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Yeah, he was a contestant on “American Idol,” but don’t expect Manilow levels of showbiz schmaltz from Jon Peter Lewis’ sophomore release, Break the Silence – for better or worse, he identifies far more strongly with slightly rockin’ singer/songwriters like Richard Marx. Fortunately, he’s absorbed more from his influences than the ability to be tasteful; Silence is stacked with unexpectedly ingratiating melodies, put across by Peters’ clear, graceful vocals and abetted by a band of session ringers that includes drummer Kenny Aronoff, guitarist Tim Pierce, and studio utility infielder Charles Judge. More convincing than Clay Aiken and more entertaining than Daughtry, Lewis should be on the Top 40 instead of selling his wares on a piddling little indie label – really, the set’s only major problem is Lewis’ occasional dependence on platitudes like ”Even in your darkest hour / You’re still beautiful.” Well, that and the fact that he’s the millionth person to cover Dylan’s “To Make You Feel My Love” – but if you’ve got a weakness for soaring melodies and impeccably arranged pop-rock, you’ll be willing to forgive these minor trespasses. It’s a minor gem, but Break the Silence still shines brightly. (Cockaroo 2008)

Jon Peter Lewis MySpace page

The six-song EP Laswell released earlier this year, How the Day Sounds, suggested vast landscapes of promise for Greg Laswell – so much promise, in fact, that it seemed altogether unlikely he’d be able to fulfill it all with the full-length follow-up. He doesn’t buck the odds here — Three Flights from Alto Nido is solid overall, and even close to brilliant in spots, but wide swaths of it are perfectly unmemorable in a perfectly pleasant way. Musically, Laswell is a blend of Ron Sexsmith and Coldplay, but he lacks the immediate emotional resonance of either; too much of the album glides past without lasting impact. But when he’s on, he’s on – “ “How the Day Sounds” is the greatest song that U2 never wrote, and tracks like “That It Moves” and “I’d Be Lying” soar on the strength of Laswell’s airy vocals and way with an elegantly catchy melody. For songs about such profound emotions, though, these recordings are curiously stately – almost airless. Part of the blame can be lain at the feet of Laswell’s fondness for GarageBand recording, but that’s just one symptom of a larger problem. There’s a bleeding heart lurking beneath all these layers of cool porcelain; with enough time, here’s hoping Laswell learns how to let it show. (Vanguard 2008)

Greg Laswell MySpace page