Category Archives: Album Reviews

Album Review: Melanie Crew – Further Away

Posted on by
Melanie Crew

photo courtesy of Melanie Crew

EP Review of Melanie Crew: Further Away

Released on October 3rd, Further Away is Melanie Crew‘s second EP, a follow-up to 2015’s Until the End. London-born and London-based, Melanie wields a sweet, crystal clear voice, ideal for her soft, comforting folk music style. Throughout the disc, the warmth of the sun in a flower-filled field shines through the music.

Melanie Crew - Further Away

image courtesy of Melanie Crew

Disc-opener “Bring You Back” carries a modernized, almost Peter, Paul and Mary vibe, as Melanie’s sweet voice navigates from low to crisply high notes.

“Ghost” is pleasantly surprising, as even though it is clearly from the same family of songs as the rest of this disc, the tone and style carry haunting overtones in the guitar-picking, vocal key, and even choice of phrasing. It’s actually a bit “Greensleeves”-esque in the way it carries itself.

“All That I Want” has an appealing edge to it, coming across as perhaps a 1970s movie soundtrack song from a modern (for the ’70s) love story, while EP-ender “Can’t Find a Way” is similarly-styled but sports just a hint of a more powerful “Age of Aquarius” flavor.

Melanie Crew

photo courtesy of Melanie Crew

Of course, any of the six tracks may end up being your favorite, as the subtle intonation variances and lyrical flourishes suggest a very personal listening experience.

In the end, this is a well-written, throwback modern folk collection from a singer-songwriter who is precise in both lyrics and vocal delivery. I imagine Melanie Crew as potentially a fondly-greeted mainstay at folk festivals and coffeehouses throughout the UK. She is making a bit of a splash already in her young career, as her music has been heard on local radio stations as well as on BBC 6 Music and BBC Kent. If Melanie sounds like your cup of tea, be sure to try a sip of Further Away.

Album Review: Van Ghost – The Ghost Unit

Posted on by
Van Ghost

photo courtesy of Van Ghost

Van Ghost – The Ghost Unit

The Backstory

Van Ghost

photo courtesy of Van Ghost

I introduced you to Van Ghost during my first days publishing this Blog. My review of the band’s appearance at the Newburyport Music Festival and of the band’s last CD, The Domino Effect, was entry number two of the nine-part “Road Back to Music Journalism” series with which I kicked off Geoff Wilbur’s Music Blog. If the world was fair, that would have been the album to launch Van Ghost on a headlining arena tour. But the world isn’t fair, and that’s why I’m able to introduce you to so much great music you may not have heard before. So now I’ll walk you through this exceptional band’s new album.

Van Ghost

photo courtesy of Van Ghost

Bandleader Michael Harrison Berg discusses the recording of this album a year and a half ago in a Vermont studio here on the band’s website. Such an assembly of talent, I want to name them. In addition to Berg on vocals and acoustic guitar, on The Ghost Unit, Van Ghost comprised Jennifer Hartswick (vocals, trumpet), Natalie Cressman (vocals, trombone), Nick Cassarino (vocals, electric guitar), Chris Chew (bass), Dominic Lalli (saxaphone), Grant Tye (electric guitar), Chris Gelbuda (acoustic guitar, keys), Rob Marscher (synths, keys), and John Staten (drums). The SoundCloud stream of the new album lists the band members’ current gigs next to their names in the text, in case you want to catch any of them with their current bands.

Album Review of Van Ghost: The Ghost Unit

Van Ghost - The Ghost Unit

image courtesy of Van Ghost

The influences on this album are more varied than on the band’s prior studio release, but the essence of Van Ghost remains unchanged. This rock band, with its mid-range arena rock center surrounded by soul and funk influences and pop sensibilities, delivers another memorable disc. The soul influence is a bit more apparent than on The Domino Effect; overall this is simply an enjoyable next step from an exceptionally talented rock band.

Disc-opener “Dead Radio Club” follows a laid-back, mildly syncopated rhythm, thriving on vocal harmonies and a mellow edginess, like Toto or Chicago Transit Authority on a mildly subversive rock ‘n roll bender.

Van Ghost

photo courtesy of Van Ghost

“Strength & Pain” continues in the same vein, but the soulfulness is significantly amped up. And it has perhaps a bit more Chicago influence, as the horns play a more prominent role.

“Simplify” is one of the standout tracks in this collection. The ultra-rich harmonies, subtly trickling music bed, and well-placed soft rock guitar solo suggest this could be both a radio staple and an arena rocker.

“Follow Me” adds funk to the Van Ghost mix, with a prominent bass line running through the song, providing a home base to which the riffing always returns, with forays into Chicago-style horns and even very-nearly disco-era-flavored harmonies.

Hard rock guitar debuts in the opening riffs of “Cold Panic,” an almost Foreigner-esque rocker in tempo and mid-level heaviness. This one’ll sneak up on you and be a favorite by the 10th or 20th listen.

Van Ghost

photo courtesy of Van Ghost

For those of us who love an immediate tempo change, “Cold Panic” is the perfect lead-in to perhaps the album’s most heart-laid-bare instance, the more acoustic-flavored “I Ain’t Gonna Fight You, For You,” a lyrically well-conceived number in which the acoustic melody is well-augmented by a dancing electric guitar line whose first solo leads to a mid-song climax… and whose solo of screams and wails end the song as an extension of the vocals, expressing a level of emotion beyond the capability of a voice.

“Fool For the Pain” follows, a song that could be a modernized Quarterflash tune. Ironically (at least in light of that comparison), this is a song where the dominant instrument is guitar, with scarcely a horn to be noticed.

Van Ghost

photo courtesy of Van Ghost

The next track, “If It Ain’t Crazy, Then It Ain’t Love,” is another standout song, with Chicago-esque horns, soft rock guitar riffs, and powerful vocals. Also that vocal smirk that suggests this could be turned into a country song by a talented artist of that genre. Then again, great songs transcend musical classification.

“ATX” follows, a bit of a hard rock screamer with a country edge. I could almost hear Kid Rock doing this song, though he could never match Michael’s vocals. But the tune does thump along and occasionally roar in that vein, leaning on howling heavy metal axework and aggressive drums for power.

Van Ghost

photo courtesy of Van Ghost

But, of course, Van Ghost mellows things out again to close the disc, with “Birds” soaring vocally, a musical sunset that excels at making the sad and poignant pleasant to listen to.

I’d still love to see Van Ghost perform at a big arena, though the festival stage on which I saw them a few years ago was a pretty good substitute. Still, these guys could fill a stadium with sound.

Putting on my imaginary record industry hat, if I were a label exec, I’d pick “Simplify,” “I Ain’t Gonna Fight You, For You,” and “If It Ain’t Crazy, Then It Ain’t Love” as the first three singles, in no particular order, with perhaps “Cold Panic” as a fourth release, though with such a strong disc from beginning to end, it’s hard to go wrong. Go get ahold of these songs. Enjoy them. One of my favorite bands for several years now, Van Ghost is a rare gem of a rock group.

Album Review: Screw – Hot Mess Express

Posted on by

by Eric Harabadian, Contributing Blogger

EP Review of Screw: Hot Mess Express

This is the second release from Detroit punk rockers Screw. This follows in the footsteps of their debut Fight at a Funeral, which came out in 2014. The members of Screw include Tommy T. on lead vocals, Hot Rod Tusek on guitars, Stevie Silvers on bass, and Nik Savage on drums. In many ways they are the real deal, as members of this group paid their dues in formidable and influential Motor City bands like 60 Second Crush and The Cult Heroes. They bring that raw-yet-refined pedigree to the grooves here.

Screw - Hot Mess Express

image courtesy of Screw

Screw is a dynamic and thoroughly engaging live act. They bring the sweat, vitriol, humor, and musicianship and leave it all on the stage. Sometimes that integrity gets lost in the translation of the studio. But that’s not the case here. Right from the get-go you get swept up with the opening track “Government Fool.” This starts out with a fuzzed out guitar reminiscent of Dave Allan and the Arrows’ classic “Blues Theme.” It quickly develops into a scathing uptempo diatribe on the futility of the modern political climate. Tommy T. delivers words that really pack a punch, with an authenticity and clarity rarely heard in modern rock. The rhythm section is solid and airtight as Tusek’s controlled use of feedback and clean distortion is a delight.

“Lips” follows and is catchy in a Social Distortion-meets-Stooges kind of way. Tommy’s phrasing is right on point and dovetails well with Tusek’s short wah-wah inflected solos throughout. This is tight, tough, and in your face. “Much Too Much” seems to offer a cautionary tale about substance abuse, with the hook “don’t throw your life away.” It’s a short and sweet message, with solos that are equally succinct and hit you where you live.

The disc concludes with “Turn Away.” The guitars and bass mimic a strong rhythmic undertow that goes into double time later in the tune. This is a really energetic track that seems to draw from modern masters like Bad Religion and The Descendents or All.

Screw is a loud and proud tour de force that picks up where classic Motor City bands like The Stooges and Sponge have left off. As aforementioned, they are a killer live act, so be sure and catch them when you can.

Looking Ahead

Per Facebook, you can catch Screw today, Friday, October 14th at the Maidstone Theatre in Ypsilanti. According to ReverbNation, Screw has an upcoming concert scheduled at Tangent Gallery on Friday, November 25th. Watch Screw’s Facebook page and local concert listings for additional dates.

Album Review: Project Grand Slam – The Queen’s Carnival

Posted on by
Project Grand Slam

photo courtesy of Miles High Productions

Project Grand Slam – The Queen’s Carnival

Album Review of Project Grand Slam: The Queen’s Carnival

Project Grand Slam - The Queen's Carnival

image courtesy of Miles High Productions

The horns pop, the bass and keys dance… Project Grand Slam’s The Queen’s Carnival is the quintessential jazz fusion disc. For those of us who grew up with the seasonal Charlie Brown special, there’s a bit of Vince Guaraldi’s style in here. Also a healthy dose of those energetic horns and funky beat that suggest PGS may rival the electricity level of a ska band if you saw them perform live.

Comprising Robert Miller on electric bass, Marcello Casagrandi on keyboards, Mario Castro on saxophone, Joel E. Mateo on drums and percussion, and Yasser Tejada on guitar, Project Grand Slam seamlessly shares the driving on this particular journey.

Project Grand Slam

photo courtesy of Miles High Productions

To start things off, “Beyond Forever” welcomes the listener like a slap of fresh, cold air on a crisp fall day. It’s followed by “The Rescue,” which continues the groove. And that ska-like groove I mentioned? Check out the title track, “The Queen’s Carnival”! It’s a guaranteed party-starter.

The album’s only vocal number is a cover of “You Really Got Me,” featuring the jazzy vox of Lucy Woodward. There’s a just-as-fun instrumental version toward the end of the collection.

Indeed, for an instrumental album to stand out, it’s all on the musicians. Their instruments and the songs that contain them must tell a story. The tempos and jams vary significantly throughout the disc, offering an engaging listening experience.

Project Grand Slam with Lucy Woodward

PGS with Lucy Woodward; photo courtesy of Miles High Productions

Other tracks worth investigating are the seventies rock (with horns)-flavored “Gorilla,” the deliberate, “Peter and the Wolf”-esque pace of “It’s the Beat,” and album-ending “Lullaby for Julesy,” a horn-driven, sweet holiday-season-flavored lullaby. The twinkling sounds even recall a light snow, bringing this stellar disc to a pleasantly drowsy end.

I don’t consider myself a knowledgeable jazz connoisseur by any means, but I recognize and enjoy a top-shelf group when I hear it, and from what I hear on The Queen’s Carnival, Project Grand Slam clearly qualifies as such.

Project Grand Slam

photo courtesy of Miles High Productions

Looking Ahead

PGS has a few upcoming shows booked, per its online concert calendar.  On Wednesday, October 19th, they’ll by opening for Boney James at the Ridgefield Playhouse in Ridgefield, CT. After that, there are a few shows around New York: Saturday, October 22nd at Groove in the City; Wednesday, November 2nd opening for Reign of Kindo at the Knitting Factory in Brooklyn; Saturday, November 12th back at Groove; Monday, November 21st at the Thanksgiving Benefit for CityMeals at Iridium; and again Friday, December 2nd at Groove. Then, on Saturday, December 3rd at the Highland Lakes Concert Series in Highland Lakes, NJ. Do keep an eye on the band’s website for additional dates as they’re added.

Album Review: Erik Norlander – Surreal

Posted on by
Erik Norlander

photo courtesy of Serge Media Group

by Eric Harabadian, Contributing Blogger

Album Review of Erik Norlander: Surreal (Think Tank Media)

Erik Norlander - Surreal

image courtesy of Serge Media Group

Progressive keyboardist extraordinaire Erik Norlander has released a steady string of independently produced albums for well over twenty years. From collaborations with vocalist wife Lana Lane to works with his inventive group Rocket Scientists, Norlander has consistently bridged the gap where rock, classical, electronic and lyrical pop seamlessly meet.

On his latest solo release, Surreal, the California-based musician displays one of his most cohesive and well-crafted albums to date. This is his first solo disc of all new material since his Seas of Orion album in 2004. And, as they say, it was well worth the wait. By a lot of prog rock standards it’s a fairly lean record, time-wise, clocking total around 60 minutes. But, within that time frame, the six Norlander-penned compositions here are cogent, heartfelt and meticulously executed.

Erik Norlander

photo courtesy of Serge Media Group

The disc begins with the cleverly titled “The Party’s Overture.” It’s a somewhat somber and pensive introduction that blends dynamic symphonic textures and subtle guitar wails from axeman Alastair Greene with strong and steady rhythm work from drummer Nick LePar and bassist Mark Matthews. The body of this piece features Norlander’s ascending and descending melody lines coupled with expressive and soulful organ and synthesizer passages.

That segues into the spirited and uptempo “The Galaxy Collectors.” A driving beat and an impressive bank of electronic sounds set the pace for this sci-fi-tinged track. Again, guitarist Greene plays some scorching rock and fusion-based lines over a very open and inviting chord sequence. This tune also spotlights a nice dichotomy of subtle colors and softer sections that give it a unique character.

Erik Norlander

photo courtesy of Serge Media Group

“Suitcase and Umbrella” shifts gears entirely by quieting the mood and slowing the tempo. This is a piano showcase for Norlander and seems to call attention to his classical roots. One of the keyboardist’s strong suits is his ability to take simple-sounding melodies and motifs and tastefully build them into something extraordinary. That is certainly the case here, with a timeless flair that recalls something classic Dutch masters Focus might have recorded.

“Unearthly,” yet again, takes the listener to another place that explores world music and spacey sounds. Percussionist Greg Ellis truly shines on dumbek as Norlander establishes melodic themes based on Mediterranean and Mid Eastern modes.

Erik Norlander

photo courtesy of Serge Media Group

The title track “Surreal” is a really nice ballad sung by Lana Lane and is the only vocal piece on the album. The overall feel and delivery of the track recalls deep album cuts from the Alan Parsons Project; well-crafted orchestration, impeccable production and multi-octave singing.

The album concludes appropriately with “El Gran Final.” This piece kind of brings it all together by making brief references to what has come before. There are nice solo trade-offs between band members, and Norlander does a great job of giving a real human voice and passion to his leads and the textural elements.

There are, of course, a number of brilliant keyboard players active on the progressive rock and jazz scenes today. But few play with the heart and sheer love of the music Norlander does. He brings humanity and a visceral quality to his performances that, in many ways, are unparalleled. Here’s to more great music in the future!

Album Review: Lew Jetton & 61 South – Rain

Posted on by
Lew Jetton

photo courtesy of Frank Roszak Promotions

Lew Jetton & 61 South – Rain

Album Review of Lew Jetton & 61 South: Rain

When I listen to Lew Jetton & 61 South‘s Rain, I can imagine driving down a country road hearing these songs on AM radio. This is a classic blues album, with tight musicianship surrounding Lew’s mid-range blues voice.

Yet it’s also modern. And it’s not just the subject matter that’s contemporary, though disc-opener “Who’s Texting You” is clearly not something I’d’ve heard back when AM radio contained more music than talk. Indeed, that song combines a pulsing beat, fun lyrics, and an energetic blues vibe; given the modern spin on a classic cheated-on-me blues song, the opening track has a broad appeal.

Lew Jetton & 61 South - Rain

image courtesy of Frank Roszak Promotions

Yeah, there’s just something about good blues music. Its quality is apparent immediately; the examination of what makes it so good comes later, to the extent it’s possible to understand. And this album, in particular, crosses multiple blues sub-genre lines, proving Lew and his band versatile proprietors of an entire blues emporium.

Raucous “Move On Yvonne” follows the opening song with a party atmosphere, driven by featured contributions ranging from J.D. Wilkes’ memorable harmonica-work to world class ivory-tickling from J. Solon Smith and great guest vocals from Miranda Louise, which served as a reply to Lew’s gruff lead vocal.

“Lay Me Down” is a lay-it-bare, hold-your-lighter-in-the-air, slow-but-insistent number whose showcase musical contribution, supporting Lew’s heartfelt vocal, is a standout guitar line from Sam Moore that’s almost lyrical.

“Glory Train” is an uptempo blues-Gospel number that sports with a crackly radio intro and outro from Reverend Joann Green. Though obviously the production is superior to AM radio “stereo” sound, the opening of this song simply emphasizes that old-fashioned, classic flavor I mentioned earlier.

Lew Jetton

photo courtesy of Frank Roszak Promotions

Ironically following “Glory Train,” Lew Jetton & 61 South’s real come-to-Jesus song may be their spin on John Hiatt’s “Feels Like Rain.”  The upliftingly sad organwork from Dan Bell is the key to this song.  “Feels Like Rain” is a close-your-eyes-and-listen, pure blues number that’s a pleasure to soak up in all its glory.  While working on this review, I also realized “Pontchartrain” and “hurricane” rhyme (and have the same number of syllables), as they’re both used to offset the trisyllabic title phrase. Don’t tell John, but I like Lew’s interpretation a little better.

Finally, another favorite, and this may be because I love well-conceived, fun lyrics, is the growling “Keeping Me Awake,” which derives much of its light-hearted energy from Alonzo Pennington’s dancing guitar line and J. Solon Smith’s almost-jazzy piano-work. But the pleas to Lew’s “baby” that she’s keeping him awake? Classic blues at its most playful.

As a whole, all these songs create a great blues journey, touching upon Lew & band’s broad-based catalog of blues styles. And Rain closes with a terrific rendition of Allen Tousaint’s “It’s Raining,” a romantic plea to a love absent… or perhaps a love lost. Regardless, it’ll tug at your heartstrings.

Backed by a talented band, some on the whole disc and others on a subset of songs, Lew’s supporting cast – and let’s not forget the solid rhythm section of Erik Eicholtz (drums) and bass players James Sullivan and Otis Walker – are as responsible for this disc as Lew’s voice and songwriting. A collection that earns its spot on the turntable (or modern equivalent), Rain is an album that will appeal to hardcore blues fans and casual listeners alike.

 

Album Review: Bad Mary – We Could Have Saved the World

Posted on by
Bad Mary

photo courtesy of Bad Mary

Bad Mary – We Could Have Saved the World

 

EP Review of Bad Mary: We Could Have Saved the World

Bad Mary - We Could Have Saved The World

image courtesy of Bad Mary

It’s a rare band that performs real, old school, 1970s New York punk rock as true to the genre’s icons as Bad Mary does while still keeping it fresh and current. Indeed, it’s a rare band of this style that catches my ear the way these Long Islanders do. As such, the comparisons are almost so obvious it’s embarrassing to list them: Blondie, The Ramones. There; I did it.

We Could Have Saved the World is the band’s follow-up to its 2015 EP, Killing Dinosaurs. Lead singer Amanda Mac delivers raw, aggressive, tuneful vocals. The rhythm section of Mike Staub and Bill Mac maintain a frenetic beat. And Dave Henderson lays down rough-hewn, hook-laden guitar. OK, I just described every punk band. The hard part is achieving what Bad Mary does – rocking it better than almost everyone else.

Bad Mary

photo courtesy of Bad Mary

With just six songs on We Could Have Saved the World, I’ll give each a little attention:

First song “Creeper” opens at a blistering pace; there is no warming up on this disc. This may be my favorite song on the album. Aside from some medium-tempo bridges, this tune is full-speed ahead. “Creeper” deftly intermingles a guitar hook, echoing support vocals in spots, and insistent, aggressive lead vocals within a hypnotically enticing rock guitar-driven package.

“Marz Attaqx” keeps the pedal to the metal and the fun/energy quotient on overdrive. Seriously, by the end of song two, an active listener will be completely out of breath.

“Trouble” is the song that most reminds me of Blondie, both vocally and rhythmically. It is a half-step down in pace from the first two, providing a much-needed respite while offering some Debbie Harry-esque squeals that turn into power vocals. If we hadn’t heard Blondie (because we lived in a cave), we might be surprised by the song. Even with the iconic comparison, we are impressed. And I’m particularly fond of the guitar solo here, giving props for melding axework into a raw punk number that would be equally well-placed in a mainstream hard rock song.

Bad Mary

photo courtesy of Bad Mary

“Cloud 9” is almost balladic in its pace, filled with a wall-of-guitar rhythm and rough-edged vocals with climaxing screams toward the end. Plus, there’s a nifty distorted-rock guitar solo in the middle. You’ve probably heard this song structure before, but Bad Mary does it to the nines. (Yes, I had to.)

“Meanwhile” opens with Green Day-ish axework and plows forward with a pulsing rhythm, punctuated by approaching tempo changes that never seem to happen, followed by an abrupt end.

“When You Think of Me” is medium fast-paced compared to some of the others on this disc. The music and vocals pulse, tease that they may be about to head out-of-tune a few times but don’t, and ultimately close with the sort of power chord full-stop that might end a killer set.

Bad Mary

photo courtesy of Bad Mary

I’m exceptionally picky about my classic-style punk rock – I think most of it is poorly done; sloppy but not sloppy-good. Bad Mary’s tempo-changes, climaxes, and attitude are all genuine and by design. As a result, there are now two New York punk bands I’d be willing to see in concert. Next time I’m in the City, I’d be thrilled to stumble into a Bad Mary-Baghdaddios double-bill.

Looking Ahead

Bad Mary’s website lists three upcoming gigs: Saturday, October 22nd and Punktoberfest! in Bay Shore, NY;  Friday, October 28th at The Crooked Rail in East Northport, NY; and Saturday, October 29 at The Grape Room in Philadelphia, PA. Keep checking the upcoming gigs page for additions. I know I’d go to see these guys rock live in a heartbeat.

Album Review: Haroula Rose – Here the Blue River

Posted on by
Haroula Rose

photo courtesy of Howlin’ Wuelf Media

Haroula Rose – Here the Blue River

Album Review of Haroula Rose: Here the Blue River

Haroula Rose‘s voice is ethereal. In fact, first track “Songbird” kicks the album off appropriately, with a calm, enjoyable, otherworldly feel.  (I also like that she ends the album with “Songbird (Reprise),” one of those cool things musicians used to do to bring their works of art full-circle back in the days when albums were king.)

Haroula Rose - Here the Blue River

image courtesy of Howlin’ Wuelf Media

It’s followed by “Margo,” the song that perhaps stands out the most for me from this collection. It has a hooky rhythm and catchy chorus that inspires singing along. All this while maintaining the relaxed energy of the album as a whole.

There’s a cool, rhythmic, musical line that adds character throughout “Moon and Waves” as the song periodically builds to power and mellows.

“The River (Drifting)” has a uniquely haunting aspect to its mellowness with a cleverly picked string backed by a more formidable orchestral wall, as if ushering a classical movie soundtrack through one scene and on to the next.

Haroula Rose

photo courtesy of Howlin’ Wuelf Media

“Sirens” showcases a ’70s psychedelia musical vibe, pulsing along with its purposeful rhythm moving around a vocal more forceful than most on this disc, though still very high and light.

Through “Premontion,” it flows into “This Old House,” a rather wistful, reminiscent, perhaps even melancholy track exceptionally well-suited to Haroula Rose’s soft delivery.

Ethereal music is difficult to get right while keeping it interesting, but Here the Blue River seems to have achieved that balance.

Album Review: Ashley Jordan – He’s Crazy

Posted on by
Ashley Jordan

photo by Kenzie Klem at Kenzie Klem Photography; photo courtesy of Ashley Jordan

Ashley Jordan – He’s Crazy

The Backstory

Ashley Jordan is well-known and highly regarded around New England. Since I started this blog, I had been looking for an opportunity to catch a live performance of hers, and her gig schedule finally coincided with my availability in August. You can read that review, so I won’t rehash it, but there’s a reason she’s regionally well-known, even in the city of Boston and not just in the outer suburbs where country music has a decent following. I’m pleased to get the chance to review her newest album.

Album Review of Ashley Jordan: He’s Crazy

A singer can only get so far simply by having a broad vocal range and hitting all the notes. There has to be a warmth, a richness, a fullness in the voice to convey understanding and truth, to blend well with the other instruments and to establish an emotional investment and understanding that causes you, the listener, to hang on every word, a tone and tenor that allow you to feel the singer’s emotion straight from her heart as if she’s singing only to you whether it’s in a crowded venue or the privacy of your headset. Ashley Jordan has that. That’s why she’s a local favorite, one of our area gems. And, combined with the strong work ethic and desire I’ve heard mentioned when people speak of her, that’s why she’ll go as far as she gets the opportunity to.

cover photo by Eric Snyder at EAS Photography; image courtesy of Ashley Jordan

cover photo by Eric Snyder at EAS Photography; image courtesy of Ashley Jordan

Ashley is from the small town of Harvard, Massachusetts. For those outside the Boston area, that’s 30 miles and a world away from its name-sharing university and Boston/Cambridge. Harvard, Mass. is small-town USA. I think I drove through it once, but I blinked and missed it. Still, given its proximity to Boston, Ashley was able to hone her skills busking in the big city beginning as a young teen. So it’s not surprising she exudes ample small-town charm backed by big-city confidence when she performs. It’s a deadly combination, one tailor-made for Nashville in particular and country music in general. Indeed, I get a bit of a Carrie Underwood-ish vibe from Ashley Jordan.

He’s Crazy is Ashley’s fourth album. And this time, it’s personal. Or at least it sure seems that way. The album centers upon the theme of an ended relationship, at different times sad, angry, introspective, dismissive, and defiant about it. Much the way Taylor Swift’s relationships are fertile songwriting fodder, this could be Taylor’s next album. But, to be honest, I’d much rather hear Ashley sing it. She clearly knows how to write songs that suit her voice and adds those personal touches, those vocal flourishes, that make a great vocalist unique and recognizable. The songwriting is impeccable, as well; Ashley deals from a vocabulary that’s broad but familiar, and the lyrics chosen are almost always very precise and ideal for the situation.

I’m guessing this album will have staying power, too, because each time I think I’ve selected a favorite song, I’m struck by a different mood and a different perfect track to represent it. So if you’ll indulge me, let me take you song-by-song through this impactful collection.

The disc opens with “Weapon.” Great way to start off. This one’s big-time. After a couple listens, I was checking the liner notes to make sure this was really an original, as it quickly became an old favorite. A powerful country tune, it’s mostly mellow but bursts forth with power and the sort of roar you’re more likely to hear from a rock band like Imagine Dragons. Just a hint of that rock edge, as it’s clearly a country tune, but this is the sort of song that could explode across genres. Between the violin opening and explosions of sound during the song all supporting her powerful vocals, this could be a signature song for a hot young artist.

Ashley Jordan

photo by Eric Snyder at EAS Photography; photo courtesy of Ashley Jordan

“Come Home” is a wistful country crooner, as Ashley’s voice soars through the chorus, and though the song is not rock, it somehow recalls rock phrasings of the word “home” ranging from Phillip Phillips’ “Home” to Scorpions’ “Coming Home,” even if the comparison ends at that word. Indeed, there are ample small-town country girl moments like the way she sings “mem’ry” that show a country sensibility and a hint of even country-folk influence. There’s also that dramatic pause late in the chorus that recalls the hooks from the big ’90s alt-rock hits. (Think Barenaked Ladies.) Though seemingly simple to categorize (“country”), Ashley’s songs are so much more complicated than they first seem once you lift the veil; this is a prime example of that.

I wrote in my live review that I hear a bit of Dolly Parton and Clare Bowen in Ashley’s voice. “Blue Eyed Boy” is the song that most brings both of these comparisons to mind, of Clare during the gentle moments but more of Dolly when she ever-so-slightly adds a little more power. And what seems like a bit of a twang at times comes across as defiant determination across a guitar-pickin’ music backdrop in this well-written song with its encouraging, resolute spin on a particular heartbreak.

The laid-back strumming of “Losin’ My Damn Mind” seems like something you’d hear around a campfire, walking the line between folky country and ’70s storytelling country, yet with a modern pop-inspired wail. And some of the phrases carry a bit of a James Taylor vibe. It’s a nice little damn song.

“In Spite of You” is the truly defiant song in this collection, downright rebellious in comparison to the merely-cranky-by-comparison “Blue Eyed Boy.” (Of course, y’all already know I enjoy a bit of snark and attitude with my country.) With a bit of radio play, I’m sure this would quickly become a favorite post-breakup anthem on campuses nationwide, with some great, cathartic scream-along moments.

Ashley Jordan

photo by Eric Snyder at EAS Photography; photo courtesy of Ashley Jordan

I suppose “Short Fuse” could be a word to the wise about staying on Ashley’s good side. Seriously, though, this is one of many sing-along worthy tunes, with sensitive guitar building to strength and a vocal edge at the song’s climax that conveys the fraying of her last nerve. Yes, she’s a convincing vocalist who’ll convince you every thought and lyric in her songs is the gospel truth, leaving you to wonder how much, if any, is fiction.

“Lone Wolf,” though, is the song that I always scream along with. Ashley, of course, is singing with smooth power on the disc while I’m merely screaming in the car. Though propelled by a tribal rhythm, this track is still slow-paced, but it is the one song on this disc that fully and frequently unleashes the tuneful firepower her voice is capable of.

“So Far Gone” mixes strength and sensitivity, power and compassion into a combination of music and lyrics that serve as a strong reminder of this vocalist’s songwriting skills. It’s all in the details, and, of course, she writes to her vocal strengths.

On “He’s Crazy,” a dancing and screaming guitar line weaves its way behind Ashley’s emotive vocals. This is the one song on which she utilizes a high register that I want to call a falsetto, but it really isn’t. It is quite cool, though. Yet another tool in her toolkit. And by song’s end, she leaves the listener convinced he’s crazy… though after “Short Fuse,” maybe he has a point.

“Angels” closes the album on a sensitive note, softly, though if you listen to the lyrics, perhaps a bit dysfunctionally.

Beginning to end, this album is a moderately-paced country tour de force; for those who don’t yet know her, it’s a terrific introduction to a young woman who has every skill – as a songwriter, in the studio, live, and seemingly off-stage as well – to be a country music star. So get this album, enjoy Ashley’s music, and root for her to gain broader notice. I can only imagine how she’d rock a packed Gillette.

If you get a chance, get ahold of a copy of this disc. I’d guess “Weapon,” “He’s Crazy,” and “Angels” will have the biggest chance of breakout success, but if you’re like me, another song or two on this album, which is solid beginning to end, may be your favorites.

Looking Ahead

Ashley has a busy weekend ahead. On Saturday, September 24th, she has the 11:30 AM time slot on the main stage at the Cape Cod Scallop Fest in Falmouth, MA. And the next day, on Sunday, September 25th, she opens for Trace Adkins at 1:00 PM at Indian Ranch in Webster, MA. The concert page on her website also lists a Friday, September 30 gig at Indian Ranch, performing as part of the Nash Next Radio competition. Obviously, check back to her website for additional upcoming shows.

Album Review: Gemini Syndrome – Memento Mori

Posted on by
Gemini Syndrome

photo courtesy of Concrete Marketing

Gemini Syndrome – Memento Mori

Backstory

Though my pop music fan friends lump me in with headbangers, true metalheads will confirm that I am, at best, a hard rocker. However, when I hear a band with a proper edge to its vocals, instrumental skills, and an aggressive musical approach with the skill to assemble those elements into a style that stands apart from the crowd, I cross over to the dark side. So yeah, I’m a bit persnickety when it comes to which real, true metal bands I listen to, and I know I leave out very worthy bands from entire sub-genres in the process; that’s why I always tried to have at least one true hardcore metal aficionado on staff when I published Geoff Wilbur’s Renegade Newsletter. But there’s nothing as sincere as my appreciation for a metal band when its sound really speaks to me. Several months ago, I introduced you to one such band, the amazing Forever Still. Now, again, I urge you to take a listen to Gemini Syndrome.

Album Review of Gemini Syndrome: Memento Mori

Gemini Syndrome - Memento Mori

image courtesy of Concrete Marketing

Gemini Syndrome combines the polished, heavy melodic power of Three Days Grace with the raw energy and rough edges of Coal Chamber to form its very own sound in this standout collection of songs, Memento Mori. And, of course, you can’t have an exceptional band without a prodigious vocalist with an identifiable vocal edge. Enter Aaron Nordstrom to rock your face off…

Right from the start, in fact. Album-opener “Anonymous” starts off with power, contains a catchy repeated lyrical/rhythmic section that you’ll remember long after the song ends, adds a little metal growl in the middle, and essentially establishes the mood of this powerful metal album.

If there’s a potential broad-audience hit, it’s “Remember We Die.” (In the video, there’s a minute and a quarter of pre-song storyline before the album version of the song begins.) The chorus soars, there’s a bit of harmony, the tempo changes and occasional forays into brief aggression are well-placed, and the title provides an easy sing-along throughout the track. While this may be the “gateway song” for crossover fans, most of the rest of the disc is heavier.

Gemini Syndrome

photo courtesy of Concrete Marketing

Other standouts include “Gravedigger,” which has an incessant, slow-but-heavy pace, with the vocals and the rhythm section taking turns driving the rhythm in tour de force fashion. Also, “Inception,” which eases into its power. And “Sorry Not Sorry,” which contains a practically pop music melody, balanced with heavier sections and some heavy metal screaming.

The album nearly closes with the aggressive “Eternity,” driven primarily by its pulsing heavy rhythm and typically soaring power vocals, with “Ordo ob Chao” serving as a one-minute decompression-chamber outro, as if meant to pull one final cathartic scream from the listener.

Memento Mori requires consideration not just by full-time hard rockers and headbangers; if you have any metal in your collection, this album may well be a worthy new addition.

On the Road

Gemini Syndrome has a bunch of live gigs scheduled. Scroll down the page on the band’s website for the tour listings to see if they’ll be performing near you. The band’s next show is Saturday, September 24th in Houston, TX with Alice in Chains. And on October 12th, the band hits the road with Sevendust and Red Sun Rising, playing Dallas on October 12th and Austin on October 13th, with dates through the end of the month of October in Flagstaff, Tempe, Las Vegas, Los Angeles, Sacramento, Portland, and Spokane.