up a few good tracks, but for everyone else, I would have to point you toward The Wicked Symphony.

Key Tracks: Stargazers, Death Is Just a Feeling, Journey to Acardia

A.H. Keith - MuzikReviews.com Contributor

July 26, 2010

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Frank Carlberg - Tivoli Trio

I’m not really sure if I would get along with pianist and composer Frank Carlberg. In the liner notes of his latest release, Carlberg reminisces about his youthful fascination with amusement parks, carnivals, parades, magic shows, etc.; basically several places full of creepy clowns. However, what is most important is that at the amusement park in his hometown of Helsinki, Carlberg recalls a band named Tivoli Trio that provided the music while acts performed. Now many years later he has recorded Tivoli Trio with John Hebert on bass and Gerald Cleaver on drums on a collection of 13 tracks inspired by these remembrances from his childhood.

Instrumentally this release is excellent, as is to be expected from this collection of musicians. Tivoli Trio is a modern sounding jazz collection and has been compared to artists such as Bill Frissell, Steve Lacy, and Jason Moran.

By no means would I consider myself a jazz aficionado, and generally when I do listen to jazz it tends to be classical. Usually I find releases like Tivoli Trio to be a little challenging and disorderly for my tastes, but it’s not the case with what Frank Carlberg does here. While some moments are a bit “out there” for a casual jazz listener like me, I found that Tivoli Trio was balanced nicely in its variety. It is spread out adequately in the longer and shorter tracks as well as the more conventional and less so. Outside of a few creepy samples that I really didn’t care for, this is a release that I feel is accessible for jazz listeners on many levels. Anyone with an interest in jazz should give Tivoli Trio a try and there it really has a little something for everyone.

Key Tracks: Rumble Mumble, Bill’s Hat, Harlequin

Kevin Kozel- Sr. MuzikReviews.com Staff

July 25, 2010

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Masterplan - Time To Be King

Masterplan make their grand return with Time To Be King this year. Jorn Lande, who has been busy providing vocals for likes of Ayreon, Avantasia and others, brings his trademark vocals to the front of the powerful lineup that is Masterplan. Former Helloween member Roland Grapow (guitars) leads the power metal onslaught with Jan S. Eckert (bass), Axel Mackenrott (keyboards) and Mike Terrana (drums).

Time To Be King is an exceptional recording filled with powerful metal licks and melodic lines. There is no space for filler throughout this album, every nook and cranny is filled with fat and chunky power chords and a pounding and thumping bottom end that is unrelenting accompanied by Lande’s trademark vocals. Lande is a very distinct vocalist with just enough gruffness in his delivery to make things believable. This type of music can be over the top and even pompous, showcasing some shredder with nothing more to offer. In this case this music has some substance and excellent musicianship defined by understandable vocals and catchy hooks that pull you in without letting go. In fact I have to say, the more I listen to it the more I like it.

The album kicks off with a typically high energy rapid fire track titled “Fiddle of Time”, which is good way to open the door to much more of the same tempo throughout. The catchiest and most memorable tracks are far and away “Lonely Winds Of War” and “Far From The End of The World”. Lande’s voice is in fine form and the music that backs it ebbs and flows along with his expressive style. It’s all emotion and as prolific as this type of music can get without being over the top or corny. It sounds like a great combination of metal and keyboard parts that hint at the possibility of symphonic rock but it never develops into that, it’s all pure power metal and it ends all too soon. Both tracks seem like they should go for another five minutes. The title track is a real burner as well. “Time To Be King” has that great high speed drum roll going on to kick start the proceedings then it slows down for a few guitar licks then starts all over again.

I have to tip my hat to Roland Grapow, he really rocks the house on this recording and is the mainstay throughout that gives the album the heart and soul it needs to convince you to listen again. It is a fine group effort however; I cannot give all the credit to the six-string slinger. This is an excellent lineup that meshes very well.

Some would call this silly chest puffing melodic riffing that follows a pattern however if you listen to each track, even though some of it is repetitive they do nice job with some variable instrumental breaks to give each track its own identity with plenty of musical variety. Don’t pass judgment after hearing a few tracks, give it a fair shot and I promise you love this if there is a metal bone in your body. By the time this is over and they have taken you through the paces you are glad you have listened.

Keith “MuzikMan” Hannaleck

July 22, 2010

Key Tracks: Time To Be King, Far From The End Of The World, Lonely Winds Of War

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Jamie Begian Big Band - Big Fat Grin

Seventeen seasoned jazz musicians are a powerful force to wield and control, but control (and flaunt) he does as Jamie Begian leads his big band through nine engaging tracks on his new CD, Big Fat Grin. This is the band’s second release, the first being Trance in 2003. Begian, composer and guitarist, has referred to Trance as being from his development phase. Now comfortable within his own compositional style and skills he feels free to explore and exploit his talents on Big Fat Grin. Begian studied jazz guitar at the Hartt School of Music and at the Master’s level at the Manhattan School of Music. He has been actively involved in The BMI Jazz Composers Workshop (he received the BMI Workshop’s Charlie Parker Award in 2001 for “Fuzzy Math”) and Pulse, a New York-based composers' federation. Begian also studied composition with Bob Brookmeyer, virtuoso trombonist and jazz composition professor at New England Conservatory. Since 2005 Begian has been the full-time coordinator of the Jazz Studies Degree Program at Western Connecticut State University.

Begian’s compositional style is kernel development. He starts with a simple idea, often a rhythmic element then constantly expands and layers it, throwing in unexpected twists and turns that always surprise and delight. The layering can occur even during solos such as on the CD’s lead off cut, “Funky Coffee” where solos begin with alto sax (Marc McDonald). McDonald, rather than giving way to the next soloist as would be the norm, continues unabated as he is joined by trumpet (Tom Goehring). Likewise, both are soon joined by trombone (Deborah Weisz) and the three-way interplay continues and is joined by the ensemble as a fourth layer. Unusual, interesting and also funky as the name suggests, “Halay” is based on an Armenian dance rhythm and a snippet of melody which grows into a foot-tapping rollick. Dimitri Moderbacher is featured on clarinet and Peter Retzlaff on drums. Moderbacher also starts off “Patience” with a plaintive flute melody then the layering begins and slowly (patience) crescendos to a trumpet solo (Dave Scott). Surprising elements, as we have learned by this point, are a Begian signature and in “Patience” the curiosity is a bit of slide guitar. “Suddenly, Summer Falls” begins with a pastoral harmony of reeds and brass, features intertwining solos by flute (Moderbacher) and guitar (Begian), and fades into a quiet dissonance to finish.

The next four tracks comprise a suite of works based on trombone etudes written by Dave Taylor. Various chop-building musical elements—such as a static note presented in various rhythmic patterns—are introduced, developed and layered into complex, multi-part compositions. The trombone section (Weisz, Jeff Bush, Paul Olenick and Max Seigel, bass trombone) is featured along with soprano sax (John O’Gallagher) and trumpet (Marty Bound). The closer and title track, “Big Fat Grin,” features a lot of fine guitar work by Begian, a bass solo (Dave Ambrosio) accompanied by Begian’s guitar comping, a tenor solo (Ben Kono) accompanied by Ambrosio and Begian (the layering), and some exuberant and exhilarating Kentonesque big band blasts.

This is as fine a collection of original modern jazz compositions as one could expect to find, performed flawlessly by a tight group of talented players. The listener can expect the unexpected, a solo on top of a solo, an electric guitar slide, a sudden blast of horns, the unanticipated harmony or an abrupt change of meter or tempo. It’s what keeps you wearing a big fat grin.

Key Tracks: Funky Coffee, Suddenly Summer Falls, Big Fat Grin

Mike Reynolds-MuzikReviews.com Staff

July 22, 2010

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Handful of Luvin' - Life In Between

Handful of Luvin’ is happy feet music. The diverse four piece from the Seattle area offers up energy filled roots rock Celtic influenced tracks on their new release Life In Between.

Did you every listen to an album several times, loved it, and then were left feeling perplexed as to how to define it? Handful of Luvin’has a tendency to make you feel that way. No worries though, it’s all good.

When you hear “There’s No Right, There’s No Wrong” you will be sent to a place where you rarely can go, musical paradise. This one has single written all over it. Its most definitely their most pop influenced accessible track on the album. The thirteen tracks range from roots rock with a Celtic slant to all out foot stompers that would make even a heavily sedated nursing home patient get up and cut a rug.

David John (vocals and guitar), Andrew Joslyn (violin/viola), Patrick Files (bass) and Michael Knight (drums) are the men that make these irresistible sounds. John sounds like a cross between Leo Sayer (who had a few good years in the 70’s) and Simply Red (who had a few good years in the 80’s). I rather like the vocals, his style fits the music quite well. There always seems to be that one instrument that transforms a band into something totally different that people will find unique. In this case it’s the violin and viola of Joslyn. Check out the instrumental “Harry Met Rona". It will make you want to jump on a plane and go to Ireland to kiss the blarney stone, say three hail Mary’s then thank the god lord you are alive to hear such beautiful music.

I don’t know what else to say about this CD except that it immediately got my attention and I felt compelled to listen to it several more times just so I could feel good all over again. Happy music for tough times, how can you go wrong?

Keith “MuzikMan” Hannaleck

July 22, 2010

Key Tracks: Harry Met Rona, There’s No Right, There’s No Wrong, Kickdrum

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Various - Prog Around the World

Magna Carta has been a home to many of the world’s greatest prog bands for a long time. Modern prog is a genre, however, that spawns from no single nation. It’s fitting that Magna Carta would take some of its premier international talent to form the compilation disc Prog Around the World featuring Martone, Age Of Nemesis, Liquid Trio Experiment, Derdian, Ethan Brosh, Lemur Voice, Ozric Tentacles, Khallice, Stripsearch, The Hideous Sun Demons, Anthropia, and Ola Frenning & Christofer Malmstrom.

The track selection for Prog Around the World is fairly diverse. “Elevation,” “Spiritual Jewel,” and “Another Existence” resonate more closely with the Dream Theater style of prog, where songs like “Lion Snake,” “Holes,” and “Armchair Journey” are largely their own beasts. That is to say, each of these tracks feels radically different from the next. Of course, this is to be expected on a prog compilation.

“Armchair Journey” is more of a psychedelic brand of prog. The drums sound like something out of a Drum and Bass song, and the guitar is laden with delays and phasers galore. Spacey pads and other effects also add to the psychedelic effect. “Holes” is a Liquid Trio Experiment tune that is a fully improvised jam. The feel is very spontaneous and unique, and is a real treasure on the album. Finally, “Lion Snake” is a grandiose modern prog epic. The male/female vocal pair covers a number of styles and textures to keep the tune interesting and story-like.

Die hard prog fans should own this album. There are enough styles of progressive rock and metal here to please most fans, and perhaps expose them to something new. As with all compilations, there is somewhat of a disjointed quality to the album. Essentially, each song is mixed, written, and generally approached very differently. This minor setback is overshadowed by the enjoyment one will receive by discovering new music, however.

Key Tracks: Armchair Journey, Holes, Lion Snake

Matt Shelvock – MuzikReviews.com Staff

July 21, 2010

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Stevie Wonder - Talking Book (24 Karat Gold)

When one speaks the word legend in music how many times does it really fit? In the case of Stevie Wonder, he defines the true meaning of the word. He stands tall amongst his peers such as Elton John, The Beatles, and all the other hit makers of his time.

Talking Book is a career defining album and what is exceptional about Stevie is the fact that he had several recordings that fell into that category, it just depends what stage of his career you are referring to. This particular time shows Stevie stepping out and speaking his mind and getting off the Motown hit machine conveyer belt that brought him into the limelight.

When Audio Fidelity made their choices for this round of 24 karat gold CDs they picked one of the best with Wonder’s Talking Book. In this edition for the first time since the first release, the special message from Stevie is included Braille. The fact that it’s a gold disc makes it a collector’s item alone now with this additional element it makes grabbing this piece of recorded history even more desirable.

As usual the remastering from the source tapes is a thing of beauty, capturing all the outstanding studio work that the artist produced for this release. “Superstition” is one of my all time favorite tracks and hearing it in true “Audio Fidelity” is real special. “You Are The Sunshine of My Life” is an exceptional way to lead off the album and Stevie’s subtle yet beautiful keyboards are accentuated by the gold disc sound. “I Believe (When I Fall In Love It Will Be Forever)” is one of the catchiest tunes on the album and the absolute warmth and feeling that Wonder encapsulated on that song and many of the other tracks gets the proper treatment from the folks at Audio Fidelity.

If you already have a copy of Talking Book, which I did, or if you don’t, it does not matter, either way you must have this if you have ever enjoyed the music of Stevie Wonder. This is ten tracks of funk, pop, R & B, rock; well just consider it a melting pot masterstroke from one of the musical geniuses of our time committed to gold.

Keith “MuzikMan” Hannaleck

July 18, 2010

Key Tracks: Superstition, You Are The Sunshine of My Life, I Believe (When I Fall In Love It Will Be Forever)

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Smirnov - Privet Earth

The first time I listened “Privet Earth!” by Smirnov I thought to myself, “What is this? 1989? This Rock style went out 20 years ago.” I promptly set the disc down and moved on with my life. About four or five hours later I put the cd back on and tried again, I am a professional after all and the world needs my opinions. The second time around I thought to myself, “Who is singing? It sounds like Mike Patton from Faith No More and that guy from the 80’s hair band Jackal got together with Alexander Ovechkin and had a love child that they immediately decided to start beating. “Not bad”, I thought to myself as I turned it off again and went on with my life. That’s when something weird happened. I was drawn back to it like a moth to a flame. I turned it on for the 3^rd time and thought, “This guys got something here. This actually is great. Phuk yeah!” I didn’t hear it the first time. That magic, that entertaining showmanship that somehow comes across without ever seeing his face. Ivan Smirnov has something that makes you believe he is the savoir of rock music.

Ladies and Gentlemen, I’m not sure how it happened but I’m ready to elect Ivan Smirnov for President. If he ever puts together a cult I’ll be the first in line as long as he is giving me new music. He and his album Privet Earth! are like cigarettes. I, being a former smoker, will describe it to you non-smokers like this. Your first drag from a cigarette is odd and the taste you have in you mouth afterwards is comparable to having licked the floor of your local tavern. Still for some reason, be it hours or days, you have another one, it tastes a little better. Soon you find yourself ready to harvest the kidneys of your sleeping friend in order to get money for another pack. Privet Earth! is your new habit. It’s more fun than any Rock album has been in a long time. It’s as if Ivan has, in his Russian genius, invented a time machine and went back through rock history and took a masters course in writing music that’s layered with genius and lyrics that are like riddles in which words are missing and there is a wonderful disconnect between lines. The great thing about good song lyrics is that they rarely spell out where they are going; think Steven Tyler and Axl Rose. Great song lyrics are like surprise party guests and shouldn’t reveal themselves too soon or else the build up is lost.

The music on Privet Earth! is great Modern Rock with a dose of Hard Rock that makes it damn near irresistible like a donut to a fat man with a sweet tooth. Ivan’s vocals are unreal. True rock singers don’t come along very often. The Steven Tyler’s, Axl Rose’s, and David Bowie’s of this world have something that sets them apart from the rest of the pack. Whatever that something is be it style, attitude, or the voice itself, Ivan has it. He seamlessly goes from a nice Rock vocal to a wail that could melt polar ice caps to a falsetto that is cotton candy for the ears. There are people who are born to rock and Smirnov is in that exclusive club.

His Album Privet Earth! combines all of his influences which, as he told me via facebook emails, include The Beatles, David Bowie, Led Zeppelin, and Elton John to the late 80’s great rock vocalist like Axl Rose. He also sited the creativity of Sting and the influence of current bands like Muse and Phoenix. He lovingly puts all these sounds into his big Russian blender and pours out a complete album of way above average Rock for you to drink down with a hearty smile and a refreshing AHHH. The songs, which were all written by Ivan, feature him on piano, guitar and of course vocals. He is helped greatly on his journey to rock god status by Mike Fix on drums, Rob Vallier on bass, and Tina Guo on cello. The music they create is the perfect mixture of the best elements of rock music past, present, and future. Songs like “A Phuken’ Angel” grab a hold of you and remind you that rock is supposed to be fast and fun! While the slow build of “Le Matin Dans Bordeax”, which features just vocal, piano, and a cello, shows you how beautiful it can be when someone who has a great voice sings his ass off. “Big City” is more infectious than crabs in a college frat house. “Rebelz” gets stuck in your head like a tattoo on your brain as it features every instrument turned up to Spinal Taps legendary “11” as they whip through one of the best songs on the album. Each song is like a planet rotating on its own axis around Ivan in the galaxy Privet Earth.

After listening to the album for the tenth time I am left though with one great question. Is Ivan Smirnov the lucky cavemen who accidently discovered fire or is he the pure genius of Albert Einstein with his Theory of Relativity? I can’t believe that someone could put together an album this good by chance. The “monkeys with typewriters creating a great novel” idea doesn’t work here. With the aid of legendary producer Rob Vallier (Bon Jovi, Paul McCartney, and the Eurythmics) he creates fire to move the world of Rock forward into the next generation. Let’s face facts; you have to be driven like a crazy man to move 12,000 miles from home, St. Petersburg, Russia, to Los Angles in hopes of fulfilling your dream of becoming a rock star. In his bio Ivan talks about being homeless in front of McDonalds in Burbank with only his guitar. Anyone who can survive that and still want to pursue there dream must be a bit off balance which, as we have learned thought the study of musical history is one of the great qualities of amazing musicians.

Rock bands should always remember it’s about the music but, it is also about the personalities that bring you the music. Kick ass Rock brought to you by a bunch of uninteresting librarians isn’t fun. There needs be an element of rock music that should be fun and outlandish with an even mixture of over the top attitude and style that makes it a less Sgt Peppers Lonely Hearts Club Band and more Willy Wonka’s Lonely Hearts Club Band. Simply said, Smirnov deserves your attention. He has released an album that easily exceeds the standard of rock today let alone the standard of unsigned rock today. Listen now so you can say you knew him when…

Hot Tracks- Rebelz, Le Matin dans Bordeaux, Privet Earth!/ 12,000 miles

Doug Morrissey- MuzikReviews.com Staff

July 18, 2010

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Devin Rice & Erin Aas - Arrival

Arrival is the aptly-named new recording from first-time collaborators Erin Aas and Devin Rice. The 15 tracks are brand new compositions and the music is New Age. It's all very fresh, but Aas and Rice aren't wet behind the ears. They've each been bustling in the music biz for some time, recording, performing, and composing. Both are finger-style guitar mavens and their acoustic axes are the heart of this wholly instrumental record.

The album is relaxing and pillowy, very pleasant to have on, but also pretty easy to ignore. It's like the musical equivalent of aromatherapy. Besides the chiming of steel string acoustic guitars, you'll hear piano and a smattering of instrumental accents, including lightly-tapped hand drums, cello, and English horn. The first tune is “Thin Ayre” which plays on the word 'Ayre,' a 16^th and 17^th century English lute song. I see the parallels between the tunes on Arrival and the stately English songs of the Renaissance. Both are virtually dissonance-free, so there are hardly any 'blue notes,' the off-key tones that give The Blues its angst. So this disc isn't bluesy, it's flavor is closer to country or folk music. Bits remind me of Simon and Garfunkel without vocals. It's quiet and relaxed, but fun, basically feel-good music.

The song titles include “Something About A Harbor,” “Stars Of Winter,” “Pulborough Spring,” “Waterfall,” and “Lullaby For Now,” all good tags for ambient mood music. One track, “Whiskey In The Watertower,” has some energy to it and the punchy strumming reminds me of a Tom Petty song. Aas and Rice draw on other influences, too. A few sharp chords give “Perdido En Granada” a Spanish classical guitar vibe, and a brisk guitar riff in “Nevada” sounds plucked from an Irish fiddle tune. This diversity is mixed in subtly, without changing the New Age vibe.

Check out Arrival if you need some background mood music for relaxation, especially if you like the natural sound of acoustic guitars. You can hear fingernails hitting jangly steel strings and warm wooden reverberations. Will Ackerman did a great job producing a live-sounding disc and meshing all the instruments together without overpowering the guitars. That's good news because both Aas and Rice are expressive players, excellent at churning emotion and mood out of their instruments.

Key Tracks: Thin Ayre, Nevada, Perdido En Granada

Nathaniel Rolnick – MuzikReviews.com Staff

July 15, 2010

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Matt Farr - Matt Farr

Matt Farr isn’t like every other musician we hear about every day. He isn’t about being a “rockstar” or altering his recordings on computers, this native of South Florida is all about bringing the spirit of 60s/70s rock and making music with that vintage sound.

On his self-titled debut release, Farr offers up ten tracks about living each day, doing what you love, and learning from the moments that pass us by. He provides the vocals and plays the keys on the album, and is joined by Craig Barnette (drums/percussion), Pete Winders (guitars), Eric Brigmand (organ/trumpet), Craig Stevens (bass), and Juliet Rentz (backing vocals). Together they have a jazzy, funky, jammy sound.

Matt Farr’s album is good. All of the song songs are pretty good as is the playing, but the one problem is that after a while they start to sound a bit too similar. My first few listens kept bringing me back to O.A.R. for some reason. I think it is Farr’s vocals that led me in this direction, but musically it’s more jazzy. In this vein, the way the keys sound is more similar to Herbie Hancock, one of his influences.

As good as the band sounds on playing together on this album, I prefer the more barebones sound of how “Crossroads” ends closes the release. I don’t think Farr should focus his efforts here though, I think it just provides some more variation from what we’ve heard over the rest of the album. Mixing in more tracks like this would balance the album more. Outside of this, I think that Matt Farr would put on a really nice outdoor show this time of year. A nice cold one in the heat would go nicely with this sound.

Hot Tracks: Stay, Life Changes, Crossroad

Kevin Kozel- Sr. MuzikReviews.com Staff

July 15, 2010

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Skip-Dawg - Trust Me, I'm A Rapper

Don't judge an album by it's cover, or it's ridiculous name, because while Skip-Dawg is less of a rapper and more of an R&B artist, Trust Me, I'm A Rapper isn't half bad.

Consider that the number one song in America is Usher's “Oh My Gosh”, in which Usher literally sings, “Honey got a booty like pow-pow-pow/baby got some boobies like wow-oh-wow”, and you'll see how Skip-Dawg's lyrics are smart in comparison. “You got a body like 90's J-Lo/I wanna squeeze it like play-do” he sings on “Brutally Beautiful” and on “Shape Shifter” he says, “you're like a flash of lightning/my summer sky's enlightened”.

I'm not sure if Lil Wayne's family owes Skip-Dawg's money, or if Lil Wayne just likes rapping on unknown rappers' albums, but “Buttons Unbuttoned” is easily the most radio-friendly song on the album, though Lil Wayne's lines don't really fit with Skip-Dawg's.

The music on the album is largely auto-tuned, beat-heavy, typical hip-hop, but the hooks are good and catchy, and it keeps the songs moving. It's mixed well, though – the album doesn't sound like an independent release at all. It's fairly professional and polished.

This isn't ground-breaking stuff, but it's not supposed to be. It's consumer hip-hop for dancing, partying, and having fun, and it does what you expect, plus a little more.

Abbey K. Davis – MuzikReviews.com Staff

July 15, 2010

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The Primary - Days Among Giants

When it comes to musical development, there’s a stage in the game where mixing up one’s style is a worthwhile risk, and stage where it’s not. If you are an established artist/band with a steady fan following, then a bit of change can be refreshing. If you’re just starting out, though? It’s probably best to avoid meshing styles until you’ve made it known exactly what you’re going for.

On their new album, Days Among Giants, Texas-based alternative band The Primary made the poor decision to try several different styles, and the result is an album that gives the impression that the band really hadn’t thought out what they wanted their sound to be.

Literally every song has a different style to it, from the Incubus-sounding “Get Out,” to the mellow yet heavy “Until Then,” to the psychedelic “The Trial of the Knave of Hear,” just to name a few.

It is entirely possible to listen to Days Among Giants and forget that you are listening to the same band throughout the whole album. The variation between songs is so distinct that it honestly hits a point where the listener has to double check that they’re still listening to the same album.

Overall, the vibe of Days Among Giants is that of a band still trying to figure out their own style, to the point that, rather than focusing on one style and sticking with it, they decided to just throw a bit of everything onto the album and hope something works.

Luckily for The Primary, they have enough talent (at least instrumentally—Josh Vasquez’s vocals get a little whiny at times) that their stylistic experimentation isn’t completely lost on the listener. Each variation they work with is done well enough that the band could easily just take their pick of which they like best and then run with it to make an album that has a consistent feel to it.

Despite the haphazard sampling of styles, Days Among Giants accomplishes the task of exposing listeners to The Primary’s talent, even if that talent comes across as slightly unfocused. This just happens to be one album where the songs have to be taken and appreciated individually, rather than as a collective whole.

Hot Tracks: The Trial of the Knave of Hear, All in Time

Carly Doenges—MuzikReviews.com Staff

July 8, 2010

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Metaform - The Electric Mist

At fourteen tracks, The Electric Mist is a fully developed album with a strong underlying use of industrial beats and processed but sincere vocals. Metaform’s years helming the audio controls are displayed in full effect on the record with each track flowing with layers and layers of beats, synths, and samples that are juxtaposed and harmonized in primarily cohesive ways.

Right off the bat, Metaform comes hard with “Electric Eyes,” a track that is clearly ready for radio play, a strong convergence of chorus and melody that sounds like a cross between Justin Timberlake and a hip hop filtration of Coldplay on their XY album. This can also be said for “Secrelty Alone” with its sensual yet melancholy lyrical delivery.

Metaform deftly jumps between the lines blurred by Trip Hop and Hip Hop on “Revenge of a Nerd” and the over auto tuned jam that is “Candy.” The artist uses a variety of samples to create undertows of sound like on the aptly titled track “OCD” which is a study of repetitions. Eslewhere “My Love” sounds very similar to what is played on the radio by post electro/hip hop outfits performing today. “It’s Gotta Be” is a refreshing take on classic hip hop with gritty samples and a beat that never rests on its laurels.

With The Electric Mist, Metaform honestly puts contemporary hip hop acts to shame. The overuse of sampling and juxtapositions are the foundations of the genre that helped it rise from its urban roots to what it is today. It’s rare to find an indie album that commits to a level of quality of production and lyrical sensibility as found here. One small reservation of the album is that it doesn’t have as many full songs as a listener would like, but then again, there’s enough on this album to satisfy even the most cultured music snob.

Stand Out Tracks: Electric Eyes, Strange Girl Secretly Alone

Rukshan Thenuwara – MuzikReviews.com Staff

July 12, 2010

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SNEW - We Do What We Want

SNEW is, almost too fittingly, a hard rock outfit coming out of Hollywood, CA. From the moment you pick up their second album, We Do What We Want, you can pretty much guess where this thing is going to go. You’ve got this AC/DC, Kiss, Motorhead vibe going on, and that certainly doesn’t change when you press play either. For a 80s hair metal fan like myself, I was excited to check this one out by appearance alone.

So what does SNEW stand for? Well the band won’t say, but “Sorta New” seems about right. If imitation is the best form of flattery, then there should be a lot of bands that are flattered by We Do What We Want. These guys are certainly hard rock lovers, and definitely seem to be having a good time doing it. For me, it comes off as too over the top though.

There is no doubt that SNEW know what they want to do, and they do a pretty good job of doing it, but they seem to try a bit too hard. The vibe is totally there, and with song titles like “We Do What We Want”, “Get Loud”, and “Who the Hell Are You” they certainly have the right attitude for this. You get the wailing guitar solos out of Andy Lux that are a must, though I want there to be more and bigger, but his choice in hats might mike up for that. The toughest part is the vocals though. Curtis Don Vito wails and screeches and generally does his best Brian Johnson, but at times it’s really just too much. The screeching becomes excessive and there are just too many little extras to the point that it becomes uncomfortable.

SNEW’s hearts are definitely in the right place with their idea. They have the foundation down, which is really where so many others have failed, but readjusting the focus a little would go a long way. Taking a step back with the vocals and a step forward with the guitars would do wonders I think. I can’t imagine anything but a full on party every time SNEW hits the stage. If you want a rocking good time, SNEW’s is definitely going to bring that. Maybe a live release should be in the cards next?

Hot Tracks: We Do What We Want, Private Stash, Get Loud

Kevin Kozel - Sr. MuzikReviews.com Staff

July 11, 2010

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Freak Owls - Taxidermy

From the opening call of “Whooo Ah” that comes accompanied by a beautiful acoustic guitar, Freak Owls have you trapped into listening to Taxidermy until the end. Luckily, Taxidermy is a wonderfully dreamy sequence of nine songs that only get better with each listen. Considering the opening song, “Little Things”, is easily as addictive as crack mixed with coffee, you can imagine that the rest of the album is very hard to turn off.

Freak Owls is the creation of Josh Ricchio who has spent twelve years touring in various rock bands such as “Pela”, “Ladycrop”, and “The Symphony Case”. In his press release for this album it states that, “the desire to lock himself in a room and write what he calls “catchiness incarnate” became too great.” I’d say that if this is the product of Josh locking himself in a room and writing than I propose to keep him in there churning this music out like an Amish woman on speed. With the help of Eric Sanderson, Kobly Wade, Cody Geil, and Kerry Beach, Josh creates a beautiful soundscape that is gorgeously produced as to sound as if they are playing in your head.

The album feels very light and airy largely do to the clarity of the production. Every time a cymbal gets struck it feels like it is somehow inside of you. This clarity allows you the opportunity to get fully absorbed into the album like water into a sponge. Taxidermy creates a total atmosphere that wraps around you and truly seems to slow things down and quiet the rest of the world. The opening song “Little Things” is catchier than the common cold in a pediatrician’s office. The bouncing vocal line seems tailor made for a private sing along in the shower. “Optimistic Automatic”, my personal favorite, has one of the catchiest melodies I’ve ever heard. It’s the kind you’ll find yourself singing without realizing it. “Online (and in Love)”, displays a beautiful mandolin backed by a perfectly subdued beat made by Kolby Wade. All nine of the songs blend together perfectly using the same style and dreamy instrumentation as if this album is one giant dream that is subdivided for the benefit of your mixes.

Freak Owls’ Taxidermy is a wonderful album of acoustic rock that blends well thought out songwriting with music that could relax a charging rhino. Music like this should be piped into your life and thus leave you vastly better off.

Key Tracks- “Optimistic Automatic”, “Little Things”, ”Seaquid”

Doug Morrissey- MuzikReviews.com Staff

July 9, 2010

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Brandy Lynn Confer - In the Dust

When an artist creates an album, there’s an important goal he or she has to achieve right off the bat: grabbing the listener’s attention.

With her album In the Dust, Brandy Lynn Confer accomplishes this, but not really through any effort of her own. What catches the listener most is the striking similarity between Confer’s voice and Sheryl Crow’s.

Confer’s voice has the same raspy, throaty quality as Crow’s, and even Confer’s tone and inflection very closely match the superstar’s. This is so evident on the first track, “Heartbreaker,” that it keeps you listening to find out if Confer’s voice really sounds that much like Crow’s, or if it just happens to be on that song.

Add into the equation the fact that Confer’s musical style falls closely within the same genre as Sheryl Crow’s, and you’re left with an album that feels almost like a tribute or imitation album.

Luckily, despite having an overall vibe that resembles an already well-established artist, there are a few ways that Confer stands out as her own artist. Her voice has a natural raspiness to it, but Confer consistently remains in control of that trait. It never turns harsh or gruff, but possesses an unexpected gentleness. Additionally, there is a sincerity and vulnerability to Confer’s singing that sets her apart.

In the Dust consists of only a few up-tempo, hard-hitting tracks, and for this album that’s a good thing. Those few tracks, such as “Tarantula” and “I Need Light,” come across as slightly amateur, while Confer’s slower songs feel like the listener is hearing Confer in her element. They’re fluid and give off the sense that Confer is comfortable performing them.

While Confer may still need to do some tweaking with her style in order to avoid comparisons to Sheryl Crow, In the Dust is a solid first effort. The talent is there, Confer just needs to experience a bit more growth as an artist to develop. Confer is currently working on a new record, and hopefully we’ll see that progression on the next album.

Hot Tracks: What If?, Freight Train, In the Dust

Carly Doenges—MuzikReviews.com Staff

July 9, 2010

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Willie Nelson - Setlist: Best of Willie Nelson Live

What can you really say about an American legend who still makes worthwhile music? Plenty of Willie Nelson's musical brothers are churning out poor albums and starring in Victoria's Secret commercials, but Nelson continues to make good music, and even a greatest hits CD is worth your money.

This album is particularly worth your money if you like live music because it's Nelson's hits through the years, and not one concert recorded for a CD. Instead of feeling like you missed out on a great concert, you'll feel like you're listening to Nelson throughout his career – because you are.

“Touch Me” was released in 1962, and “Angel Flying Too Close to The Ground” in 1981. The rest of the album skips around this way, giving you a little taste of each year of Nelson's career, skimming his singles, and letting you listen to the best tracks he's recorded, including a few previously unreleased tracks.

If you've been a fan of Nelson's anytime during his almost sixty year career, then you'll love this new release. Even if you have all of his live albums and have seen him in concert, it doesn't matter – this CD is filled with fresh material and won't disappoint.

Key Tracks: Blue Eyes Crying In The Rain, I Gotta Get Drunk, Georgia On My Mind

Abbey K. Davis – MuzikReviews.com Staff

July 9, 2010

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Sonya Kahn - New Beginning

It’s not often that I find myself at a loss for words, but when it comes to defining Sonya Kahn’s album New Beginning that seems to be the case.

There is plenty to be said about New Beginning, but as far as easily categorizing it? Almost impossible.

This album consists of songs that bring together 80’s-style pop-rock, classic Euro-pop, power ballads, and a sound that is suggestive of what ABBA would have sounded like were the group formed today. Despite these aspects being able to be picked out, though, none of them quite accurately describe Kahn’s music.

There are hints of all these styles, yet Kahn melds them into one style that is distinctly her own, and rather indefinable. To simply lump her into the genre of pop or pop-rock would be to do a grave injustice to Kahn.

There is a power and edge to Kahn’s music that isn’t often found with pop music, especially with female pop singers. There isn’t the slightest presence of auto-tune, just a voice that comes through the airwaves with a pure, inherent strength. The intensity of Kahn’s voice is so great that, every once in a while, it almost overpowers her instrumental accompaniment, but it works, even while coming across as a bit harsh at times.

In an industry that is increasingly using technology to make even awful singers sound decent, it’s incredibly refreshing to have an artist come along whose voice requires no help or touching up, but is just that good in its raw state.

While her vocals may have that extra oomph to them, Kahn’s lyrics are fairly generic. Were you to just read the lyrics on paper, they would come across as nothing special, but as the same overdone concepts as dozens of other artists. However, Kahn sings with a maturity that many artists lack, which makes her vocal interpretation of the lyrics come across as genuine rather than trite. Consequently, Kahn is able to move brilliantly between her fun songs and her ballads without one style sounding more fitting than the other.

Obviously, there is a lot to be said in describing Sonya Kahn and New Beginning, yet I still can’t nail down exactly how to define her style. And maybe that’s a good thing. It’s fresh, it’s unique, so why try to generalize it with one term? Just have a listen for yourself and see what I mean.

Hot Tracks: Hunter, Sabre Dance, New Beginning

Carly Doenges—MuzikReviews.com Staff

July 8, 2010

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Jeconte - Sweet Northern California

Cue “Colorado,” an all out celebration of funk and rock, and more importantly, the first track on Jeconte’s 2009 album, Sweet Northern California. The perfect showcasing of the band’s rock/funk style, “Colorado” is the most upbeat song on the album. But don’t let that mislead you into thinking that’s where you should stop listening; while for the most part the rest of the album tones it down a couple notches, providing a slowed down exhibition of the Jeconte’s more soulful, blues side, the lyrics and instrumental talent not only maintain their original impressiveness, but also progressively become more unique and enjoyable.

The greatest thing about this album is that you can turn on any track and hear a completely different influence or sound in each song. While “Downtown Brown” provides the listener with a return to soulful blues, one could seriously mistake “Where to Go” as a track off of one of Bruce Springsteen’s albums. All in all, the band can best be understood as the voice of Bruce, the soul of Ray Charles, and the musical stylings of Blues Traveler all in one. While on the topic of Blues Traveler, one cannot help but mention the similarly impressive harmonica playing of Jeconte. The unique Texas Blues/ Jazz/ Funk harmonica style stands out on almost every song on the album, though I found that “Get it While You Can” allowed me to truly appreciate the talent and versatility that Jeconte’s playing exhibits.

Having already rocked New Orleans during Jazz Fest 2010, among other festivals and concerts, Jeconte seems to be making its way onto the jam band music scene with a unique sound that people have been waiting for. While I am still undecided on whether or not the album provides enough jam band, take- your- shoes- off and dance in the grass music, the range of tracks from upbeat to slow and soulful to somewhere in the middle certainly speaks to the versatility of the band and the diversity of the songs on this album. So while the future hopefully brings more dance- worthy tracks, one thing is for sure: with this album, “I’m here sittin’ on the porch lettin’ the world go by.” And there ain’t nothin’ wrong with that.

Key Tracks: Colorado, Get it While You Can, Where to Go

Michelle Caley – MuzikReviews.com Contributor

July 1, 2010

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Judas Priest - Setlist: The Very Best of Judas Priest

Judas Priest are one of the best metal bands of all time, they did help invent it after all.

The band has a back catalogue that any band on the planet would be envious of. The CD consists of early material such as the legendary “Breaking the Law” from the classic British Steel right through to “Judas Rising” from the 2005 release Angel of Retribution. It also oddly includes a mix of album tracks.

Not only are the band a brilliant and energetic in the studio, they really excel live on stage. This is evident due to the numerous live albums they have recorded.

This is what Legacy recordings have attempted to remedy by releasing Setlist: The Very Best of Judas Priest. This album collects all the best live tracks from the bands long career in music. The album is a pick and mix of various live versions of the tracks throughout the years. This allows the fan on a budget to listen to a selection of live tracks but this is also a bad thing in a way.

The track listing is a good selection of tracks but ” Breaking the Law”, their most famous track would have been better used as the opener for the album.

What sets this album apart from the usual greatest hits and live records is that the tracks are “.mp3” ready. The album also has a plethora of pdf files which container liner notes, photos and other bonus features. This is a welcome relief from a standard CD release which these days seem to just come with lyrics and that is all.

The tracks have amazing sound quality. All of them have been digitally re-mastered and really sound like you are hearing them live on stage. I can’t help but think the ideals behind this release would be put to better use by releasing each original live album with all these liner notes.

All together the album is a great introduction for newcomers to the band and is a great collection of live material.

Key Tracks: Breaking the Law, Judas Rising

Matthew Webb – MuzikReviews.com Contributor

July 8, 2010

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Shakura S'Aida - Brown Sugar

Shakura S'Aida is an adept and powerful Blues, Jazz, and R&B singer. Her best asset, though, might be her skill as a performer. The 12 tracks on her sophomore recording Brown Sugar sound spontaneous, enthusiastic, and unaffected. She's comfortable with all the broad stylistic ground she covers. The album isn't as risqué as the title would suggest. Two tracks, “Brown Sugar” and “Sweet Spot,” are chock full of suggestive lyrics, but the other ten songs tackle themes like heartache, spirituality, love, and hard knocks.

A gritty, unaccompanied blues guitar riff opens the CD and the gutsy first track “Mr. Right.” It's a ballsy sound that announces the artist's dynamic presence. She pulls out all the stops and wails like Etta James or B.B. King. After the bold introduction S'Aida pulls back a little and demonstrates her range. The funky, danceable “Walk Out That Door” cooks and “Gonna Tell My Baby” simmers with quiet intensity and then boils over. “Angels On High” is a prayerful Gospel lament and a great example of how authentic and poised S'Aida is. She performs it without a trace of self-consciousness. The track is offered as a download on Shakura's website with the proceeds going to a Haiti relief organization. “Chasing The Sun” is a foot-tapping R&B track that feels like a Stevie Wonder song. Genres are even mixed in the same song. In “Missing The Good And The Bad” the band slips from a laid-back jazzy jump-blues, to a slow, heavy Muddy Waters style, and finally back to up-tempo jumpin' and jivin'.

All these styles orbit the blues and Shakura sounds natural as a blues singer. As a vocalist she's excellent and as a performer she's top-notch. It's easy to imagine her acting on stage and on screen, both of which she's done. The band backing her up on Brown Sugar is notable, too. The musician's are solid and her songwriting cohort and lead guitarist Donna Grantis burns on heavy blues solos heard throughout the album. I'd say the disc is a genuine success.

Best Tracks: Chasing The Sun, This Is Not A Love Song, Angels Heard On High

Nathaniel Rolnick – MuzikReviews.com Staff

July 8, 2010

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The Actomatics - 10 Stories

The Actomatics are a quintet out of Longwood, FL fronted by vocalist/keyboardist Shadow Pearson. The instruments are covered by four gentlemen; Rick Thomas (drums), Rich Hewitt (bass), Jamie Wright (rhythm guitar), and John Lathrop (lead guitar).

Whether or not you like the Actomatics will probably come down to how you feel about Pearson’s vocals. Personally, I enjoy them; they give the songs more uniqueness. For example, album opener “Lighthouse” instrumentally has a ZZ Top rocking vibe, but the vocals give it more of an alternative sound rather than the southern rock sound you would get out of a more conventional vocalist. However, I also have a feeling that people might be turned off by her tone as well.

All of the songs on 10 Stories are pretty good. They’re fresh and well written, but with a more familiar sounding vocalist they would be fairly standard I think. The Actomatics do show some range on the release, but I wish they would have continued down the path that starts the album a bit more. The opening couple of tracks are more up tempo and rocking, but then the album moves to a more mid-tempo, pop rock feel for the most part. It’s good for some of the songs, but looses the excitement 10 Stories begins with. All of the songs are fine for a band playing some shows in the local bar, but when The Actomatics rock more, they seem to bring more to the table. If they focused more of the album in this area I think they’d get a good response.

Hot Tracks: Lighthouse, Actomatic, 10 Stories

Kevin Kozel- Sr. MuzikReviews.com Staff

July 6, 2010

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Stevie Ray Vaughan and Double Trouble - Couldn't Stand the Weather: Legacy Edition

The blues is not something that can be learned. Great bluesmen are born, not raised. There is something that needs to be present in their very souls from birth that makes them have a deeper connection to the music that seems to flow from them like breath flows from you and I. Stevie Ray Vaughan couldn’t help but feel the blues. If you have been living under a rock that had been thrown deep inside a dark cave onto which an avalanche fell blocking the entrance and sealing you in and away from society and you have never heard of this Stevie Ray Vaughan guy, just one listen to his guitar and you will realize that he was meant to do one thing, play the blues. His Texas style blues is huge and on the Couldn’t Stand the Weather: Legacy Edition you get a massive helping of some great legendary Stevie Ray blues.

What the blues gods have blessed us with is a double album re-release. Epic/Legacy have remastered the original 8 songs and included an addition 11 songs that were recorded during the sessions for this album. Now, like all of these remastered albums that come out, there are some songs you have heard before. If this isn’t your first Stevie Ray rodeo than you have already heard “Little Wing”, “Empty Arms”, and “Wham!” from The Sky is Crying. If you bought the 1999 re-release of Couldn’t Stand The Weather than you will no doubt be familiar with “Look At Little Sister”, “Hide Away”, “Come On (Pt lll)”, and “Give Me Back My Wig”. But, what you haven’t heard are the 3 previously unreleased versions of tracks that have been found for this set. Given the lack of new material coming from the Vaughan camp cause of that whole “being dead” thing, this is stuff to be excited about even if they are just alternate versions of songs you already know. The three songs are “Boot Hill”, “The Sky is Crying”, and “Stang’s Swang”.

From the opening countdown by Stevie Ray himself on “The Sky is Crying” the differences between this version and the original become very clear. His guitar has a much fuller sound than the Texas twang on the previous version. His voice sounds the same by which I mean amazing. His wonderfully nasal tone seems to come not from his mouth but from somewhere much deeper in his bones. As I said before, the blues can not be learned. You can’t teach someone how to sing and play guitar with feeling like this.

“Boot Hill” sounds more like a roadhouse version than the previously released song we have heard. Stevie and Double Trouble rip through this slightly faster version like they are playing for their lives. On “Stang’s Swang” they have removed the saxophone that can be heard playing along with Stevie’s guitar at certain times during the song. Listening to Stevie play an instrumental is like listening to angels sing the blues.

The original album is the stuff of legend and should be in every aspiring blues fans catalog. The album includes such legendary songs as “Voodoo Chile”, “Couldn’t Stand the Weather”, “Tin Pan Alley”, and the air guitar favorite “Scuttle Buttin”. This is Stevie Ray Vaughan and Double Trouble’s second album and their first album to go gold and later platinum.

The Second album in this set is a previously unreleased concert that took place three months after Couldn’t Stand the Weather at The Spectrum in Montreal, Canada. The set list for it contains a great mix of his first album Texas Flood as well as songs from Couldn’t Stand The Weather. Stevie Ray Vaughan and Double Trouble live are like an entirely different animal than their studio recordings partly due to the fact that live blues is the pinnacle of the blues triangle. Good live blues is, in my humble opinion, Zen. It is the moment where the hands and voice of the bluesmen are linked to their soul. It is one of the most beautiful things in the world and this live album is no exception with incredible versions of “Texas Flood”,“Voodoo Chile (Slight Return)”, “Pride and Joy”, and an amazing version of “Lenny”.

Stevie Ray Vaughan is to blues what breathing is to all living creatures, necessary. To be a fan of blues without understanding and enjoying the imprint Stevie Ray left on it is like being a fan of Rum without ever tasting Captain Morgan Private Stock. It’s been twenty years since Stevie Ray Vaughan was taken from this place but through his recordings he managed to leave a part of his soul behind. Evidence of that takes place at 8:30 seconds on the live version of “Lenny”. Turn it up, close your eyes, sit back, and enjoy the shivers that go up your spine.

Key Tracks-Couldn’t Stand the Weather, Lenny(live), “Voodoo Chile (Slight Return)

Doug Morrissey- MuzikReviews.com Staff

July 5, 2010

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Jim Guttmann - Bessarabian Breakdown

Jim Guttmann is having an extraordinary career. His love of music is unbound to a specific genre; from rock in the 60s to jazz and bluegrass in the 70s to klezmer in the 80s to an unabashed mix of genres with the aptly named Mimi Rabson’s Really Eclectic String Quartet (RESQ) in the 90s and now with a new eclectic mix of his own on Bessarabian Breakdown (Kleztone Records, 2010). Guttmann is currently probably best known from his three decades of work with the New England Conservatory’s Klezmer Conservatory Band (KCB). The KCB was pivotal in revitalizing klezmer music which lay dormant since the 40s; now, as popular as ever. Guttmann has also played with legendary singer Eartha Kitt, blues harpist James Cotton, the Artie Shaw Orchestra and the Boston Philharmonic Orchestra.

Guttmann and his ensemble have a level of familiarity and comfort with klezmer—many of the musicians also perform with the KCB—that allows an effortless infusion of elements from other genres into the mix, even within solos and improvisations. And, their technical mastery and breadth of experience accord an aura of confidence which they exploit with a flair for the humor and enjoyment of life within the music. You’ll hear straight klezmer (“Philadelphia Sher”) and other traditional Jewish music, but also Afro-Cuban jazz (“Descarga Gitano”), swing (“And The Angels Sing”), R&B (“Bessarabian Breakdown”) and some rare but rocking electric guitar work. Guttmann is deservedly featured as soloist on numerous occasions, but other instruments also play leading roles. The familiar instruments of klezmer—clarinets, brass, accordion and violin—are naturally present but the ensemble also includes tenor and baritone saxes, electric and acoustic guitars, piano and mandolin. The group ranges in size from solo bass on “Firn di Mekhutonim Aheym” to eleven members (undectet) on the big band Afro-Cuban sound of “Descarga Gitano.” All but one track are traditional folk songs or dances and are arranged by Guttmann and/or other members of the group. “And The Angels Sing” is a jazz standard written by Ziggy Elman and Johnny Mercer.

As might be expected the CD launches with full-on klezmer in “Philadelphia Sher,” followed by an unexpected jazz trio, “And The Angels Sing,” featuring Ellingtonian style crisp, compact piano by Art Bailey, Guttmann’s walking bass and Grant Smith on drums. “Descarga Gitano” surprises once again as large ensemble Afro-Cuban jazz, with another bauble, electric rock style guitar, wrapped inside. “Doyne, Hora, Sirba” is a suite of traditional Jewish dances featuring violin (Mimi Rabson) and accordion (Evan Harlan). The title track, “Bessarabian Breakdown,” is another enigma, beginning with what could be an R&B horn section and funky electric guitar comping, developing into distinctly non R&B ethnic melodies, yet also featuring atypical sounds of baritone sax and electric guitar. “Dark Eyes” is a tempo shifting traditional arrangement that features clarinets (Ted Casher and Billy Novick), piano (Bailey), and jazz style guitar (Brandon Seabrook). Guttmann closes out the CD with the solo bass “Firn di Mekhutonim Aheym.”

Bessarabian Breakdown illustrates how, in the hands of talented aficionados, disparate genres of music can be successfully blended with very interesting and pleasing results proving America to be a unique melting pot of musical tastes and sounds. Guttmann continues to be a driving force in popularizing klezmer and the fusion of traditional Jewish music with jazz and other popular genres in the U.S.

Key Tracks: Descarga Gitano, Bessarabian Breakdown, Dark Eyes

Mike Reynolds-MuzikReviews.com Staff

July 3, 2010

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Traveling in Stereo - Traveling in Stereo EP

Making your EP freely downloadable is a great marketing strategy for getting music out there. However, it seems like Traveling in Stereo’s main objective in doing so is to share their voice and message with a larger audience rather than a self serving agenda.

The New Jersey band is composed of 5 musicians from all different backgrounds which lends to the record being formed as a mixture of rock, reggae, folk, pop and everything in between.

The use of acoustic guitars is interesting juxtaposed with electric guitar playing on this record with songs like “Let It Go” and “Who’s Who” which is propelled by a charging chord. “Just A Dream” falls into place in a similar fashion with relaxed chords providing the backbone a song about lost relationships. “See Your Face” also features a dominant drum influence that adds to the sun and surf sounding song.

Tracks like “What I Know” have a distinct island flavor to them with soothing melodies and repetitions. The band lives up to their namesake with tracks like “No Bother” that combine acoustic and electric guitars with a variety of other sounds for a mid tempo result. “Peace Pipe” is a Rastafarian sounding track that likens slow drums and languid guitars that captures the melancholy lyrics to full effect.

While several bands on the indie scene strive to bring different sounds to the forefront, Traveling in Stereo’s EP is both layered and interesting to listen to. There’s a level of quiet confidence that radiates from the album that should help them continue with this endeavor and pick up new fans in the process. It will be of greater interest however, to see the eclectic fan base that turn up for the band’s concerts.

Stand Out Tracks: Peace Pipe, Who’s Who

Rukshan Thenuwara – MuzikReviews.com Staff

July 5, 2010

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Percy Howard's Meridiem - A Pleasant Fiction

Before I look at any information about an artist or the album I'm reviewing, I listen to the entire thing first. I did this with A Pleasant Fiction, the 2004 release from Percy Howard, and then I looked him up on his website and on Google expecting to find people like me who didn't quite understand or particularly enjoy the album. Instead, I was greeted by rave review after rave review.

I sat, confused, wondering if I had listened to the wrong CD, or if I was just a complete idiot with no musical taste. Then I looked closer at the others reviewing the album and found that they were all jazz specialists, and I realized that I'm not an idiot – I'm just an average listener, and that this album, targeted towards jazz listeners, is just kind of weird to me.

But the mark of an exceptional album is one that makes you, as a non-fan of the genre, want to listen anyway. A Pleasant Fiction does not do this. “The Girl on the Back of the Motorcycle”, the album's opener, just made me uncomfortable, and not because I'm a prude, but because it's weird and the woman talking says things like “passion, wet....I peer into the hole to see what's left of you” and so on. The rest of the songs didn't make me feel any more comfortable, either.

Most of the songs consist or music that, if played in a genre more like whatever you call Of Montreal or MGMT, would be good, or at least interesting. It's largely just noise and computerized sounds. The vocals are never really vocals but instead hollering, moaning, or groaning, and they lose the lyrics so much that you won't be able to hear them at all.

Basically, if you like Howard's other releases or you're one of the two per cent of people in the world who like this particular section of the jazz genre, you'll love this album. If you're part of the 98 per cent of people who don't, you'll be left feeling weird and confused.

Abbey K. Davis – MuzikReviews.com Staff

July 3, 2010

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Man the Mighty - Beneath the Skin

For crowds that yearn for a taste of both metal and alternative-rock tunes, Illinois-based band, Man the Mighty, may be just what those music fans are searching for. With a consistency of palm-muting, metal riffs, and even potential guitar sweeps, the harder rock scene is in for a treat with the upcoming EP, Beneath The Skin. As the music business is ever-changing with a surplus of acts coming in and out of fame, it is evident that Man the Mighty will be ascending the scales on rock charts as they attain more exposure within the industry.

The EP opens with the title track, “The Things We Do For Dreams,” which showcases melodies similar to bands such as: Alterbridge, Alice In Chains, and even Killswitch Engage (minus the screaming). The album opens with an obvious style of drop-D or even drop-C tuning, which embraces both darker and heavier tones, but also makes way for a wider vocal range with such free space in the melodies. The next track, “Sick,” touches upon the vocals of the band’s front man, with violin tracks in the background, and an angry, yet emotional style of singing. However, the EP meshes together with an equal blend of relationship-forced lyrics, as well as a mix of soft, yet hard-driven vocal tones, showcased specifically in track three, “Hourglass.” With this track, the singer starts off soft, while a fast-paced acoustic guitar is picked back and forth in the background. The song represents tones similar to Evanescence, but replaced with a male lead. In the last tracks of the album, “Over You” and “Tear ME Down,” the band combines synthesizers with the guitar riffs to capture heavier, yet more intense harmonies. “Over You” can be considered the necessary “rock ballad” of the album; however, “Tear ME Down” wraps up the album with a soft intro, moving into a dark and catchy chorus, and finishes the album with powerful palm-muting, and a solid ending.

Although the album relates to a certain type of music crowd and is clearly ready for contemporary rock radio, Man the Mighty writes catchy rock hooks that stay consistent throughout the course of the EP. Rather than appeal solely to alternative fans, the band makes sure to shape their choruses in order to appeal to even more listeners as well as carry out harder melodies with pop-infused choruses. Broadcasters should be prepared for an upcoming act that will soon appear on the play lists of alternative rock radio, and feed the listeners with a down-tuned, metal tempo that will bring new music to their ears.

Key Tracks: The Things We Do for Dreams, Sick, Tear ME Down

Erin Albertson – MuzikReviews.com Contributor

July 7, 2010

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Jessy Tomsko - The Light You Make

The way we experience life, how we think and feel, is up to us. That's the pervasive theme of Jessy Tomsko's debut album The Light You Make. The disc's ten appealing songs let us in on her philosophy and her gift for effortless warmth. From the cover art to her breezy, mellifluous singing voice, the presentation is welcoming and unguarded.

Her style is so easy and her voice so sweet you might not notice how skilled she is. She really finesses these soft, lilting melodies, carefully treating every inflection. Meanwhile the words flow like a friendly conversation, as though singing is simply the way she speaks. Her voice evokes Sarah McLachlan, but also Ani DiFranco without the confrontational edginess. Her band reminds me of the Goo Goo Dolls. Plenty of ringing acoustic guitars and muffled drums support her laid-back voice. The occasional electric guitar and organ with vibrato add extra flavor.

Most of the tracks are unhurried or even sedate, but “Good Company” is a bittersweet song with an up-tempo country beat. It's about temporary relationships, illustrated by a robin nesting near her home and a summer fling, both of whom casually fly away. The song ends on a hopeful note after a little self-examination and insight reveals the positive flip side: being left is also being given freedom. “Willing” is the other bouncy track, an up-tempo and up-beat tune about making the most of life and cultivating what's truly important. Overall, the album has a nice balance of humor, positivity, and melancholy.

Tomsko doesn't push any boundaries but she makes a good, honest statement with her first full-length record. Her tunes are heartfelt and likable and she's an exceptional singer. It's too feathery and a little bland for my taste, but there's no question its good-caliber craft.

Best Tracks: Good Company, Julian, Something, Anything

Nathaniel Rolnick – MuzikReviews.com Staff

June 29, 2010

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Jefferson Airplane - Setlist: The Very Best Of Jefferson Airplane Live

Being one of the unfortunate bastards that missed out on Jefferson Airplane because I was not born yet, my knowledge of Grace Slick was sadly derived from my early childhood exposure to Starship. It was a shock to me when I found out that a few people in this band Starship used to be cool and were actually able to write these incredible songs like “White Rabbit”, and “Volunteers”. Who new it was possible to write such amazing music and then somehow be able to churn out such garbage as “We Built This City”. It just refuses to make sense and makes me think that perhaps Grace Slick was abducted by aliens in the 1980’s and replaced with a commercial whore robot that would do anything for money. That’s what gets me through the night.

Setlist: The Very Best Of Jefferson Airplane Live is a great beginners handbook to what is possible when talented people get together and happen to have access to electricity. The set list itself is something to drool over with stand out songs like “White Rabbit”, “She Has Funny Cars”, and the classic “Somebody To Love”. The album is all previous released material with the exception of “White Rabbit” which was recorded at the Fillmore in San Francisco on February 6, 1967 and “It’s No Secret” which is also from the Fillmore but from November 26 of the previous year.

From the opening of “Somebody To Love” you can see that Jefferson Airplane is in their element when they are in front of an audience. The song takes on a whole different feel than the studio recording. They sound live and alive as Grace’s voice winds around Marty Balin’s while the music churns along with the loose sound that defined the sixties. “White Rabbit” is and always will be a master work to me. It was ranked #478 on Rolling Stones list of 500 Greatest Songs of All Time though in my opinion is should have been much higher. The song, which was written by Slick in her pre-Jefferson Airplane days, is inspired by Alice’s Adventures in Wonderland and Through The Looking Glass and was one of the first songs to sneak drug references past the censors. The live version we have in this collection is a reminder of the power of Grace Slick’s voice as it builds slowly throughout the song until reaching a near fever pitch by the time you reach the line “Remember/ What the Door Mouse Said/ Feed Your Head” .

Setlist: The Very Best of Jefferson Airplane Live is a great intro to the live side of what is known as the classic line up of: Marty Balin, Jorma Kaukonen, Paul Kantner, Jack Casady, Spencer Dryden, and Grace Slick. The one downfall of the album is that being a very best of compilation doesn’t allow it to achieve any flow of a true concert album. That minor criticism aside, it’s an excellent snapshot into the Jefferson airplane in their prime.

Key Tracks-White Rabbit, It’s No Secret, Volunteers

Doug Morrissey MuzikReviews.com Staff

June 29, 2010

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Heathen - The Evolution of Chaos

If you're not a metal fan, then you probably haven't heard of Heathen, but you probably have heard music just like their newest album The Evolution of Chaos.

The lyrics on the album are sometimes smart and sometimes overdone to the point of inducing eye-rolling. A lot of “dark” rhymes fill the vocals, like “Darkness has consumed your soul/now you curse the sky/agony and solitude like worms feed on your pride” from “Silent Nothingness”, which I guess is typical of the genre, but it doesn't really say anything we haven't all heard before either.

Then there's the anomaly that is “A Hero's Welcome”, which is the Toby Keith equivalent of a metal song. It's an ode to, I guess, America, and veterans in general, with the spoken interlude, “This song is dedicated to the fallen, wounded, and the scarred [...] may you all find peace apart from this living hell”. No disrespect intended here – I feel certain that someone in Heathen knows someone in the war, and we all appreciate their service – but what in the world is that song doing on this album? It has nothing to do with the style of the album at all.

The music is reminiscent of Metallica and other smatterings of metal and thrash bands (so much so that a friend walked through the room while I was listening to the album and asked why I was listening to Metallica), and it's done well, but not spectacularly. It's tight, and almost impressive, it's just not particularly new or exciting. The vocals, though lyrically not impressive, are done fairly well, with a mix of singing, screaming, and talking.

Basically, it's a thrash/metal album you'll enjoy if you enjoy the genre, but if not, it won't convert you or make you want to listen to it. It does its job, but nothing more.

Key Track: Arrows Of Agony

Abbey K. Davis – MuzikReviews.com Staff

June 24, 2010

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Gloria Miller - Let Go

Confidence exudes from Gloria Miller’s latest album, Let Go. An experienced artist in both life and music, she puts several layers of genres to work on the record with interesting results. Citing inspirations such as Ella Fitzgerald, Billy Holliday, Sarah Vaughn, and Natalie Cole, the singer describes the album as “a musical journey through love, loss and recovery.”

Entirely recorded in Milwaukee, Wisconsin, Gloria Miller set to work traversing the annals of love and loss resulting in a smooth and thoughtful album. A key track on Let Go is “Let Go & Let God,” which was written about a painful breakup and the ensuing grieving process she went through. With its rich instrumental cursors that marry with Miller’s light and poignant vocals, produce an endearing addition to the album. Interestingly enough, the breakup resulted in a surprise proposal and marriage for the singer earlier this year.

Elsewhere tracks like the R&B influenced "So Much More" and "Time To Say Goodbye" are solid additions which have the distinctive 80’s sound to them. Not surprisingly, both tracks were written and recorded over 10 years ago. “He’s The One” is a track that lands at the crossroads between a Broadway show tune and a smooth Jazz ditty. “Shine” flows in the same vein but features a more sultry sound that Miller finds hard in melding her bright vocals to.

Let Go is a solid piece that features several different influences and this is both its best and worst feature. Miller plays with several different sounds, however some sounds alienate her bright and genuine voice. The chanteuse shines on softer tracks that don’t overpower her vocals like “Time to Say Goodbye.” As she progresses, let’s hope Miller sticks to the grooves that suit her the most and continues to soar.

Stand Out Tracks: Let Go & Let God, He’s The One Time to Say Goodbye

Rukshan Thenuwara – MuzikReviews.com Staff

June 20, 2010

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Delain - Lucidity

Delain is a Dutch rock/metal band, though they are often labeled as “symphonic rock”. They are founded by ex- Within Temptation keyboardist Martijn Wetsterholt and vocalist Charlotte Wessels. This release of Lucidity is a re-release of their debut album from 2006 with five bonus tracks. They have a second album as well, April Rain, which was released in 2009.

A common comparison to Delain would be Evanescence’s single “Bring Me to Life”. Wessels provides similar soaring vocals to that of Amy Lee, and you get that pairing of male vocals from bassist Marco Hietala. Unlike Evanescence, this female/male pairing exists on most tracks and Hietala’s vocals are more metal than rap. I think the pairing of vocals works well on most of the songs. Wessels vocals are good here, but I wouldn’t say as good as Amy Lee’s; having the male part is a nice complement though.

What I don’t like is the few tracks that add the death metal grunting paired with the vocals. It’s just too much of a disparity. Also, I am not a fan of the sound of the synths on Lucidity. Not that the playing or the parts are bad, but the quality just seems to be lacking compared to everything else going on. It seems like a simple fix would improve these songs tremendously. The bonus tracks also make the album too long and are really unnecessary, I’d prefer the length and flow without them.

What I have heard of their other release, April Rain sounds improved. The synths sound is better, Wessels sounds more confident, and in general the songs sound more mature. I did not notice any male vocals on it, but the newer songs seemed fine without them. I haven’t heard it in it’s entirely, but if this style interests you, I would recommend looking to that album first, and then coming back to Lucidity.

Hot Tracks: Frozen, See Me In Shadow, The Gathering

Kevin Kozel - Sr. MuzikReviews.com Staff

June 24, 2010

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The Blood of Heroes - The Blood of Heroes

The Blood of Heroes’ self-titled release is the veritable soundtrack of the post-apocalypse; a post-modern meltdown of genre and form where chaotic soundscapes reign. The album sounds like the evil twin of Prodigy, if he were to light himself on fire and run around the set of Terminator Salvation with a mini-gun. Justin Broadrick (Godflesh, Jesu, Napalm Death), Bill Laswell, Submerged, End.user, and guest vocalist Dr. Israel collaborate to bring us this hard-hitting release.

Sonically, the album’s mix is superb. The Blood of Heroes features a hefty amount of ambient noise that is delivered tastefully. Many artists struggle with using pads/ambient sounds in a way that enhances the music without being overbearing, which is not an issue for The Blood of Heroes. Not only do they use these tools effectively, they also have succeeded in creating an album that flows from start to finish. Each song is unique, yet written and mixed to sound like a cohesive work. All too often in the age of digital downloads the art of creating album is lost. The Blood of Heroes succeeds in delivering an album rather than a hodgepodge of unrelated tracks. It is also especially impressive how individually, many of the instruments are intended to sound messy, yet the end result is extremely high in fidelity. For example, guitars and basses are layered with grainy synthesizers resulting in a fairly chaotic sound. Regardless of this fact, the individual notes that each instrument are playing remain discernable. Industrial-influenced releases have the ability to sound very amateurish, but The Blood of Heroes is one of the most polished releases I have heard in a long time.

Dr. Israel’s contributions to the album really set The Blood of Heroes apart. His lyrical style and accent, coupled with a distorted (and occasionally detuned) vocal treatment, sound haunting when paired with the album’s sinister music. The good doctor’s voice is spatialized with delay effects, which is a pleasant throwback to dub music.

The Blood of Heroes is truly a hard album to categorize with influences ranging from doom metal, deathmetal, and grindcore to film scores, dub, and various electronica styles. The group has managed to blend these elements to create a one-of-a-kind masterpiece that is relentlessly heavy from start to finish. Not only is The Blood of Heroes a great album, it should also be the mandatory soundtrack for every intense sci-fi action film.

Key Tracks: Blinded, Wounds Against Wounds, Transcendent

Matt Shelvock – MuzikReviews.com Staff

June 24, 2010

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Sun Domingo - Live in Montreal, Marillion Weekend 09

When it comes to live albums, artists need to be very, very careful in the execution of both the concert being recorded for the album, and the final product of the album itself.

From the sound quality being off—too loud, too soft, too harsh-- to the artist not realizing that the amount of talking usually done in a concert might not work well on a record, to just losing the overall vibe of the performance, there’s a lot that can go awry on live albums.

Luckily, Atlanta-based rock band Sun Domingo does a pretty good job of avoiding these issues on the recently released Live in Montreal, Marillion Weekend 09.

The trio, made up of Jason Pomar, Edgel Groves, Jr., and Nathan Lathouse, give a performance that is totally in sync the entire way through. This is easy enough to accomplish when recording in a studio, but to be consistently spot-on with each other throughout a live concert? Impressive.

Musically speaking, Sun Domingo maintains an excellent balance. No instrument is more prominent than the others, nor does the overall effect of the instruments overpower the vocals. Rather, the instrumentals and vocals serve as complements for each other, creating a brilliant cohesion. Lead vocalist Jason Pomar’s voice has a few points where it sounds strained, but it’s hardly distracting or off-putting.

As for those little problems that live albums can run into? Barely present. Live in Montreal does a great job of translating the feel of the live performance to a recorded, second-hand listening experience.

The sound quality is good, the talking is kept to a minimum (perhaps a little too minimal), and the music itself is performed well. The atmosphere of the concert at which the album was recorded comes across through the music, giving the listener a live album that actually feels as though you’re getting pretty close to the actual experience of attending the concert, rather than feeling the disconnect found on so many live albums. The music is fairly mellow rock, which makes it a lot easier to imagine yourself at the concert, and helps to make the album a success.

All told, Live in Montreal, Marillion Weekend 09 is one of the best live albums I’ve heard. I definitely recommend having a listen.

Hot Tracks: Santa Teresa, Mad Maze, Immigrant Song

Carly Doenges—MuzikReviews.com Staff

June 20, 2010

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Various Artists - Thalamus III

A thalamus is a small structure deep in the brain that helps coordinate sensations and consciousness. If you want to make yours rattle and hum, listen to Thalamus III, a two-disc set of intense ambient music recorded live in 2005. The performance took place in St. Petersburg and the artists are pillars of the Russian Industrial music scene. It's dark and gritty noise music that draws you in and freaks you out at the same time. Expect trippy collages of musical and industrial sounds, not pulsing house music.

This sort of industrial art noise is similar to more mainstream electronic music. It's full of synths and samples and some of the tracks do have a steady bump to them. “Unknown Track 1” byNeizvestnost' has an almost Latin dance feel and “Cambodia” by DMT suddenly explodes into 30 seconds of loud, steady pounding. A few other tracks have down-tempo trip-hop-style drum beats. You'll hear samples of voices in at least two different languages, babies crying, singing obscured by static. It all adds to the atmosphere. In the foreground of “Untitled 1” by Bardoseneticcube a fervent male voice orates in German and it's unsettling. It's also part of one of the album's best tracks, a riveting collage that constantly evolves and changes shape.

I recommend all one-and-a-half hours of dark vibes and trippy soundscapes on Thalamus III. The musical engineers featured are far-out creative experts, and listening to it you might feel transported to a mental foreign land.

Best Tracks: Neizvestnost' - Unknown Track 2, DMT – Cambodia, DMT – Cannibalism, Bardoseneticcube - Untitled 1

Nathaniel Rolnick – MuzikReviews.com Staff

June 22, 2010

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The Sunset Curse - Artificial Heart

The Sunset Curse calls their music electronic-thrash-rock. I can agree with that description for the most part. The thrash element is apparent however it’s not one that stands out too much. Their new album Artificial Heart is primarily electronic-rock and because of that this recording is quite solid.

Chris Nelson (vox, guitar, keys), Bradley Bakewell (bass, guitar, vox), and Cody York (drums, synth, programs) are three guys that obviously know what they are doing in the studio. This is not the kind of music that is for everyone and it’s everything but mainstream.

“Slow Lover’s Sky” is more like Brian Eno than rock and thrash. The instrumental track sets itself apart from the rest. It’s a ghostly ambient track that is actually very cool. Everything that comes before it takes a nod from the early 80’s electronic-rock-pop genre from the likes of Thomas Dolby to hints of Red Rider (Tom Cochrane’s band) and such, just with a harder edge. That is where the thrash and rock work together to give The Sunset Curse their own definitive sound that stands by itself in 2010. The title track is a knockout punch in every way and the one track that helped me to realize just how good this band is.

At first I did not take a liking to this CD but then I sat down again and listened to it in its entirety and got a different view of it. There are a lot of things going on here considering there are only three guys making the music. Chris Nelson’s voice will remind you of other vocalist you have heard but the music is very different and hard to pin down and put in any one box. This is the thing that hooked me about this album. I loved the guitar work, its jangling and echoing grooves sucked me right in as Nelson’s voice gradually becomes the perfect complement to the musical curtain that falls over your senses. “Life Is An Ocean, Death Is A Breeze” is a superb track that shows you everything the band has. The lingering atmosphere is a pool of swirling guitars, vox, keys, bass and drums. Then to really throw you off they close out the CD with “World Burning” which sounds like more of a folk-pop outfit stretching out rather than the manic intensity you just got through listening to.

This is the kind of eclectic musicianship that will keep listeners coming back for more, wondering what it is they could have missed the first time around. Chances are there will be plenty to hear a second and third time right around the corner. I enjoy this music the more I listen and realize if I had not given it a fair shot that I would have missed out. I am glad I kept an open mind and discovered a new band with a unique sound that I know I will always enjoy now.

Key Tracks: Life Is An Ocean, Death Is A Breeze, Slow Lover’s Sky, Artificial Heart

Keith “MuzikMan” Hannaleck

June 21, 2010

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Downchild - I Need A Hat

Downchild's current lineup has been together for over 15 years, and I Need A Hat shows their experience and talent. Don Walsh leads the group, followed by Chuck Jackson, Pat Carey, Michael Fonfara, Gary Kendall, and Mike Fitzpatrick, with others scattered in on random instruments.

I Need A Hat is the kind of album that Muddy Waters would be proud of. Downchild is from Canada, but they play with the kind of soul that the Chicago blues legend would love. The music is playful but precise, and full of style. The harmonicas rip through each song and the trumpets and saxophones add flavor, while the drums do way more than keep the beat.

The lyrics are clever and the vocals don't sound all that Canadian. On “Some More of That”, Walsh sings, “I'm working like a dog/but the world keeps moving like a pup.” Not all of the songs have vocals, but the ones that do make up for the lack of lyrics elsewhere, and the ones that don't honestly don't need them.

Downchild has been around for a long time for a reason. They play with the kind of tension free precision that can only come from years of improv and obvious respect for each other's talent. You'll feel the same respect after you hear I Need A Hat.

Key Tracks: I Need A Hat, Some More Of That, Down In The Delta

Abbey K. Davis – MuzikReviews.com Staff

June 21, 2010

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Alyse Black - Hold Onto This

Alyse Black has a voice that stops you in your tracks. It’s a natural voice that someone is simply born with rather than worked on over years. She is a natural born singer who thankfully gave up her career in international business to return to her true love, music. Hold Onto This is an everyday album. No matter what happens in your day there is a song on this album to fit what you’re feeling. It’s a complete range of emotions that are backed by beautiful music that only adds to the elegance of her voice. Nowhere is that more on display than on “Up in the Air”. The song sounds huge with so much great reverb that it sounds like it was recorded in an empty concert hall. Ms. Black’s voice soars and dives like a bird drifting with the afternoon breeze. The subdued music lead by a beautifully played acoustic guitar fits in with drawing attention to itself like a nice tie on the perfect suit.

“Wild Child” has a vocal line that rises and falls like an erratic day at the stock market. In contrast to the fear of losing all your money and having to pick up a shift at Red Robin to pay the rent, you find yourself enjoying the up and down ride of your life. It’s a smile inducing rhythm that is paced beautifully with the help of a beautiful touch of horns. “To Please You” is a slow boat ride through the life of a relationship that has gone wrong. The lyrics speak to anyone who has ever been left with questions after a relationship comes to its sad and confusing end. Alyse doesn’t leave you feeling sad for too long though as the next song, “Super Hero” brings the mood back up with its Jazz tinged vocal track and uplifting mood of love.

In 2008 Alyse Black won 1st Place in the ISSA Singer-Songwriter Song Contest in the Jazz category and was a final nominee is the Adult Contemporary category. Considering the incredible quality of the twelve songs on Hold Onto This it is proof positive that Ms. Black has chosen the right course in life. Some people forget their dreams or get lead astray for whatever reason. In Alyse’s case the world of business seemed to be the calling that lead her away from here childhood dream of being a singer/songwriter. Musicians always find their true north eventually and true north for Alyse is clearly writing songs and singing like an angel.

Hot Tracks- Wild Child, Willowing, Up in the Air

Doug Morrissey MuzikReviews.com Staff

June 21, 2010

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Phil Sargent - A New Day

Progressive jazz guitarist Phil Sargent’s second CD, A New Day, is his first release as leader since his debut, For Carl, in 2002. During the intervening years Sargent has been very busy as a sideman working with a variety of well-known band leaders such as Jerry Bergonzi, John Lockwood, Bruno Raberg and Bob Moses. He also performs and records with band mates Greg Loughman on bass and Mike Connors on drums, in the group Iskar, playing a blend of prog rock and free jazz. Sargent and Connors, also perform with the Industrious Noise Trio, an avant-garde jazz three-piece. On A New Day, Sargent, Loughman and Connors are joined by pianist, John Funkhouser and vocalist, Aubrey Johnson for seven tracks of Sargent’s original compositions. Sargent is as much a composer as he is performer, writing not only specifically for this quintet, but also for his other outlets. Although lengthy improvisations are a key element of his music, his compositions are intricate, comprised with complex harmonies and elaborate melodies.

Featuring prominently in the group’s sound are the vocalizations of singer Aubrey Johnson, often in unison with Sargent’s guitar. Johnson’s facile, light soprano easily follows even the most complex of Sargent’s runs. The voice-guitar combination has a transfiguring effect, creating a unique instrumental sonority. Sargent uses an array of pedals to control various electronic effects, but these are often subtle and enhance rather than interfere with the music. A favorite of Sargent’s is the volume pedal which he deftly applies to soften or eliminate the string attacks, resulting in a rounder more bowed string quality. The music occasionally takes on a rock beat with Sargent applying distortion as the band kicks into full fusion mode, but this is more the exception than the rule.

The CD begins with the title track, “A New Day,” marked by modern jazz harmonies a la Metheny or Rosenwinkle. Elements of “A New Day” are indicative of other selections on the CD, interesting harmonies, complex melodies with vocalization, progression building to an intense, free-style climax and a return to the top. “Kelita” is an appealing slow Eastern European dance style piece with a pulsing bass and modal vocalized melody. Loughman has a long bass solo exploring the low and high ranges of his instrument, improvising yet maintaining strong references to the melodic theme. He is followed by Sargent whose alternating fast runs and lyricism are colored by the occasional special acoustic effect of partially muting the strings with the heel of his right hand as he plays. After a low key intro, “8/31” settles into a steady rock beat with an unusual and memorable melody in guitar and voice. Vocalist Johnson is featured in “Light,” a Brazilian flavored slow, subdued jazz piece with brushes and lots of cymbals on drums and soft arpeggios on guitar and a guitar solo which includes long Rosenwinkle type runs but also chordal, harmonic sections and another nice bass solo. “Gridlock” is a more experimental piece with dissonance, angular melodies and shifting tempos. “Powerplay” is a driving, distortion-guitar rock-fusion piece where Johnson flawlessly follows every leap, twist and bent note Sargent turns out. Sargent blasts through solos with rock-like riffs and power chords. The CD ends softly, but beautifully with “Nobody Nothing” an instrumental ballad with long, lyric, Metheny-like, sometimes soaring guitar lines and great drum work from Connors who changes the feel from jazz to rock effortlessly.

The multi-talented Sargent works hard at his craft, composing with purpose rather than simply to create a takeoff point for solos. And, he constantly tweaks and colors his playing, sometimes using electronic effects, but more often using performance techniques such as switching from pick to fingers, partially muting certain notes, softening attacks and shifting from single lines to octaves and other harmonic voicings. The entire band puts tremendous creative effort into creating diverse and interesting sounds. They all seem as emotionally attached to the music as Sargent himself. In other words, Sargent and his band are a part of what keeps jazz interesting and alive.

Key Tracks: A New Day, 8/31, Powerplay

Mike Reynolds-MuzikReviews.com Staff

June 13, 2010

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Acidic - Getting Lucky

LA band Acidic has a solid release in Getting Lucky. The 12-track sophomore album brings me back to the summer post high school graduation - Just old enough to have real angst, but not really any other cares besides having fun. It would be a surprise if teenagers everywhere couldn't relate to every song. The alternative rock band has unique vocals and a bit of a dark undertone, which sets itself apart from today's pop-punk invasion. The majority of their angst comes from what else - girls. Most listeners will appreciate the band's bold approach to dealing with their relationship woe’s, showing that not much can keep them down.

The first track "Tell Me" sets a great tone; it's catchy and hooks you in, the chorus will be stuck in your head well after the album is over. Acidic has taken cues from their rock influences and keeps the momentum going. There is an obvious hit in "Strata Red" where vocalist Mike Gossard is obsessing over a girl that is taking up his every thought. The song opens with the boy yearning to see his girl, captivated by her "eyes, hips and cherry lips". The next track is one of the few slower songs on the album, but doesn't leave the listener bored- it's one of those tracks that will sucker in the girls by showing off the bands softer side. There are plenty of opportunities to kick the album back up with songs like "Liar", that has a distinctive opening guitar riff, followed by "Waiting For Someone" and "Retrograde". The last track on the album "Maybe" makes sure to leave a positive lasting impression. There is an undeniable catchiness to Acidic's whole album that fans of pop/rock/alternative music will love. For a band this young to be able to fit in with the likes of Green Day, Mest, and The Deftones is quite a feat.

While Acidic might not be breaking new ground with Getting Lucky they are certainly making a name for themselves. If their live show is as engaging as their full length recording, these guys will be packing venues in no time. Having already rocked SXSW 2010, great things will be in Acidic's future- I know I can't wait to share their album with every teenager I know.

Key Tracks: Strata Red, Maybe, Tell Me

Jamie Strycker– MuzikReviews.com Contributor

June 19, 2010

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Jameson - South Shore Girls...

Matthew Jameson is a solo artist on mission to win you over in more ways than one. Let me start by saying that the CD EP South Shore Girls… Jameson sent came in the most interesting package. In fact, I would say I have never received anything so clever in my twelve years writing reviews. He sent the CD in a homemade box that looks like a miniaturized version of the old 45 (vinyl 7”) records case. Outside the box is decorated with is an assimilated brass colored latch and on the top is a fender guitar pick. Inside was the CD with more decorations like an old piece of wallpaper, another pick, a Kennedy Half Dollar with arrow pointing to it that says “Bribe”. Now if that was you, wouldn’t you be smiling and already on this guys side? Well it worked for me and made me laugh. I usually don’t carry on like this about packaging of submittals for review but I was just so tickled by the entire presentation I just had to share it!

Ok so now the question; will the music live up to the packaging? Well this is an EP so there is not a lot of breathing room to make a big impression and you have to catch the ear quickly or your history. What always impresses me about indie artists like Jameson is their ability to do it all and produce a product that is actually quality and something that can cross over and reach a broad range of demographics. He wrote, recorded and produced the entire EP. The only criticisms I can offer is that the entire mix could have been better, particularly the drums, which sound thin and too far off in the background.

South Shore Girls… offers up five tracks that puts the artist in a good light. “Superhero” is about as catchy a track as the come, focusing on the pop-rock style that Jameson is capable of with layered guitars and emotive vocals that ring true and really bring the meaning of the song home. “Talk Me Down” really got my attention as well, all the pieces are in place on the track and you just cannot ignore it. Honestly I think that Jameson has the potential to release every track on this EP as a single. “Going Home” is perfectly placed to close out the recording as the title suggests.

If you like the singer/songwriter type that knows how to pen a lyric, sing it and then delivers it musically, this is your guy. I will look forward to a full length album some day from this up and coming artist.

Key Tracks: Superhero, Talk Me Down

Keith “MuzikMan” Hannaleck

June 19, 2010

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Johnny Cash - Setlist -The Very Best of Johnny Cash Live

It’s not often I get to review an artist that I don’t have to give some background on, so I am excited to review a new release entitled Setlist – The Very Best of Johnny Cash Live by the legendary “Man in Black” himself.

As the title implies, this is a compilation of live versions of many Cash classics. In this case there are 14 of them, and as to be expected, they’re all superb. There is a reason we all know who Johnny Cash is after all (and it’s not just because of Joaquin Phoenix).

Of course many of us know several of these songs. Even if you know a few of them, you have a pretty good idea of what the rest of them sound like too. You get that deep voice and freight train sound that made Johnny the legend that he is.

What’s nice about this collection of songs is that Cash was a great live performer. It sounds great hearing his adlibbing and the crowd noise on these classic recordings. Personally, I enjoy the tracks with June Carter best. They bring out the best in each other on these songs, and with good reason of course.

That said, the one gripe I have about the classic recordings is that some of Cash’s most famous recordings are already live. In the case of “Folsom Prison Blues”, this comes from At Folsom Prison, so this and several of these songs are already available on classic albums that have entire shows along with the banter between songs and what not. For many artists a live “best of” album is a unique thing, but for me, I’d still rather have At Folsom Prison then this recording if I had to pick between the two. But outside of that, you really can’t go wrong with Setlist – The Very Best of Johnny Cash Live. It’s a nice collection of classic songs by a great live performer.

Key Tracks: Folsom Prison Blues, I Got a Woman, Children, Go Where I Send Thee, Wreck of The Old 97

Kevin Kozel- Sr. MuzikReviews.com Staff

June 17, 2010

For Questions Or Comments About This Review Send An Email To Kevin koz@muzikreviews.com

Christian Fabian - Keys In Ascension

For many years I have maintained a strict boycott on any music that is made by or performed by anyone from Sweden. This ban is in retaliation for the likes of ABBA, Ace of Bass, and Yngwie Malmsteen. I’m glad to say that my boycott has apparently finally been recognized as Sweden is redeeming itself with the likes of Christian Fabian. Granted, Christian moved from Sweden to Germany when he was 6 and I suspect it may have been this move that has saved his music from going all Waterloo, but I’ll still consider it a win for Sweden.

His latest release Keys in Ascension is a wonderfully creative album that mixes a few covers by the likes of Miles Davis, Charlie Parker, Cole Porter, and Jimmy Hugh with some original recordings that stand tall amongst the forest of jazz masters. Covering legendary Jazz masters like Miles and Charlie is a daunting task but the Fabian Zone Trio treats them with the respect and class they deserve. The Miles Davis cover “Jean-Pierre” from his album We Want Miles, is beautiful done with Don Friedman’s piano sounding crisp and the horns paying tribute to the giant footsteps they are standing in.

With Christian manning the upright bass, the Fabian Zone Trio also consists of Don Friedman on piano, and Willard Dyson on drums. The band seems to have a Napoleon complex as they play with a sound much bigger than they are. That sound is helped along with some very special guests including Ada Rovatti playing tenor and soprano saxophone, Cleave Guyton playing alto saxophone and flute, trombonist Elliot Manson, and Brad Manson on trumpet and fluegel horn. The guests only add to the songs like a nice wine to a perfect dinner. Their horns weave in and out of the music masterfully like a painter blending colors.

The old standard “On The Sunny Side Of The Street” receives special treatment that is guaranteed to relax you down into your softest chair and enjoy watching the ice cubes melt in your drink. “Wave” is a demonstration of how to allow four horns to burn like a wild fire around a beautifully subdued rhythm section. It truly is stunning to listen to genius. “Kalle Anka” starts off with the most amazing sounding snare drum that is only complimented by Christian’s bass keeping time right along with him. The song is perfect blending of cool jazz that just makes you feel cooler for listening to it.

The Fabian Zone Trio deserves your attention because they are hands down one of the best trio’s out there today. With the help of some friends, they have crafted an album that should be recognized as a masterpiece in jazz.

Key Tracks: Jean-Pierre, Kalle Anka, Wave

Doug Morrissey-MuzikReviews.com Staff

June 17, 2010

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Iron Kim Style - Iron Kim Style

Iron Kim Style. The name is just about as nonsensical as the music produced by the band members who represent it. I am all about “fusion” but this is just ridiculous. Iron Kim Style even has trouble defining what they are on their Myspace page. Apparently jazz/rock//metal fusion is just a bad idea. Good to know.

One of the bands’ downfalls (one of them anyway) is that it doesn’t pick a sound. You can’t be Duke Ellington and Metallica; I am sorry to crush the dreams of anyone who aspires to do so (and if you do, my deepest condolences-for more reasons than one). The music itself doesn’t have a pattern. I realize jazz has the freedom to be free form and with the free styling and the scatting. That is all fine and dandy, but the other requirement is to at least do it well. In my opinion I think they are trying to be too many things. As per other aspects of life, it is impossible to be 100 places at once.

Most of the Iron Kim style of music I have come across only manages to accomplish one thing…. Confusing the hell out of your ears. Running the risk of sounding like a 1950s housewife I am going to be bold and say that this music sounds like noise, noise I could do without. Specifically, the song “Jack out the Kims” is one song I recommend you to listen to in order to understand what exactly I am yammering on about. Let the confusion ensue. Your ears have been warned.

Sounds Like: Miles Davis, Olivier Messiaen, and Terje Rypdal

Key Tracks: Jack out the Kims, Pachinko Malice, Adrift

Manasa Vedula-MuzikReviews.com Contributor

June 16, 2010

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Sora - Heartwood

I put on Heartwood, the most recent album by Canadian singer/songwriter Sora, for a friend of mine and he said “I feel like I'm in Lord Of The Rings.” With Sora's courtly style, Celtic influences, and operatic voice, she'd perfectly fit the soundtrack of a Fantasy epic. Relax and listen to these dreamy soundscapes and you may be transported to a dewy Irish briar, sprites and fairies fluttering about, or you might be bored out of your mind. Either way, don't put this disc on during a party unless you're trying to clear it out and get to bed.

On Heartwood Sora croons simple songs over lavish orchestrations. A string quartet meshes with chimes, harp, synths, accordion, various other instruments, and something called a Marxophone that sounds like a mandolin combined with a harpsichord. It's a nice thick brew doused in reverb. I think Sora and producer/arranger Douglas Romanow are trying for an “enchanted forest” sort of backdrop. There's a traditional Celtic core but it's decorated with modern trimmings. You might hear something like this at a hippy-dippy women's retreat. I'm not knocking the quality of it at all, though. The arrangements are really thorough and smart. It's lush, soothing music and completely top-notch production.

Sora's first album was entirely folk songs of the British Isles, but all eleven tracks on Heartwood are original. Her style of writing is mostly traditional but a few inventive tricks stand out. The orchestration on “Hurricane” sounds fresh with some jangly electric guitar and a bit of eastern flavor. Bits of Tabla and Sitar-like drone sounds dot the song, and something that sounds like a flute (I think an accordion or synthesizer) plays cool jazzy licks. “Eurydice” slides back and forth between major and minor keys with an exotic-sounding melody (for the music dorks out there, it shifts between natural minor and phrygian major. Cool.). The lyrics shift between folk legends and personal stories. It's all a balancing act between traditional roots and the creative juices of a hard-working singer/songwriter.

Give Sora's Heatwood a chance if you want soothing, earnest songs with high production value, or if you're curious to hear a Celtic folk singer branch out and perform original songs. She's a talented mezzo-soprano so fans of an operatic style may be more than satisfied. There's a chance you'll be bored to tears, but one person's dull is another person's soothing relaxation.

Best Tracks: Hurricane, Eurydice,Twilight

Nathaniel Rolnick – MuzikReviews.com Staff

June 15, 2010

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Blisted Pearl - Blisted Pearl EP

For three twenty one year olds living in Essex and going through with writing, arranging, and mostly producing their own music, Blisted Pearl conceived and released their first EP earlier this year. Over Easter the band recorded their first 4 track EP at Stagg Studios in Whitam, Essex. Within three days, the band recorded all the instrumental elements and vocals with another day spent purely on mixing and mastering the self titled EP.

Referencing the likes of the Foo Fighters, Biffy Clyro, and The Replacements as primary influences in their music, the first track of their self titled EP, “Saw You” alludes to a deep admiration to the efforts put forth by Dave Grohl and company. The track features the churn of repeating guitar riffs that rely on the heavy drum influences as the song’s backbone. To their credit, the trio has an adept handle on writing lyrics and melody structure.

Elsewhere, “What We’ve Got Left” is somewhat typical garage band fodder that offers a taste of relationship pain in a personal and heartfelt manner but also highlights the variance in the quality of both the recordings and arrangements on the EP.

The stand out track on the EP is definitely, “Bring Them Home” a track about soldiers at war, with all profits from the track going to the Help for Heroes organization. The song begins with a military sergeant yelling “Left, Right, Left” and follows onto a track where everything comes together. The lead singer’s vocals are honest and sincere in his delivery as are the lyrics, which are tied into a well crafted melody.

Overall, Blisted Pearl’s EP is a good base for future growth; however the young band is obviously aware of the effort and mastery needed to proceed in the indie scene, which is teeming with small rock outfits like theirs. The EP is a strong and mature album, and is an indication of good things to come from this young band.

Key Tracks: Bring Them Home, Saw You

Rukshan Thenuwara – MuzikReviews.com Staff

June 17, 2010

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Bill Price - With the Eye of a Skeptic and a Few Other Likely Stories

You might be skeptical about Bill Price before you hear his music, but With the Eye of a Skeptic and a Few Other Likely Stories will leave you sure about his talent, not only with music but with songwriting, timing, and vocals.

It's easy to compare a folk album to a Bob Dylan one, but even though Price at times sounds a little like the folk legend, he deserves better than a simple comparison. His songs tell stories in a smart, witty, wordy way – like Jason Mraz without the fluff. Price surely is the master of wordplay.

While the music on With the Eye of a Skeptic is great, (it's classic folk filler with a healthy twang), the lyrics are the main point, and the album's real treasure. On “Skeptic's Lullaby”, Price sings, “People's lives they are unraveling – relationships bizarre/now men they drink their madness and curse their jezebel/while the women bathe in sadness – tell themselves it's just as well”. The entire album is full of such lyrics, without an obvious rhyme or pointless word thrown in to fluff anything up.

References to history, popular culture, and other artists are everywhere. Even songs without obvious references are smart and modern. On “Blue Period Blues”, Price gets funky and sings with style, “She inspired every stroke but bohemians go broke/so he painted in the dark/but he painted from the heart/but all she would ever say is, 'Do you call that art?'”

With the Eye of a Skeptic is definitely art. Its modern folk with a twang and a groove that will leave you feeling like you got your time and money's worth.

Key Tracks: Blue Period Blues, Election Day, Last Word

Abbey K. Davis – MuzikReviews.com Staff

June 15, 2010

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Red Directors - Wave It In

We start on Sunday and within the span of 10 tracks end on Tuesday. The Red Directors sure do like the days of the week on their album, Wave it In. With a distinctly west coast sounding guitar sound with New York, East Village vocals they are non pretentious indie rock. It’s accessible, pleasing to the ears if you will.

This album is fun. It’s very light and doesn’t drag on and on. It starts right with “After Sunday” and ends on the right note (and the right time) with “142 (on a Tuesday).” It has the right amount of rise and fall. There is nothing good about an album that makes you dance every single song; one does need a water break at some point after all. Red Directors gives you that nice smorgasbord of sounds. You can dance, you can sway with a lighter in your hand and you can just simple chill out and become one with the couch, it’s really whatever you like.

I know, I know, as of late much of what comes out of the indie rock vein has the stigma of sounding all the same but these guys aren’t monotonous. They have one track, “Naked in the Kitchen”. It’s about, well, being naked in the kitchen and frankly getting down to “business”. The song has you wondering why the hell you, yourself, aren’t naked in the kitchen. Like I said, fun. How many bands are rocking out singing about being naked in the kitchen? Yeah, that’s what I thought.

Lead singer and guitarist Trevor Potts has an infectious voice that is bound to get stuck in your head. Not in that "I'm a grown man singing Christina Aguilera" kind of way, but in a good way--meaning you'll actually like this being engrained in your cranium. It has a tremendously poppy appeal while not being anywhere near the bubblegum aisle. Red Directors are a musical pleasure that doesn’t have to be guilty.

Sounds Like: Gaslight Anthem, Jonathan Rice

Hot Tracks: Naked in the Kitchen, Amazing, After Sunday

Manasa Vedula-MuzikReviews.com Contributor

June 10, 2010

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Elvin Bishop - Red Dog Speaks

Ecard

These days, true blues-men are in short supply. The music that was so influential in spawning rock and roll has left the limelight, but Elvin Bishop’s latest release Red Dog Speaks proves that the blues is alive. After his critically acclaimed 2008 album, The Blues Roles On, Bishop and his Gibson 6-string are at it again, highlighting Bishop’s unique story-telling style and ballsy slide playing. Red Dog Speaks features a ferocious blend of blues, rock, boogie, do-wop, and gospel with a pocket as deep as the Grand Canyon.

Red Dog Speaks begins with Elvin introducing his 59’ Gibson and recounting their journey as “partners in crime.” The album’s title track is warm and inviting and is guaranteed to encourage a few smiles. Bishop’s playing and writing style can be characterized by its honesty. There is not a moment on Red Dog Speaks where Bishop does not tell the truth, whether it is with his words or his instrumental passages. He has style and character, with the ability to make one’s hair stand on end with only a few notes. Where others play with sterile virtuosity, Bishop plays with heart.

The album’s tracks are each a different approach or style of blues, without sounding like a hodgepodge. There is flow and continuity as Bishop takes us from track to track, making the album feel very pure. “Neighbor Neighbor” is a ballsy mid tempo blues track, complete with keys and horns as well as a typical blues combo. Bishop turns up the intensity with the song “Get Your Hand Out of My Pocket,” an up-tempo jump blues track where his guitar solos are particularly wild and free. “Doo-Wop Medley” stands out as a track that is quite different from the rest as an instrumental homage to the music of the 1950’s and early 1960’s.

Red Dog Speaks takes the listener on a trip to a smoky old blues bar, buys him/her a few pints, and captures an unrivalled sense of good ol’ fashioned blues-honesty. Bishop’s guitar playing and warm story telling style are consistent through the entire album, giving the listener a sense that he/she knows Bishop. This makes sense of course, given that Elvin Bishop continuously keeps it real.

Key Tracks: Doo-Wop Medley, Neighbor Neighbor, Get Your Hand Out of My Pocket

Matt Shelvock – MuzikReviews.com Staff

June 8, 2010

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