Album Review: The Sweetest Condition – We Defy Oblivion

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The Sweetest Condition

photo courtesy of The Sweetest Condition

Album Review of The Sweetest Condition: We Defy Oblivion

I don’t have a lot of industrial synth-pop in my collection, but I’m not oblivious to originality and talent. Last spring, I reviewed The Sweetest Condition’s Edge of the World, gushing over its tight songwriting, tunefulness, power, and crossover appeal. Well, with We Defy Oblivion, Leslie Irene Benson and Jason Reed Milner have done it again.

The Sweetest Condition - We Defy Oblivion

image courtesy of The Sweetest Condition

There’s an interesting progression between albums. We Defy Oblivion, definitely dwells in a heavier neighborhood, with fewer forays toward the pop edge of The Sweetest Condition’s range. Again, though, the duo finds the monster hook in otherwise industrial pop. Leslie’s voice remains expressive and booming, when necessary, while tightly adhering to the songs’ requirements, resulting in genre-adhering music that can easily reach ears beyond its usual core audience.

Leslie Irene Benson

Jason Reed Milner; photo courtesy of The Sweetest Condition

In “Knock Us Down,” for example, the vocals are exceptionally staccato but their warmth keeps them from sounding inhuman, as can be the risk in this sort of musical cocktail. That particular song also sports a hypnotic synth rhythm and well-placed, not-too-simple drumbeat. The attention to detail includes thicker-and-thinner variations to the wall-of-synth theme buoyed by well-patterned song progressions. “Knock Us Down” is a microcosm of what The Sweetest Condition does best, which is why I mention it first, and it’s a catchy track, but it’s not necessarily even one of my favorites.

Leslie Irene Benson

Leslie Irene Benson; photo courtesy of The Sweetest Condition

For pure industrial synth, the album opens strong with “Deconstructing,” with a recurring pop rhythm (which usefully moves between different positions on the keys) before the song bursts forth into its chorus. This song, in its chorus, is one of the few locations on We Defy Oblivion in which I can draw the Madonna comparison to Leslie’s vocals; it was more common on the previous album. Again, not necessarily a typical vocal capability among industrial synth-pop singers, but it speaks to the breadth of The Sweetest Condition’s musical toolbox.

The Sweetest Condition

photo courtesy of The Sweetest Condition

Ah, but I promised you favorites. And the two cuts that reach farthest into my crossover-enjoying brain are “Faithless” and “Vices.” “Faithless” supports a hypnotically straightforward yet occasionally emotional vocal – and it’s the emotional infrequency that allows it to stand out so much – with a steady, catchy synth sequence.

“Vices,” meanwhile, utilizes another ear-catching, yet different, primary key sequence during the verses that explodes into the chorus. The music seems a bit edgy at times, building tension in the verses that releases powerfully during the chorus. It’s tied together with more emotional vocals, following the same pattern of tension and release. In this well-written, hooky song, the music itself is more suggestive than the lyrics.

The Sweetest Condition

photo courtesy of The Sweetest Condition

The most all-out energy on this album likely comes in “Keep Turning Me On,” a full-on, fast-tempo, potential dance club-pleaser that will leave the listener breathless after a single listen. I can only imagine the dance-floor carnage. The song before it, “Knock Us Down,” for which TSC has a video, is just as relentless, but insists at a more manageable medium-fast tempo.

Perhaps the poppiest, most mainstream track on We Defy Oblivion is “Depths Of Hell,” not that the lyrics would suggest a softening.

The Sweetest Condition

photo courtesy of The Sweetest Condition

A bit rougher but also memorable is the song “Nein Nein Nein.” The English-language verses suggest a rather rough evening to begin with, while the chorus implores “Ich will mehr, aber du sagst nein.” It’s supported by a stripped-down, rough-edged music bed befitting the lyrics.

Disc-ender “Unforgiven,” meanwhile, attempts to return the listener to a stable state. It’s a solid number, steadier than its immediate predecessor, and more traditionally, purely emotionally dark.

Once again, The Sweetest Condition delivers a solid collection of songs, a disc that will undoubtedly contain a few new favorites, if this is your genre. And an album that might surprise you if this isn’t. Personally, after how impressed I had been by Edge of the World, the bar for its follow-up was set exceptionally high, but with We Defy Oblivion Jason and Leslie have delivered an album that meets my unreasonably high expectations. It’s a helluva disc. I feel almost greedy for wondering what comes next.

Single Review: Cain Rising – “Rear View Mirror”

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Cain Rising

photo by Annie Price; photo courtesy of Cain Rising

by James Morris, Contributing Blogger

Single Review of Cain Rising: “Rear View Mirror”

Cain Rising - Rear View Mirror

cover artwork by Julian O’Dell; image courtesy of Cain Rising

Let me start by saying that if you haven’t ever heard Cain Rising before, then you should first go explore their self-titled debut album from last year. Within its 11 tracks you will discover a familiar charm of classic-style American rock, delivered in a rootsy, down-to-earth way. You could easily mistake much of what you hear as coming from America’s heartlands with its mix of country, folk, and rock. Actually, what you have are a bunch of excellent musicians led by Southside Jimmy all from the UK but steeped in the influences of the likes of Bruce Springsteen, Tom Petty or Bob Dylan.

Cain Rising

photo by Matt Crawford; photo courtesy of Cain Rising

The band was formed in 2014 by Jim Price with longtime collaborators and friends Jez and Jo Parry. The line-up on these new recordings includes guitarist Ian Hopper, Matt Crawford on Hammond and piano, and Mick Ivory on drums.

The new single, “Rear View Mirror,” follows seamlessly on from the last album but with even more swagger and confidence.

This is the first release of 5 songs all destined for an EP release in July. This first glimpse of what is to come introduces the new band line-up and the addition of some really infectious, bright and joyous brass. These musical elements couple perfectly with the great songwriting of Southside Jimmy, and the result is an excellent summery song following the theme of hitting the road and getting away from it all.

Cain Rising

photo by Matt Crawford; photo courtesy of Cain Rising

From the first strums of the uplifting intro, the introduction of the brass, and the full steam ahead approach, I was happily hooked. Seemingly effortlessly, the song led me quickly to the catchy chorus, which put me in mind of the driving type of thing Elvis Costello used to do on things like “I Can’t Stand Up For Falling Down.” Three minutes and eight seconds pass in the blink of an eye, and when it was done I found myself wanting to press play on it, over and over again.

Cain Rising

photo by Annie Price; photo courtesy of Cain Rising

If this is the quality of what is to come later in the summer with the release of the EP, then I have to say that I really don’t want to have to wait. Luckily for me the band are going to digitally release all 5 songs one at a time in the coming weeks before the final EP is available.

The 5-track EP will also include all out rocker “Glasgow City Spires”; “Walk My Way” – rock meets swing – with horns from Rebecca Gibson Swift and Pablo Mendelssohn; “Soldier” – highlights the band’s love of strong vocal harmony bands such as The Eagles & CSNY; and Social Man – a tense, raw and intimate country song.

Patience will be hard to find, but at least this drip feed approach will go some way to slake my appetite for Cain Rising’s excellent new releases.

Cain Rising

photo by Annie Price; photo courtesy of Cain Rising

“Rear View Mirror” is out now to download or stream. Further releases are due out between now and final EP release in July.

If you are in the UK, you can catch Cain Rising play live on July 2nd at Ampthill Festival, September 2nd at Catfest in Salford, or on October 21st at the Wheatsheaf in Leighton Buzzard.

Follow them on Twitter at @CainRising or visit their website at http://www.cainrising.rocks/.

Album Review: Matt Jaffe & The Distractions – California’s Burning

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Matt Jaffe

photo by Edward Saenz; photo courtesy of Shore Fire Media

by Eric Harabadian, Contributing Blogger

Album Review of Matt Jaffe & The Distractions: California’s Burning

Hot off the heels of his Blast Off EP, San Francisco-based Matt Jaffe returns with a full-length collection of molten-tinged rock and roll. On his debut release, Jaffe was barely out of his teens yet brought a rich and studied new-wave energy to the table that reached way beyond his years. With California’s Burning, the 22-year-old Fender axeslinger/singer-songwriter returns with a brand new autobiographically-inspired concept and vision. As the story goes, Jaffe attended college on the East Coast, and, after being away for an extended period and then returning home, he took notice of the differences between the two coasts. There is obviously a rich and storied history of California—from its depictions in movies to topography and colorful characters—that all play a part in the narrative of his latest project.

Matt Jaffe & the Distractions - California's Burning

image courtesy of Shore Fire Media

Right out of the gate, your ears are under pleasant assault from the heavily syncopated “Love is Just a Drug.” Its catchy riffs, hooks and harmonies envelop your senses and may even get you up on the dance floor as well. “Wander No More” continues in an up-tempo manner, with a barnburner of a tune. This has an urgent Robert Gordon-meets-Blasters feel that features great guitarwork between Jaffe and fellow Distraction Adam Nash. “Fire on the Freeway” is kind of a country/blues mesh where you can feel the scorching heat from the leader’s Telecaster attack. Jaffe sings of “burning across the western plain” rife with rockabilly passion and paranoid imagery. “Hellhounds of Alcatraz” displays a lot of fancy lead playing augmented by very vivid and cinematic lyrics and propulsive grooves. Each track seems to play like a mini-novella in a way, and this tune seems to dabble in mystery, intrigue and Hitchcock-like suspense.

Matt Jaffe

photo by Edward Saenz; photo courtesy of Shore Fire Media

“I Wanna Be Cruel” offers a breather in the form of a ‘50s/’60s type ballad. Here Jaffe shows his more sensitive side that appears an homage to both Elvii—Presley and Costello. “Write a Song About Me” picks up the pace again and has all the earnestness and punk rock bravado of southern California rockers John Doe and X. Once that stick of dynamite is lit, there is no turning back, with the runaway freight train that is “Locomotive Lightning.” This is a song that observes a look beyond Los Angeles and takes in the whole western coastline. This is controlled chaos, with enough crazy rhythms and shifting tempos to challenge the most accomplished mosh pit aficionado. Other highlights include the aforementioned Costello-like pop and sizzle of “Baby’s On a Bender,” the acoustic pairing with backing vocalist Christina Alvarado on “Red Snow,” and his impressive and faithful take on Johnny Cash, with “Folsom Prison Blues.”

In Jaffe’s own words, “ We wanted to make a record that sounds like the records we like; one that sounds like the music that turns us on, with buzzsaw guitars and whiplash drums. Dials at eleven. Forget the polish and forget the shine. Nothing between us and your ears. California’s Burning, so come and join us right here in the hot seat.” Kind of sums it up, doesn’t it!?

Live Review: Ali Handal and Billy Crockett at Fox Run Concerts

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Ali Handal and Billy Crockett

Fox Run Concerts, Sudbury, MA

April 29, 2017

The Backstory

I was introduced to Ali Handal’s music more than two years ago by some mutual musician friends in Los Angeles. Since then, I’ve tried catch her Boston area live performances but have heretofore failed in that endeavor. Last night, however, she opened a double-bill that fit my preferred time and location – an early time slot in an outer western Boston suburb – so I was finally able to make it happen. Better yet, it was a house concert; these more intimate performances in front of smaller audiences are one of the great new(ish) trends in independent music that I’ve really enjoyed since returning to music journalism.

Last night, she opened for Billy Crockett, who, after reading his bio, seems like someone I should have already known about. He is a respected artist who has been around the music industry for years, but our paths had not yet previously crossed. With a quick listen to some of Billy’s YouTube clips in preparation for the event, I knew I could expect a stellar evening.

Ali Handal

Ali Handal; photo by Geoff Wilbur

The Opening Act: Ali Handal

Ali Handal opened her six-song set with strength. Granted, that’s no surprise, but her initial song of the evening, “You Get What You Settle For,” showcases the element of her voice I can best describe as an expressive roar. There’s perhaps a bit of a bluesy edge to the song, as well, with some cool funky guitar effects.

What’s so intriguing about Ali, though, is her range. In addition to an arena rock-worthy roar, strong and smooth enough yet artfully restrained befitting an acoustic singer-songwriter event like last night’s, she has a crisp, sweet, high end to her vocals as well, which she’s able to weave seamlessly into her songs, allowing them to showcase both power and sensitivity.

Halfway through her set, in fact, she displayed that sensitivity particularly well on “Distance,” with the sweeter vocal augmented by an interesting guitar-picking style. It’s that mix of power and sensitivity that make Ali a unique talent – well, that and the fact that her guitar skills are capable of providing varying soundbeds beneath her strong voice.

And there’s also her engaging stage presence, intimate but with a sense of humor, that draws her audience in. She closed her set, in fact, showcasing that sense of humor with “Thank God for Birth Control,” the prototypical anti-parenthood song, if there ever was one. And I’m not sure there ever was.

In all, it was a fun set by an exceptional talent. I’m glad I finally found a chance to see Ali Handal live, and I look forward to seeing her perform as a headliner, perhaps, sometime down the road. (Also in a club or arena setting where she can better unleash her rock chops, perhaps allowing me to hear her perform my current favorite Ali Handal tune, the more raucous, rawkin’ “But I Do,” live.)

Billy Crockett

Billy Crockett; photo by Geoff Wilbur

The Headliner: Billy Crockett

Billy Crockett’s music has been labeled folk/Americana, and I suppose it is, but there’s more to it than that. Rather than pigeonholing it, I hear music with the potential for significant crossover appeal beyond a single genre, one well-placed hit away from making Billy a household name. I hear a sort of timeless singer-songwriter vibe in Billy’s songs. It’s the sort of music you’d hear at festivals and occasionally on pop radio in the ’60s/’70s. Rich, storytelling songs driven by Billy’s powerful, emotionally expressive vocals.

In a house concert setting, Billy’s personability and storytelling ability carries over into his between-song banter, and, as a result, this evening at Fox Run Concerts had that sort of intimate, gathering-of-friends feeling. Of course, the on-stage “friend” on this evening was an exceptionally talented troubadour. And during his songs, the intensity with which Billy feels his music is written on his face, carried in his voice, and driven home by his full immersion in his performance.

Billy followed Ali’s set with his own short set before intermission, then returned for a longer set to close the evening. He kicked things off with “Feel It,” an emotion-driven acoustic singer-songwriter number. He followed it with the engaging “That’s Something,” displaying the richness and versatility of his strong voice, supporting the vocals with a ’60s/’70s folk-influenced strumming.

Over the course of the evening, my mind kept circling back, comparing Billy’s music to that you might find on a soundtrack. More precisely, a Broadway soundtrack. I’m not talking about those big production numbers. Rather, the emotion in his voice and progression of each song’s music and content are more akin to songs (and portions thereof) that share important plot points, in which an individual character tells backstory, explains his emotions about something, or moves the story forward. This past winter, I (finally) caught a production of Cabaret in Boston, and I think Billy’s songs, particularly the more haunting, introspective ones, remind me of some segments of that evening’s performance. Not exactly, though. The pace and tempo of Billy’s songs and distinct enunciation remind me a bit of Randy Newman, best known by the general public for his movie soundtrack work, though I wouldn’t compare Billy’s rich, distinctly original voice to Randy’s beyond that. More appropriately, I’d call them musical neighbors.

Billy continued with songs like “Record Player,” which appealed to the audience’s nostalgia, and “On Your Way,” a storytelling song with a bit of a dark tension to it, before intermission.

After the break, Billy returned for a full set. Highlights of the second set included “Ghosts,” a song whose warm, rich guitar song adds gravitas to the vocal; “Meant That,” with all its soulfulness; and the engaging, somewhat twisted tale of “Rabbit Hole.”

Billy closed his set with “Mavis,” his tribute to Mavis Staples, augmenting his trademark vocals with some dancing guitar strumming, and an archetypal storytelling singer-songwriter song, “Already Perfect,” recalling for me hints of Joshua Kadison or Bob Halligan, though with a Billy Crockett spin.

For his encore, Billy led a singalong of James Taylor’s “Sweet Baby James,” followed by his cover of “Native Boy,” dropping the curtain on an evening of warmth, camaraderie and song, wrapping up a double-bill perfectly suited to a house concert.

Billy Crockett and Ali Handal, of course, are clearly artists whose power and skill can (and often do) engage thousands as easily as dozens. Singers of that caliber in an intimate house concert can deliver a special evening, and, indeed, they did.

Looking Ahead

Though Ali doesn’t have any more gigs left on her latest East Coast swing, she does have a Saturday, May 20th house concert (with limited seating) scheduled in Reseda, California. For more information about this show and for future concert information as it is announced, see this link to her website.

Billy does have a few shows left on his East Coast tour. Per his website, you can see him at Club Passim in Cambridge, MA on Wednesday, May 3rd and at Rockwood Music Hall in New York on Monday, May 8th. Then he’ll be back in Texas, performing on the main stage at the Kerrville Folk Festival on Thursday, May 25th. Check this page for more information about those gigs and upcoming performances, as they’re added.

As for more detailed reviews of Ali and Billy – since live reviews tend to be more hastily written than album reviews, based on my notes from a single evening rather than dozens of listens – watch for my review of Billy’s current album Rabbit Hole in the coming months. Likewise, Ali will soon be releasing a new record soon; when that’s available, rest assured I’ll reach out to “her people” for a review copy.

Album Review: Robb Roy – Well, There You Have It

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Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

by Eric Harabadian, Contributing Blogger

Album Review of Robb Roy: Well, There You Have It (Pure Recordings)

Robb Roy - Well, There You Have It

cover photo by Hillary Nash; image courtesy of Robb Roy

This is the fifth studio release by Detroit area alternative rockers Robb Roy. After an extended hiatus, to say it has been highly anticipated would be somewhat of an understatement. This dynamic and well-versed quartet always maintained a fervent fan base, and this new release should certainly satiate the faithful. This album features six new songs and four previously unreleased ones from their heralded past. While it is one of their strongest efforts to date, it was produced with a heavy heart in light of the passing of long-time guitarist Michael Kudreiko in 2016. But, make no mistake, Mike’s presence is all over this record, and it is a shining swansong by him, as well as a fitting tribute, indeed!

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

At the helm for well over 30 years, lead vocalist and frontman Graham Strachan is in fine voice and partners most ably with fellow RR regulars John Cottos on bass, additional guitars, and backup vocals as well as the mighty Duane Huff on drums.

The album begins with what sounds like the crackle of a turntable needle on a phonograph record. Strachan has all the charisma and poise of a rock ‘n roll preacher as he spins a tale of “The Cure”’s musical baptism and salvation. “I can’t be saved till I’m cured,” he sings and, with that, begins a new chapter in the storied Robb Roy saga. That’s followed by a rousing tribute to a musician’s life, with “Stayin’ Up All Night.” This has a rough and tumble blues feel that kind of recalls early Peter Green-influenced Fleetwood Mac mixed with a smattering of Bad Company.

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

The songwriting is diverse and multi-layered and this is never more evident than on the lovely “Let Love Show You the Way Home.” Strachan is joined by guest vocalist Gia Warner, and their interplay is magical. There is a great sing-along chorus that will resonate with you for a long time.

“Safety” is a song that had been sitting on the shelf for a while and was revived with new lyrics by Strachan and production assistance from veteran producer Chuck Alkazian. It is a ballad dedicated to Kudreiko’s family and features a sense of poetry and emotion rarely touched on in contemporary pop anymore.

“Half of a Broken Heart” is atmospheric and epic in sound and substance. It’s a great tale by Strachan about true love and connection—romantic or otherwise. “Hopelessly With Her” is yet another love song for grownups. Strachan challenges the various games people play in the ways in which they deal with each other. Questioning their ulterior motives he asks “If this is love then why do we make each other cry? If this is love shouldn’t we be happier?” Warner again joins in and makes this song a standout.

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

“Song 86” follows and is a rally cry in the spirit of classic bands like The Alarm or Big Country, and “Brand New Day” keeps that up tempo vibe going, with an urge to making changes and adopting new ideas.

With, perhaps, a page from the U2 play book, Strachan crafts a like-minded anthem in “Never Change.” It is dynamic, with Huff’s metronomic precision underpinning a plea to hold onto innocence, civility, and, it appears, a sense of the past. The album concludes on an odd and mysterious note, with a track called “Skunk Hollow.” This is kind of a strange and surreal trip chock full of voodoo energy and ominous visions.

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

In addition to the core members of Robb Roy, producer Alkazian plays keyboards as do Kid Rock’s piano man Jimmie Bones and organist Pat Brennan. Ultimately, Robb Roy is a band that has weathered many changes and challenges in its 30-plus year existence. From the richness and articulation of Strachan’s delivery to the impeccable playing and sterling production, this is a veteran band that proves, despite some hard knocks, they still remain steadfast and committed to their values and collective vision. Well… there you have it!

 

Album Review: Eliza Neals – 10,000 Feet Below

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Eliza Neals

photo by Jane Cassisi; photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Eliza Neals: 10,000 Feet Below (E-H Records)

The “Detroit Diva” returns with this strong follow up to her critically-acclaimed album Breaking and Entering. That previous release made a bold transition from her bluesy soul and R&B rep to more of a harder blues/rock style. With 10,000 Feet Below, Eliza Neals continues on that path by honing an even more defined vision of her craft. She is aided by frequent collaborator and award-winning guitarist Howard Glazer. But really she’s got some of the best musicians from Detroit, New Jersey and Nashville throwing down on this no holds barred collection of original Neals-penned gems.

Eliza Neals - 10,000 Feet Below

image courtesy of Frank Roszak Promotions

The album begins with an ode to a slick street-smart hustler named “Cleotus.” Right away, Neals and Glazer establish homage to the acoustic blues tradition with a simple but powerful pairing of soulful vocals and searing Dobro slide guitar. Neals delivers a tale that is compelling and chilling. “Another Lifetime” is currently blowing up on Sirius XM radio and for good reason. It’s a slow smoldering kind of blues that spins a yarn of lost love, again ignited by Glazer’s sensitive guitar licks. “Burn the Tent Down” is an incendiary mid-tempo rocker that has single written all over it. It’s a good time tune about southern barbecues and kicking that party vibe loose. Here Neals employs some of her considerable vocal skills as her multiple backups weave in and out in a most effective way. The title track “10,000 Feet Below” begins with Neals bellowing “Just got back from hell.” And then it’s all fire and brimstone from there! She has a way of really connecting words and feelings. You really feel her passion, which is further supported by her subtle piano stylings and Glazer’s tasteful electric fills. “You Ain’t My Dog No More” is kind of gimmicky but works in a novel sort of way. It’s just a fun Muddy Waters-like romp where Neals scolds her man for not treating her right; “No more treats”… indeed!

Eliza Neals

photo by Jane Cassisi; photo courtesy of Frank Roszak Promotions

At this juncture the “Detroit Diva” takes a break and delves into ballad territory with a sweet tune called “Cold Cold Night.” This features Paul Nelson on lead acoustic guitar. The song has a Stevie Nicks/Ellen McIllwaine sensibility to it. Neals can do a lot of amazing things with her voice, and this tune is a prime example of her melodic depth and range. That’s followed by the album’s sole cover tune in Skip James’ haunting “Hard Killing Floor.” The trio of Neals on keyboards, Glazer’s howling fills and drummer Demarcus Sumter’s spare accompaniment is meditative and riveting. “Call Me Moonshine” is another traditional sounding I-IV-V blues shaker that creeps along via Glazer’s sly turnarounds and Neal’s velvety Hammond B3 work. “Downhill on a Rocket” follows and is kind of a dark minor piece. The swampy New Orleans feel is further proffered by Neals’ line “Voodoo woman with a cross in her hand.” When she sings stuff like that it’s not just some line-reading off a corny script. She means business! The album concludes with another straight-ahead country blues track, “Merle Dixon,” and an atmospheric duet with legendary guitarist Billy Davis called “At the Crossroads.” Davis cut his teeth with classic artists like Jackie Wilson and Hank Ballard and the Midnighters. He brings that veteran Motor City poise and mojo for a performance that appropriately puts the cap on this essential set of tunes.

Eliza Neals and her various musical co-horts she affectionately dubs “The Narcotics” (duly named because “they are dope!”) have done it again. Her hot and sultry brand of blues is for real, with enough radio-ready punch and songwriting savvy to break through modern media platforms in a big way. Look out!

 

Album Review: Odds Lane – Last Night on Cherokee

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Odds Lane

photo courtesy of Bongo Boy Records

Album Review of Odds Lane: Last Night on Cherokee (Bongo Boy Records)

Odds Lane delivers blues rock that leans heavily on the blues while mixing it with a raucous, rocking rawness. What keeps the songs interesting, though, is the infusion of other influences into the music, suggesting the musical palette of Doug Byrkit and Brian Zielie reaches well beyond the St. Louis-based duo’s stylistic base.

Whether it’s the slapping boogie rhythm of incessantly catchy “Falling Down” or the chunky beat driving “Take It Slow,” Odds Lane’s style feels old and familiar, like you’ve heard it before. For a reason. Because this is what the good stuff sounds like. Last Night on Cherokee is an album full of textbook oozing-the-blues blues-rock numbers. And it’s clearly the result of a pair of talented musicians/songwriters.

Odds Lane - Last Night on Cherokee

image courtesy of Bongo Boy Records

Last Night on Cherokee starts strong with the thumping, pulsing blues rocker “This is What It’s Like.” A perfect introduction. An ideal first single. Straight-ahead blues rock. Part George Thorogood, party Fabulous Thunderbirds. And maybe an alt-rock tinged jangle for additional character. Great way to kick off the disc.

There are catchy numbers throughout the album, but three have made it onto my oft-sampled (and shared via Twitter) phone-on-shuffle playlist. In addition to “This is What It’s Like” and “Take It Slow,” my other favorite from this disc is the traveling-song tempoed “Red & Yellow Clowns.” It’s catchy…  until you listen to the lyrics. Then it’s catchy and kind of creepy. Just don’t listen to it for the first time while walking somewhere dark and deserted. Trust me. But with the creative lyrics and song-long transition from Americana flavored laid-back number to jangly rhythmic tune to, finally, almost-frenetic blues rocker with crunchy guitar, it’s quite possibly my favorite song in this collection.

That’s not to suggest the rest of the disc isn’t solid. It’s a great listen beginning-to-end, touching all the blues-rock bases with style and substance. There’s a booming, thumping rhythm on “Dust to Dust” that’ll rattle the windows, the strong reggae influence behind “100 Miles,” a fair bit of psychedelic influence in “Too Close to the Sun” and “End of the Line,” the jangly rock core of “Bottom of the Sea,” and amazing, classic blues guitar riffs propelling solos that, while relatively brief, are the driving forces in the progression of songs like “Strange Love” and “The Lonely.” This is a blues rock – or, perhaps more appropriately, a rockin’ blues – album you’ll be glad to have in your collection for years to come, a disc that continues to get better across multiple listens as you discover its nuances. Often, they’re in-your-face nuances, but they’re nuances nonetheless.

I’m fully aboard Odds Lane’s rough-edged, broadly-influenced blues bandwagon. Don’t let it ramble too far down the road before you join me for a ride.

Looking Ahead

Check out the “shows” page of Odds Lane’s website to see where you can catch them live. They’ll be performing twice on Tuesday, April 18th at Firecracker in St. Louis – first at 11:00 AM, then again at 8:30 PM. They have May dates listed in St. Louis (May 4th and 10th), Clayton (May 5th), and New Offenberg (May 6th), Missouri and in Springfield, Illinois (May 18th). Again, check out the band’s website for more details on those and other upcoming gigs.

EP Review: Alchemilla – The Divide

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Alchemilla

photo by Joshua Pickering; photo courtesy of Alchemilla

Alchemilla – The Divide

The Backstory

Alchemilla is one of my favorite local bands, and I still haven’t made it out to a live gig yet. Their time slots are just too plum, I suppose. They play late sets in close to Boston, while I tend to prefer early sets in the outer western suburbs. One of these days I’ll make the trek, but the stars have not yet aligned, so I’ve just been enjoying the band’s recorded music.

EP Review of Alchemilla: The Divide

Wall-of-sound hard rock with melodic undertones. That’s Alchemilla. Heavy music that screams hard rock credibility, so you start listening to the music for its “sound,” but with songs whose earworm qualities slowly reveal themselves so you eventually rave about the band’s tunefulness. And, indeed, the group’s newest release, its The Divide EP, is a solid continuation of its previous release, the Hearts EP I reviewed in the Blog more than a year ago.

Alchemilla - The Divide

image courtesy of Alchemilla

By comparison to the overwhelming heaviness of Hearts, The Divide is perhaps a smidgen lighter, though you’d never guess if this was your first exposure. The music will still melt your face, but there’s possibly a bit more open space in the sound wall, a slight sound evolution that gives the new music a little freshness. It’s a great record-to-record progression, similar enough to leave longtime Alchemilla fans thrilled, but just different enough to provide a fresh, unique collection of songs that occupy their own space in the band’s timeline; it’s the sort of progression one would hope for from a favorite heavy rock band.

“Fatal” kicks things off with crunchy hard rock guitar and enough space for Kat Bondi’s tuneful vocal roar to be noticed between the instruments, announcing (with authority) the greater presence of classic rock spices in the band’s trademark wall-of-sound stew this go-round.

Alchemilla

photo by Alchemilla; photo courtesy of Alchemilla

Not that Alchemilla’s forceful drumming can be ignored, as it steps up to drive the tempo even harder on the next track “Big Star,” combining with a crunchier guitar sound to crank up the volume a bit.

Energetic tunefulness comes next, as “Pass Blind” introduces itself as Alchemilla’s crank-it-while-driving-on-the-open-road number. Just when it seems the song won’t leave time to breathe, though, it unveils an almost ’70s black-lit-room softly heavy, well-placed guitar bridge that carries the tune most of the way to its conclusion before briefly regaining its faster tempo. It goes together well but still surprises me a little with each listen; though it makes sense as it’s happening, in my memory it almost feels like two songs.

Alchemilla

photo by Joshua Pickering; photo courtesy of Alchemilla

Then, ah, here comes the tempo respite. Title track “The Divide” plods along, its pace a bit more reminiscent of many songs on Hearts, providing continuity to Alchemilla’s musical journey. Tunefully plodding, with its vocal roar and psychedelic classic rock-flavored bridge. In the end, it’s one of my favorite songs on this disc, though depending on my mood, my top choice can be any of the six. Back to “The Divide,” though, there’s enough space and a relaxed enough tempo (finally) to allow the listener the think and appreciate… not just this song, but the EP so far.

The softer side of Alchemilla continues to rule the record a bit longer, with the almost psychedelically heavily mellow “Flooded Lands,” offering a vegetative respite enveloped by sound, perhaps lounging on a bean bag chair in front of a lava lamp and black light Zeppelin and Rush posters, before the collection closes again with another energetic rocker, “Got to Choose.” The album-ender slyly tricks the listener with a mellow enough opening, almost flowing from the previous track, before cranking up the tempo a little more than a minute in. By the end of the song, “Got to Choose” is almost frenetic. Fully awake and alert, it leaves the listener ready to start the journey over again.

In the end, hard-rockin’ or mellow, Alchemilla’s music is listenable, tuneful, heavy rock that only improves with multiple listens. And, indeed, encourages multiple listens. Compared to Hearts, The Divide is another helping of the same delicious rock ‘n roll steak, perhaps with a few different spices.

Looking Ahead

I don’t see anything on Alchemilla’s concert calendar right now, but you can bet I’ll be watching for a show I can get to. (And you’ll know when I do… because you’ll see the review.)

EP Review: Erin Pellnat – Dream in Color

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Erin Pellnat

photo courtesy of Erin Pellnat

by Eric Harabadian, Contributing Blogger

EP Review of Erin Pellnat: Dream in Color

Erin Pellnat - Dream in Color

image courtesy of Erin Pellnat

Dream in Color is a four-song EP by Brooklyn, NY-based singer-songwriter Erin Pellnat that blends superior compositional craftsmanship, with insightful lyrics and tasteful musicianship. This talented young musician also currently fronts the NYC-based band Caretaker, with all instruments played, and the recording produced, by her father and co-writer Christopher Pellnat.

“Blue Skies and Happiness” opens the album where a jazzy samba-like rhythmic undercurrent sets the stage for a tale of love gone wrong. Based on Irving Berlin’s 1926 standard “Blue Skies,” Pellnat’s song reveals a touch of gray, with the opening lines: “Blues skies and happiness/Those were your promises/But it’s been raining for days and I’m so sad/Why does it have to be so bad?” This bossa nova-flavored  track kind of has an Eliane Elias meets Jobim quality to it.

Erin Pellnat

photo courtesy of Erin Pellnat

The title track “Dream in Color” is another slice from the songwriter’s collective pie. It’s kind of psychedelic folk, with a “glass half-full” perspective. Pellnat urges the listener to consider accentuating the positive aspects of life, with these opening lines: “Think fast, faster than you can haul ass/Away from your deep and dark past/Silence the voices and ask/Why don’t you dream in color?” She sings it with such laconic and self-assured conviction, how can you refuse?

“Stay” spotlights another interesting song construction that features lilting Beatles-esque verses paired with a waltz-like chorus. The spirit of this piece is ethereally poetic, with a subtle British folk rock quality to it. The violin and accordion are nice touches and add to the song’s allure and mystique.

Erin Pellnat

photo courtesy of Erin Pellnat

“Forever Kisses” finds Pellnat ever the hopeless romantic again, with the lines: “No love is lost in the end/Whether a lover or friend.” The tender folk song is driven by an odd-metered snare drum and atypical chord changes. This all adds to the eclectic and unique nature of the tune. She concludes the piece and this superb set of songs with words that are as prophetic as they are profound: “Why can’t we stay the same?/Young and beautiful again?”

With this being a debut release for the versatile and erudite singer, there is nowhere to go but up, as they say. Consider, if you will, some thoughtful and sophisticated pop that elevates the genre. It takes you, the listener, on a wonderful path that is least travelled and well worth the journey.

Album Review: Gretchen Peters – The Essential Gretchen Peters

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Gretchen Peters

photo by Gina Binkley; photo courtesy of Gretchen Peters Management

by Eric Harabadian, Contributing Blogger

Album Review of Gretchen Peters: The Essential Gretchen Peters (Scarlet Letter Records)

Gretchen Peters has been on the national music scene since 1996. She is a singer-songwriter who has plied her trade recording nearly a dozen albums and has written hits for Martina McBride, Etta James, Trisha Yearwood, Patty Loveless, George Strait, Anne Murray, Shania Twain, and Neil Diamond and has co-written with Bryan Adams. So, this album – a collection of demos, live tracks, alternate takes and album cuts – has been a long time coming.

Gretchen Peters - The Essential Gretchen Peters

cover photo by Gina Binkley; image courtesy of Gretchen Peters Management

When you’ve got such a prolific composer and performer as Peters, there is a wealth of material to draw from. Perhaps the greatest takeaway from experiencing Peters’ music is that there is a timeless quality to it. A classic song has staying power and can really speak to the heart and soul of the listener. That’s the kind of gift Peters has. You can hear it in the barroom banter of friends trying to define their purpose in “The Meaning of Life” or dealing with life’s futile struggles in “When All You Got is a Hammer.” There are also beautiful love songs that span the human condition from the longing of “On a Bus to St. Cloud” to her duet with Bryan Adams, “When You Love Someone.”

Gretchen Peters

photo by Gina Binkley; photo courtesy of Gretchen Peters Management

What’s really remarkable is that many of the songs on this two-disc package have been major and minor hits for many other people. But it’s nothing like hearing a master storyteller like Peters deliver them with her own inimitable candor and poise. She knows how to wrap an emotion around a lyric and make it come alive. She has a sincerity in her voice that’s not unlike Dolly Parton or Bonnie Raitt, sweet but with a knowing world-weariness to it. And it is that very sincerity that informs the self-reflective “Five Minutes” and the personally empowered “Woman on the Wheel,” with just the right amount of gusto and grit to get the message across.

To paraphrase a video interview seen a few years ago, she could be sitting at home writing songs and collecting hefty royalty checks for them. But thankfully she has always stayed true to her muse to be a performer as well as a writer. Hence, she writes from a place of experience and is compelled to complete the circle by going out there and playing those songs for people. With The Essential you have the Gretchen Peters story… so far. Here’s to her continuing that musical journey for many years to come.