Author: Jeff Giles (Page 34 of 41)

Timmy Curran: Word of Mouth

Around the turn of the century, the Onion ran a classic article about dolphins growing opposable thumbs and wreaking havoc on the human race – and although no one could have known it at the time, but there really was a plague preparing to descend upon us from the oceans, in the form of surfers turned guitar-strumming pop stars. Okay, so if you want to get technical about it, the plague hasn’t really arrived yet – so far, we’ve really only had to deal with Jack Johnson (and Matt Costa, but he’s a skateboarder, so he doesn’t really count) – but mark our words, it’s on its way. As proof, here’s another one: Timmy Curran, whose strum-diddly-umptious debut, Word of Mouth, is out now. On the granola-pop spectrum, Curran lands closer to Xavier Rudd than Jack Johnson – with a dash of Paul Simon and maybe just a pinch of Astrid Williamson thrown in – which is a very good thing, because it keeps the album from sliding into dullsville. But don’t worry, hacky sack fans – Curran doesn’t get too crazy; these songs still carry enough of a bongo-playing Matthew McConaughey vibe to keep your mellow from harshing. The end result isn’t anything especially memorable, but Curran is a decent enough songwriter and vocalist to quit his day job one of these days. Getting people to accept a grown man named Timmy, on the other hand… (Citsuca 2008)

Timmy Curran MySpace page

Pictures and Sound: Pictures and Sound

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)

Pictures and Sound MySpace page

What Laura Says: Thinks and Feels

Dumbest band name of the year? Maybe, but once you listen to the Phoenix quintet’s marvelously messy debut, Thinks and Feels, it almost makes sense. There’s nothing conventional about this outfit; even by experimental post-rock standards, they’re too weird to fit in, because you never know when they’re going to ditch the alien arrangements and whimsical time shifts in favor of some Marvin Hamlisch piano, Beach Boys vocal stacks, Neil Young space travel, or good old-fashioned classic rock. Calling them Menomena meets My Morning Jacket isn’t really accurate, but then, neither is pretty much any other point of reference you could come up with for this stuff. What matters most is whether or not it sucks, and Thinks and Feels decidedly does not. Woe to the listener who tries to absorb any of it out of the record’s context – this isn’t a pick-and-choose type of album – but give it a few front-to-back spins and feel yourself slowly being drawn into the weird, wonderful world of What Laura Says. Give them an “A” for originality, and join us in wishing best of luck to Terpsikhore when it comes to promoting any of this. (Terpsikhore 2008)

What Laura Says MySpace page

Anya Singleton: The Other Side

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)

Anya Singleton MySpace page

Mandi Perkins: Alice in No Man’s Land

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)

Mandi Perkins MySpace page

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