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Ooooh, her music is so dreamy. And she’s not hard on the eyes, either.
The press release for Jem’s upcoming album Down to Earth threatens that it will be a disturbingly eclectic affair, using choirs, banjos, Latin beats and even Cut Chemist doing his thing. Her blog-approved song “On Top of the World,” however, is all about the blissed-out pop. Not that there is anything wrong with that. St. Etienne’s best-of receives near-daily play at Chez Medsker, so this sounds just fine to me. I will reserve judgment on the “funky banjo” track until I hear it, though. |
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Former Blue Merle frontman Lucas Reynolds has always looked cooler on paper (raised in a geodesic dome by a woodworker; spent time as a river guide and cattle rancher before moving on to music) than his music has suggested. For all their off-kilter promise, Blue Merle frequently sounded like nothing so much as Coldplay lite – a damn shame for a Nashville buzz band with a mandolin player and a violinist in the lineup. Now that Blue Merle has bitten the dust, Reynolds has moved on to Pictures and Sound, and adjusted his sound accordingly: this 10-song set sounds like what might happen if Bob Schneider collaborated with Citizen Cope. That’s a good thing, in case you were wondering – although Pictures and Sound lacks the “raw energy” Reynolds claims to have been aiming for, it boasts unobtrusive production and plenty of hooks to go with his butter-soft vocals. Highlights include the instantly memorable “It’s You” and “100 Directions,” as well as “Every War,” which combines remedial peacenik poetry with a wonderfully left-field appearance from Willie Nelson. If you have a significant other who’s been tormenting you with Jack Johnson records, swap ‘em out for this. You won’t be sorry. (Vanguard 2008) |
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When David Ford released his 2006 album, I Sincerely Apologise for the Trouble I Have Caused, we gave him a pass. That’s because his brooding folk/pop was novel, and it was fun to hear a guy like so pissed off showing us just how anger could translate into humorous yet powerful songs. Kind of like, “Take that, bitch.” But this time around, Ford’s Songs for the Road, while more of the same fare, just comes across as, well, bitter. And you’ll be like, “Dude, shut the hell up already.” The British singer/songwriter knows how to craft a song, so we’ll give him that. But this time around, Ford is like an angry James Blunt—well, slightly cooler than Blunt but a little less fucked up than Amy Winehouse. Songs for the Road has two tracks that especially bring out Ford’s inner bitter—“Go to Hell” and the musically uplifting yet slap-in-your-face “Nobody Tells Me What to Do.” Anything beyond that, and you’re going to wish this dude would just go away. And the sad thing, really, is that you know that if David Ford fell in love and wrote some heartfelt songs that reflect that, he could be amazing. But for now, dude just needs to lighten up. (LABEL: RED/Independiente) |
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Pianist/arranger and smooth jazz veteran David Benoit continues to celebrate 30-plus years of making music, and with his new Heroes album, pays homage to those who have influenced him over the years. Benoit, not surprisingly, takes songs by the likes of piano legends such as Bill Evans, Oscar Peterson and Dave Brubeck. But then he lets his guard down a bit, and takes on a few of his pop idols — Michael Jackson, Elton John, the Beatles and the Doors. You might think the result is akin to elevator music, but when you realize how masterfully Benoit arranges songs like “Light My Fire” and “She’s Leaving Home,” you can’t help but give the guy props. As with most of the smooth jazz genre, this is great for Sunday mornings, quiet dinners or just relaxing. The rest of the time, you’re better off with the original versions. (Peak 2008) |
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It wasn’t all that long ago that successful American female songwriters were a rarity – when Ann Ronell scored a hit with “Willow Weep for Me” in 1932, she broke a barrier that still remained mostly untested at the dawn of the rock era – but that certainly isn’t the case in the 21st century; by the time Ronell passed away in the early ‘90s, the novelty of a woman writing her own music had long since worn off, and these days, we’ve got a veritable glut of singer/songwriters offering the female perspective. All of which is sort of a shame for Anya Singleton, really – after all, if she weren’t one of a crowded pack, her debut full-length, The Other Side, probably wouldn’t sound so tired. Singleton has a great set of pipes, a solid band, and a terrific producer in Rob Arthur, but these 11 songs – most of them falling squarely into the “tastefully mid-tempo” sweet spot favored by baristas and soundtrack supervisors – don’t do a whole lot to distinguish her from any one of the two or three dozen other performers you can find plying their wares in any random bar or club on any given night of the week. The best thing about the album is undeniably her voice – from here on out, she’d do well to either attend some songwriting seminars or just stick to interpreting other people’s material. (Hybrid Music Productions 2008) |
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Ever wondered what it might sound like if Natalie Merchant fronted Evanescence? Yeah, us neither, but Sony’s betting we’re in the minority – and they might just be right, judging from the way soundtrack supervisors at MTV have taken to Mandi Perkins’ music, featuring the corseted Canadian’s melodramatic pop songs on shows such as “The Hills” and “The Real World.” One listen to Perkins’ major-label debut, Alice in No Man’s Land, is enough to let you know that she’s a perfect fit for the network’s teen-focused reality programming – the songs are larger than life and embarrassingly serious, just like the problems faced and emotions expressed by the shows’ stars. Of course, Perkins can only write what she knows – and give her credit, because the girl can really sing – but all the bombast gets pretty numbing after a while; you can’t listen to the whole record in a single sitting without feeling like you’re being beaten over the head with the overwhelming significance of it all. Her music isn’t without promise, but next time out, Perkins would do well to explore her dynamic range a little more. It might not get her music on MTV, but a little subtlety never hurt anybody. (Sony BMG/Victor 2008) |
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They may have arrived to the new-new wave party a little late, but RadioRadio still managed to build up a bit of steam after releasing its debut CD, Watch ‘Em All Come Runnin’, in 2006 – only to watch it all evaporate in a puff of frustration after three fifths of the band quit unexpectedly, leaving vocalist Greg Hosterman and bassist Paul Cristiano to sort out the pieces. RadioRadio’s still here, as evidenced by the new EP Alarm 1 Alarm 2 — but whether that strikes you as a good or a bad thing will depend heavily on your tolerance for dudes in skinny ties who do their damndest to evoke the early ‘80s work of well-coiffed Britpop heroes like Bowie, despite being, you know, American. The music’s still the thing, of course; it doesn’t really matter that these four Brixton-worshiping guys actually hail from Tulsa, just as it isn’t a crime for an Oklahoma band to name one of its songs “BBC.” No, the problem with RadioRadio is that its music is slavishly derivative, and the extremely limited thrill provided by like-minded bands such as the Killers wore off a long time ago. The songs have plenty of energy, and Hosterman sings as well as any Thompson Twins cover band frontman, but what’s the point? Just listen to the band’s inspirations. You already know the songs by heart. (Comprono 2008) |
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This six-song EP by singer/songwriter Nick Motil is sure to please fans of artists like James Taylor. In fact, Motil sounds enough like Taylor on “Butterflies” here that you’d almost have to double-check whom you were hearing if you didn’t know beforehand. Motil’s music is tasteful, acoustic-based stuff that will easily tug at the tender heartstrings of music fans who yearn for something that reminds them of yesteryear. While it’s nice to hear Motil do his thing, it’d be nice to hear him stretch out a bit more. After all, not every tune needs to run at a slow canter. But that’s what you get here, a handful of slower-paced tunes that are well produced, well sung, and are completely contemporary. It’s hard not to imagine females everywhere swooning for the likes of “Cliche” and “Try Harder.” But will the guys like it? It’s hard to say. James Taylor had legions of fans, so it’s probably a safe bet that Nick Motil can capture the ears of anyone out there as well. But again, it would have been nice to hear him do something a bit more adventurous - even just one song, even - instead of staying in his comfort zone for the length of this disc. (self-released) |
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The sticker affixed to promo copies of Blind Pilot’s Three Rounds and a Sound promises “something like a wistful mix of the Shins with a bit of Iron & Wine folkishness,” and that isn’t just idle hipster-baiting – if the Shins and Iron & Wine had a baby, it might sound a lot like these 11 songs. If it did, though, it wouldn’t be a particularly gifted child. This is not to say that Blind Pilot rides the short bus of melancholy, folk-tinged indie popsters – just that there isn’t anything particularly moving or profound about this album. It hits all the cues it’s supposed to, right down to the smudged pastels in the cover artwork, but if you’ve ever spent any time listening to any (or, God help you, all) of the bands that sound like this, there isn’t a single bit of Three Rounds that you haven’t already heard someplace else. Of course, there really isn’t anything new under the sun, and if you’re going to be slavishly imitative, you could do a lot worse than tearing pages out of this particular playbook. Great for background music, and fine for those who enjoy puzzling over lyrical non sequiturs (“I buried a bone / And darling, you don’t know him / Just where you are might be the right place”), but this little patch of ground is starting to yield withered crops. Next time out, some sharper material could work wonders. (Expunged 2008) |
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Janelia is a likable African-American artist who explores her pride in her family’s roots on I’m an African, an 11-song semi-concept lbum about her life as a “second generation” African, born in America. The title track is instantly enjoyable, featuring a bouncing, almost tribal rhythm and excellent melody. It’s borderline reggae, but not completely. “Baba Wa” explores the exploitation of such natural African resources as gold and diamonds an d the violent bloodshed the demand for both can bring. “Ashabi” is a chant sung in African, and “Get on Down” is a celebration of life, friends, and love. The songs on this album are quite good. The production of it is another thing, however. Most of the tunes sound a little thin, and the repeated instrumentation and style sounds a little too familiar after awhile. yet the messages and melodies here are strong, and Janelia is to be commended for bringing her spiritual messages to the groove so succinctly. Definitely worth a listen. (self-released) |
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The Broken Poets have created an excellent little album here that features a brand of dramatic pop that fans of bands like The Church and artists like Bob Dylan should really enjoy. Such majestic tunes as “To Dream of Another Life” go a long way to cementing the Poets’ sound in the minds of their listeners. This is serious, sweeing stuff. “Last Resurrection of the First Bob Dylan” is thankfully not hokey the way its title might lead one to believe. In fact, these guys successfully hit upon the same sorts of grooves that Dylan did on Highway 61 Revisted in their tone and cynicism. Then there are tunes like the richly textured “Meaningless Heart” that brings a strong rock sense to the table that is at once immediate and exciting. There’s something spiritually righteous about it, too. Sometimes the album can get a little precious for its own good, but mostly this is just great listening through and through making The Broken Poets a band certainly worth keeping both eyes and ears upon. (Wordvendor Records) |
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R&B artist Douye hs an impeccable sense of style here on Journey. Her singing is tasteful, and not over the top, unlike a lot of “divas” in the genre who are only out to show off their range with all the subtlety of a jackhammer. At times, on songs like “On for You,” she brings to mind vintage Anita Baker. The opening cut “Fly Away” is also pretty tasty, presenting Souye as an artist with true talent and serious crossover potential. Sometimes, though, things get a little repetitive and Douye will often stretch out a song a bit too long by repeating a certain phrase or chorus over and over. Still, there’s no denying the scintillating power of a track like “Wicked World” with its jazz leanings or “Waiting for My Man” that has slow jam hit written all over it. Douye definitely has the skills to have a successful music career. hopefully the right people are listening out there. (self-released) |
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This SoCal group makes tasty, brooding modern rock that would sound just right on your local college’s radio station. Hell, they may be already appearing on it right now. Magnolia Road is the sort of album that you’d put on when you’re feeling down and need someone to sympathize with you. “Gravity” pretty much sets the Intercept scene: pretty, crystalline guitar notes that soon give way to a larger, cinematic sound with booming guitars at the choruses and Christian Knudsen’s impassioned vocals at the fore. “Two Broken Astronauts” coasts along on a spacey groove and “Imaginary Friends” mixes coffehouse acoustic tones to modern college rock circa 1996. Funny how some things never change. This album is certainly a solid affair, and Intercept is a tight, well-rehearsed band, but there’s something about the overall sound of Magnolia Road that squarely dates it about ten years. Not that there’s necessarily anything wrong with that, but anyone who lived through those times and was going through their college years will definitely feel in familiar territory. Solid, but not quite essential. (Intercept Records) |
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Someone call the cops, because Dan Bejar’s been robbed. With I Was Raised on Matthew, Mark, Luke and Laura, Detroit’s Pas/Cal has assembled one gorgeous (but lengthy) love letter to the Destroyer and part-time New Pornographer, churning out song after song of ornate but odd guitar pop. “Glorious Ballad of the Ignored” seems to have five or six mini-suites all by itself. It’s immaculately done but also overdone, turning on themselves so many times that it’s easy to get lost mid-song. These guys clearly know their way around a melody, but one wonders what kind of masterpiece they could whip up if they forced themselves to keep it simple. (Le Grand Magistry 2008) |
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Yes, there are a lot of bands that sound like Kessler. The Dallas quintet’s sound falls somewhere between Warped Tour and Family Values, but with songwriting chops that rival power pop industry benchmarks like Butch Walker and Fountains of Wayne. I Know Your Voice is the band’s debut and if you came to the table wanting to hate it, you’re going to walk away disappointed. Kessler isn’t doing something that hasn’t been done before, but you’ll be tapping your feet and grooving before you know what’s happening. Add to the equation producer Jim Wirt (Hoobastank, Jack’s Mannequin) and you probably already know what Kessler sounds like. But this is a strong debut, in particular the first single, “Outside Your Window,” which sounds like summer. Other standouts are the Goo Goo Dolls-ish “Dallas” and the blazing “The Missing.” (YMA Records) |
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