Author: Lee Zimmerman (Page 13 of 20)

Pink Mountaintops: Outside Love

Considering the disparity of his previous projects and a musical palate that’s run the gamut from punk to pensive, grunge to psychedelia, it ought to come as no surprise to find Stephen McBean again falling prey to wanderlust. Outside Love provides the latest chapter in his extended sojourn away from his day job with critical faves Black Mountain, while also offering a retreat to the slightly more refined environs of Pink Mountaintops. This, their third album, finds them keeping their connections to the home team via the occasional cosmic excursion, while boosting their accessibility regimen overall. Veering from the emphatic (“Axis: Thrones of Love,” ”Execution”) to the ethereal (the descriptively-titled “While We Were Dreaming” and “Closer to Heaven”), the music employs swelling choruses and atmospheric enhancements to stunning effect. McBean shows a fondness for languid Neil Young-like intonations – “Vampire” and “And I Thank You” are similarly somber in that regard – but Pink Mountaintops prove themselves a compelling bunch even in deliberation mode. Its telling too that their album cover attempts to replicate the jacket of a Danielle Steele novel, because Outside Love shows an aptitude for being both torrid and tenacious. (Jagjaguwar)

Pink Mountaintops MySpace page

Samantha Crain & the Midnight Shivers: Songs in the Night

Sparked by critical kudos and two sensuous sets of songs, Oklahoma singer/songwriter Samantha Crain has already carved out an impressive and well-deserved reputation, despite the fact she’s a mere 22 years of age. This beguiling follow-up, dreamily titled Songs in the Night, follows only a few months after her critically lauded debut, the Confiscation EP, but it represents a forward progress that’s all the more remarkable for the relatively rapid speed of its arrival. Unlike others her age, Crain leans away from a more insurgent stance, maintaining instead a decidedly lowered gaze. Yet, while she opts for unembellished arrangements, the delivery doesn’t belie her enthusiasm; the ebullient surge of songs like “Rising Sun,” “Long Division,” “Songs in the Night” and “Bullfight (Change your Mind)” makes her back country balladry all the more endearing. Don’t mistake Crain for some freewheeling folkie, however. There’s a sense of urgency infused in “Devils in Boston,” while the forlorn sprawl of “The Dam Song” and the skewered theatrics that drive “Bananafish Revolution” show her savvy. Songs in the Night may suggest the sound of nocturnal rumination, but in truth, it’s as bright and promising as daybreak over the horizon.

Samantha Crain MySpace page

Paleface: The Show Is on the Road

Following A Different Story, last year’s self-released comeback after an extended absence, The Show Is on the Road represents Paleface’s continued progress on the road to recovery. Once one of the prime movers in New York’s fabled Anti-folk scene, his journey hasn’t been easy; a decade ago, he collapsed and nearly died after being stricken by an onslaught of alcohol abuse, pneumonia and hepatitis. Those problems now well behind him, he opts for a rambling, ramshackle approach that’s both unhinged and unembellished, eschewing more sophisticated arrangements for a low-key, down home sound. The title track starts things off on a note of upbeat optimism, and as the album saunters on, songs such as “Try to Hold Your Own,” “Holy Holy” and “Pondering the Night Sky” maintain that jaunty lilt established early on. Yet, despite the nonchalant atmosphere and the DIY aesthetic, nods to the past are inevitable. “New York, New York” bids a wistful farewell to Manhattan, where he once resided before heading to a new life in North Carolina, while “Raise the Glass” offers salutations to past excess. No matter though; with the show on the road, Paleface procures a rollicking return.

Paleface website

Jenny Gillespie: Light Year

Jenny Gillespie’s hushed, vaguely introspective musings find her treading similar territory to Feist, Sarah MacLachlan and even early Joni Mitchell on occasion, but there’s a hazy glow that adds an unexpected lilt to her proceedings. Her third effort overall following her eponymous 2001 debut and the six song Love and Ammunition four years later, Light Year evokes Day-Glo imagery and idyllic settings, pondered ever so sweetly through poetry and prose. She graces these fragile soundscapes with subtlety and flair, utilizing primarily piano and acoustic guitar, which are then tastefully embellished by bells, accordion, cello, fiddle, mandolin and pedal steel. Yet despite the richness of the arrangements, the songs never feel over-indulgent, radiating instead a shimmer, sparkle and gentle sway that’s ever so beautiful and beguiling. In fact, the entire set is so unerringly mesmerizing, it’s a challenge to distinguish a single standout, although “Vanishing Point,” “Littleblood,” and “Hummingbirds” certainly vie for that distinction. However, with the songs maintaining such low wattage, it may also be necessary to submit to more than a cursory listening – in fact, several may be required before true seduction sets in. Yet be assured that once its given those repeated encounters, Light Year will shine that much stronger.

Jenny Gillespie My Space page

Doug Paisley: Doug Paisley

He may share the same surname, but Doug Paisley holds little in common with that more famous Paisley who bears the name Brad. Hailing from Toronto Canada, Doug takes an everyman approach to his craft via a soft strum and an affable folk finesse, a far cry from the commercial country branding that Brad’s parlayed into superstardom. But while his songs may seem rather unassuming, they resonate with resilient melodies and a heartfelt delivery that sounds simultaneously both weathered and refreshing. The lilt and sway of a steel guitar illuminates “We Weather,” while somber keyboards enhance the graceful balladry of “Take Me with You” and “What About Us.” Mostly though, this material finds a comfortable middle ground that sounds like the essence of ‘70s soft rock, a sound that would make James Taylor or Jackson Browne beam with approval. It’s also a refreshing shift in stance from the overly mannered, self-conscious approach that’s plagued many singer/songwriter types in recent years. That makes Paisley’s premiere effort one of the best debut discs in recent memory. (No Quarter)

Doug Paisley MySpace page

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