Author: Lee Zimmerman (Page 19 of 20)

Jeremy Jay: A Place Where We Could Go

September 4, 2008 / Lee Zimmerman

“”

Jeremy Jay’s downcast disposition and lo-fi designs combine to make A Place Where We Could Go seem something of a dreary destination. “Nite Nite” offers an uncertain send-off, its forlorn vocal and solitary strum providing a stilted backdrop for his wistful reflection. With Jay accompanying himself on piano and guitar, drummer Chris Sutton does what he can to manage the tempo, but the sparse monochromatic arrangements find the songs droning on and on to the point where it’s a challenge trying to distinguish one track from another. Jay ‘s unfortunate penchant for expressing his thoughts in a steady stream of consciousness doesn’t help matters either, and he sometimes appears so self-absorbed that his lyrics turn into fragmentary ramblings. The album’s final two entries – “Hold Me in Your Arms Tonite” and “Someone Cares” – aim to provide some respite by picking up the pace and imbuing some optimism, but by then it’s too late. The place Jay ‘s invited us to go has long since lost its appeal. (K Records)

Jeremy Jay MySpace page

CD Reviews, Folk, Rock

Steven Alvarado: Let It Go

September 2, 2008 / Lee Zimmerman

Up until now, New York singer/songwriter Steven Alvarado has dwelled mostly on high-minded precepts, with philosophical ruminations veering towards politics and religion. However, on his latest effort, Let It Go, he, well, lets it go, trading his proselytizing for dark deliberations about broken relationships. Largely acoustic, it opens with a flourish of earnestly strummed offerings – the rockabilly-tinted “Get This Far,” the ever-persistent “It’s For You” and, most notably, the vibrant and jangly “New York.” Ultimately though, the album falls prey to a veil of tears, a downcast demeanor that finds Alvarado reveling in his own despair. “Nobody Knows” is especially affecting, a loser’s lament that finds our hero “Drinking and thinking about you,” even though the woman in question apparently broke his heart into a zillion tiny splinters. Still, that’s only the first hint of apparent anguish; “Burning Bridges,” “Blue,” “It’s Alright” and “Gone, Gone, Gone” document bitter break-ups with unflinching animosity. Several star session players rally in support, but ultimately it’s down to Alvarado wielding his guitar like a weapon and blasting his ex partners in the process. (Mott St. Records)

Steven Alvarado MySpace page

CD Reviews, Emo, Pop, Rock

The Crash: Pony Ride

September 1, 2008 / Lee Zimmerman

Pony Ride, the latest outing by Finnish band the Crash, offers an unapologetic approach that melds perky rhythms, gushing sentiment and giddy attitudes to catchy, cushy melodies and a penchant for ‘70s-style soul (think the Jacksons, Average White Band, Culture Club or Simply Red). Singer Teemu Brunila mimics an androgynous style that recalls Michael Jackson, Boy George and Mick Hucknall’s smooth croon for good measure. Oftentimes, the Crash sound kinky – the soaring strings and stately piano ballad “Lauren” seems to be about a stalker, a precursor to a later number actually called “Stalker.” Its follow-up, “Filthy Flower” (“You’re a filthy flower/I could be your lover/But I want to be your man”), shows a certain pride in their prurient desires. “I hope we’ll make it to the radio/I hope we’ll make it to the stadiums,” they coo on the soulful closer “Backstage.” Given their effusive sound, it’s safe to say the Crash can. (Ryko Music)

The Crash MySpace page

CD Reviews, Pop, R&B, Soul

Johnny Flynn: A Larum

August 29, 2008 / Lee Zimmerman

Combining a sturdy stance with a penchant for swagger and sway, newcomer Johnny Flynn borrows heavily from Brit folk forebears like John Renbourn and Bert Jansch through his authoritative debut. Relying mostly on the strum of an acoustic guitar, an occasional fiddle, hints of brass and a melodious vocal that commands attention on first hearing, he’s too trad to be labeled nu-folk, but too much of an upstart in attitude to be classified as old school, either. Mainly he’s an artist that gravitates towards piercing melodies and an affecting delivery, one whose songs reflect a somber stance. “Tickle Me Pink,” as its title implies, reveals a rare moment of giddy delight, while the driving tempo of “Eyeless in Holloway” will likely entice the pub crawlers. Mostly though, this a steady, unwavering set of tunes, one that reflects a workingman’s outlook and approach. Indeed, Flynn sounds wise beyond his 25 years (“A Larum” is middle English for “Alarm” it turns out, a bow to scholastic aptitude no doubt), but his rollicking rhythms hint at a youthful zeal that’s barely repressed. (Lost Highway)

Johnny Flynn MySpace page

CD QuickTakes, CD Reviews, Folk

Inara George With Van Dyke Parks: An Invitation

August 29, 2008 / Lee Zimmerman

A reconnection in ways more than musical, Inara George’s collaboration with the legendary Van Dyke Parks takes her into new terrain but, in a sense, brings her back home. Parks was a pal of her dad, the late Lowell George and was even there at her birth. Still, the biographical details will likely get less attention than this current outing, a swirling collage of orchestration, pop opera vignettes and contemporary classical motifs. Consequently, the sound checks proved equally ample, given influences that name check Kurt Weill, Edith Piaff, Aaron Copeland, Gilbert and Sullivan, Annette Peacock and Carla Bley. The lack of distinctive melodies and an overall flow that finds sets of strings dominating the musical landscape makes passive listening a bit of a challenge, at least for those who like their songs simple and succinct. Still, those looking to hear more from the man who helped bring Brian Wilson his Smile will find this Invitation worthy of an RSVP. (Everloving Records)

Inara George MySpace page

Alternative, CD QuickTakes, CD Reviews, Folk, Indie Labels, Rock