Author: Mike Farley (Page 3 of 63)

Elizabeth & the Catapult: The Other Side of Zero

October 21, 2010 / Mike Farley

RIYL: Aimee Mann, KT Tunstall, Diane Birch

Elizabeth Ziman spent a few years demo-ing and ultimately recording and releasing her debut under Elizabeth & the Catapult, Taller Children. But the follow-up took practically no time at all, and apparently flowed out of Ziman the way great writers often have waves of new material emanating from themselves. So here was Ziman, influenced all at once by Leonard Cohen’s Book of Longing, and letting the music that would become her new album, The Other Side of Zero flow from her. Ziman’s a dead ringer for Aimee Mann vocally, but musically her stuff is darker and deeper. And oh yeah, it’s really, really good.

The Other Side of Zero begins with the piano romp, “We All Fall Down” and has other quirky yet instantly catchy tracks like “You & Me” and “The Horse & the Missing Cart.” There are songs that will remind you of Taller Children – witness the alternative love song “Julian, Darling” or the electronica-driven “Dreamcatcher.” But while Ziman and drummer Danny Molad make awesome music together, the one track on here that uses drums sparsely but may not need to is “Open Book.” This is one of those songs that is rife with simple beauty, one you hear and want to keep hitting “repeat,” and that has movie soundtrack written all over it. Best of all, as with all of Ziman’s work, there are elements of alternative, jazz, and pop – all with a rainy day feel running throughout, just the way she likes it. (Verve Forecast 2010)

Elizabeth & the Catapult website

Alternative, CD QuickTakes, CD Reviews, Pop

alternative pop Diane Birch Elizabeth and the Catapult Elizabeth Ziman Headlines KT Tunstall Leonard Cohen Taller Children The Other Side of Zero

Morcheeba: Blood Like Lemonade

October 14, 2010 / Mike Farley

RIYL: Zero 7, Sade, Wire Daisies

It might feel like an eternity since lead singer Skye Edwards left Morcheeba (2003), leaving the brothers Godfrey to experiment on a couple of albums with different guest vocalists. But with Morcheeba’s latest, Blood Like Lemonade, Edwards has returned and it’s like the band hasn’t missed a beat – i.e., the reincarnation of Morcheeba as we knew it is back and better than ever. The trippy, bluesy electronica that put Morcheeba on the map is still mostly the same, but the songs on Blood Like Lemonade are slickly produced and, well, just damn good. Edwards’ voice is plain dreamy, and these songs are the perfect vehicle for that voice to shine. Most of the tracks are the band’s signature marriage of melody and electronica, as in “Crimson,” the title track and “Recipe For Disaster.”

But there are interesting tracks on here that bring Blood Like Lemonade to another level. The acoustic-guitar-with-beat-infused “Even Though”; the stunning guitar/vocal “I Am the Spring”; and the powerful closing anthem “Beat of the Drum.” Oh, and there’s also the uber-funky pseudo-instrumental, “Cut to the Bass,” which is probably best enjoyed in a very loud, dark, club. If you were already a fan or Morcheeba, you won’t find much wrong with this effort – if you weren’t, it’s the kind of genre-defying albums that just about anyone will like. (Pias America 2010)

Morcheeba MySpace page

Morcheeba MySpace Page

Alternative, Ambient, CD QuickTakes, CD Reviews, Electronica

Alternative Blood Like Lemonade Blues Electronica Funk Godfrey brothers Morcheeba Pop Sade Skye Edwards Wire Daisies Zero 7

Dan Wilson: Live at the Pantages

October 7, 2010 / Mike Farley

RIYL: Semisonic, Better Than Ezra, Gabe Dixon

It may not hit you all at once, but the more you listen to and read about singer/songwriter Dan Wilson, the more you realize just how many cool friends and colleagues the guy has. It’s not that he co-founded rock band Semisonic and had some overnight success with “Closing Time,” or that he won a Grammy when co-writing some tracks from the Dixie Chicks’ 2006 album Taking the Long Way. Wilson has written with or is slated to write with the likes of Josh Groban, Adele, the Bravery, Keith Urban, Jason Mraz and KT Tunstall. But he is as riveting a solo performer as you’ll ever see and hear, based on his timeless songs and instantly recognizable voice.

While he’s between studio albums, fans of Wilson can enjoy the digitally-released Live at the Pantages, recorded in Wilson’s hometown of Minneapolis and featuring songs from his acclaimed Free Life album from 2007, as well as a few of the old Semisonic stand-bys. He begins with a solo acoustic set on guitar and piano and then comes back with a full band set, both with his voice and the songs front and center. You won’t find a live album anywhere this clean, sonically. And the songs are bordering on stunning – in particular when Wilson plays “Honey Please” from Free Life, or “Secret Smile” from the landmark Semisonic album, Feeling Strangely Fine. But here is what separates Wilson from any other singer/songwriter – the two brilliant co-writes her performs here—“All Will Be Well,” with Nashville roots rocker Gabe Dixon, and “One True Love,” written along with the great Carole King and first appearing on Semisonic’s All About Chemistry. If you don’t have goose bumps now, you will when hear Wilson sing the latter. In all, Live at the Pantages is a truly awesome storytelling effort. (Ballroom Music 2010)

Dan Wilson MySpace Page

Alternative, CD QuickTakes, CD Reviews, Pop, Rock

Adele All About Chemistry Carole King Closing Time Dan Wilson Dixie Chicks Feeling Strangely Fine Gabe Dixon Headlines Josh Groban Live at the Pantages Semisonic

Sons of Sylvia: Revelation

October 1, 2010 / Mike Farley

RIYL: Bon Jovi, Aerosmith, Rascal Flatts

Don’t blame brother trio Sons of Sylvia if they are a bit pigeon-holed into the country music genre, because that’s not what they are. Sure, the band won a talent competition that led to a deal with 19 Recordings, and one of the band members was a backup singer in Carrie Underwood’s band, but their debut, Revelation, is no more country than Bon Jovi or Bret Michaels. Oh wait….yeah, there is much crossover these days. Let’s just say this is a rock album with moments of twang and leave it at that. And as debut albums go, this is a pretty strong set. The trio is led by singer Ashley Clark and the trio writes together with the help of folks like OneRepublic’s Ryan Tedder, who happens to be their cousin. And while Ashley has a strong voice, one of the drawbacks is that he tries too hard to show it off. The album opens with “John Wayne,” and this is the country rock song Bon Jovi couldn’t seem to write, but with too many vocal acrobatics a la Adam Lambert. But it’s a good one, as are most of the tracks on here. “Love Left to Lose” is a powerful gang-vocal anthem, “50 Ways” could find its way onto an Aerosmith album, and the current single, “I’ll Know You,” is pure pop power ballad. But the best track of all is “Song of Solomon,” a slowly building gem in which the vocal acrobatics are more appropriate. All in all this is a solid debut and this is a band that could have an extremely bright future. (19 Recordings/Interscope)

Sons of Sylvia MySpace Page

CD QuickTakes, CD Reviews, Country, Pop, Rock

Adam Lambert Aerosmith Ashley Clark Bon Jovi Carrie Underwood country music Interscope Nashville OneRepublic Rascal Flatts Revelation Ryan Tedder Sons of Sylvia

KT Tunstall: Tiger Suit

September 29, 2010 / Mike Farley

RIYL: Sheryl Crow, The Sundays, Stevie Nicks

KT Tunstall catapulted herself to overnight success in 2006 with her debut album, Eye to the Telescope, which spawned the hit single “Black Horse and the Cherry Tree.” Her 2007 follow-up, Drastic Fantastic, was just as good, if not better, than the debut, and now Tunstall is back with Tiger Suit. As usual, Tunstall’s songs are mostly upbeat hook-fests, albeit with slightly less magic than before. With Tiger Suit, she’s regressed a bit, because these are good tracks that are structured well and have solid melodies and arrangements – but something is lacking compared to Tunstall’s previous work, be it soul or depth or that slight bit of alternative grit that was present on both Telescope and Drastic.

Tiger Suit opens with “Uummannaq Song,” an odd title but the familiar mid-tempo singsong style that is most closely reminiscent of her earlier work. That rolls right into “Glamour Puss,” a song that is catchy beyond belief but somehow not exactly memorable. The best tracks on here are “Difficulty,” a song that lends itself to some quirky but effective production, and “Lost,” which is slower yet but arranged nicely. “Come on, Get In” is her label’s attempt at having Tunstall re-create “Cherry Tree,” and it’s kind of a lame one at that. Still, let’s face it – Tunstall’s mediocre is far better than most female singer/songwriters’ work these days. It’s just that her die hard fans may come away slightly disappointed this time, especially after a three-year wait. (Virgin 2010)

KT Tunstall website