Album Review: iamCURBIE – Better Late Than Forever

iamCURBIE

photo by Maurice Thompson; photo courtesy of Curbie Ciamarra

Album Review of iamCURBIE: Better Late Than Forever

New Jersey-based Curbie Ciamarra, who performs and records his original music as iamCURBIE, is a talented rock ‘n roll singer-songwriter.

I love the instrumental opening to this album, the title track, “Better Late Than Forever,” a rich music bed with a Southern rock-ish, singer-songwritery soft guitar wail. It sets the stage for what is not your ordinary soft-to-mid-tempo rock singer-songwriter fare. Very quickly you’ll realize this album is a softer-edged music from a rocker with a textured, emotional voice.

iamCURBIE - Better Late Than Forever album cover

image courtesy of Curbie Ciamarra

Drawing from a variety of old-school softer-rock sources, and techniques that work very well live – a hand-clap bit, for example, and a well placed stop-start pause – the second song though the first with vocals, “Ego to Feed,” is a quick favorite. And it flows smoothly into “Into the Shade,” which adeptly ups the tempo. “Into the Shade” contains vocal hooks and a forward-driving acoustic-electric guitar rhythmic motor that carry Curbie’s emotional vocals exceptionally well.

“Day Dreams” stands out as a softer track mid-album, with a soft, almost lullaby-ish music bed blending well with Curbie’s impassioned vocals.

If you’re looking for an opening hook that’ll grab radio listeners from the start, try the first strums of “Worth It.” It’s a moderately uptempo number that’ll be have you swaying in your seat. I’m also a fan of the way the energy in this tune builds; it’s a fun payoff.

“Keep Moving” is a poignant, emotional number that will connect immediately with anyone with families, particularly those who are away from their families more than they’d like. Among the songs on Better Late Than Forever, this is certain to be the one that connects most strongly with some listeners, with one caveat. This sentiment is actually largely duplicated but with a different mood on the catchy, uptempo, fun “159” later in the album – those with kids who prefer the sentiment without the hint of anguish found in “Keep Moving” might actually prefer “159.”

iamCURBIE

photo by Maurice Thompson; photo courtesy of Curbie Ciamarra

The biggest singalong line – at least for bar gigs – is probably in the catchy “Spirits (Maggie)”: I’m just here for the beer.

I’ll skip down and close with the album-closer, “Harley’s Edge III F.I.P.” As if proving there are more weapons in his arsenal, this emotional, powerful song includes a guitar sound not previously used on this disc. It’s all about emotion on Better Late Than Forever, and this well-produced number closes the disc in exactly that manner.

Considering the entirety of the album, each of the songs on Better Late Than Forever has a unique appeal, and any one of them may end up a personal favorite. The collection is well-written, emotionally performed, effectively produced. A worthy addition to one’s album collection.

Moreover, the songs on this record would play well in acoustic coffeehouses or bigger rock venues with full band support. Yeah, Curbie’s a songwriter and a performer. And this disc is likely to appeal to multiple audiences, including rockers who appreciate a softer approach from time to time, pop-rockers who occasionally like some edge in their music, and folky singer-songwriter fans who can appreciate richer arrangements to songs they’d like enjoy stripped-down, as well. Or, really, anyone whose idea of good music begins with a well-written and adeptly-performed song.

Looking Ahead

You can keep up-to-date with iamCURBIE’s performances at the “Events” tab of his Facebook page. It currently lists one upcoming show, on Thursday, July 9th, at Martell’s Waters Edge in Bayville, NJ. Curbie is also one-third of Curbie and the Sidewalkers, in which he’s joined by Ben Weinberg and Steve Carr. There are currently no upcoming gigs listed on the trio’s Facebook “Events” tab.

Album Review: Kate Eppers – The Wishing Well

Kate Eppers

photo by Lee Mac; photo courtesy of Kate Eppers

Album Review of Kate Eppers: The Wishing Well

Kate Eppers‘ captivating vocals immediately bring to mind those of the sort of musical theater performer with the potential to cross over to mainstream popularity. Why musical theater? It’s a combination of emotive, room-filling vocals and delivery. And these songs are tailor-made to package that big, attention-grabbing voice into song-shaped packages. Plus, of course, the reprise at the end suggests a theatrical flair. But I’m getting ahead of myself.

Kate Eppers - The Wishing Well

cover photo by Jeremy Dorson Photography; cover image courtesy of Kate Eppers

Beginning to end, The Wishing Well is intense. It grabs the listener’s attention from the very first note, and throughout the music and vocals, from one song to the next, sustains an urgency that’s uniquely compelling.

“Prove That You’re Real” kicks things off with a music-box melody, joined quickly by Kate’s crystal clear vocal, simultaneously wispy and full of power, matched in the latter half by a crunchy, distant guitar line, as Kate’s voice increases in prominence.

“Silence (I Will Wait)” picks up melodically where “Prove…” leaves off. It continues that crisp, angelic vocal style and offers a terrific lead-in to the thumping rhythmic guitar-and-drum opening of “For Me There’s Only You.” In fact, the mix of sweetness and urgency in “For Me There’s Only You” crashes like rockin’ a series of dance pop diva-esque waves, as it’s an epic love song that suggests lyrically and subtly ominously musically that all isn’t quite right. As a result, this steady, beat-driven tune with its penetrative vocal insistence is likely my favorite on the album.

Kate Eppers

photo by Jenglish Photography; photo courtesy of Kate Eppers

Next, Kate takes a soaring vocal approach to troubled emotions in demon-fighting “Burn This City to the Ground.” The music supporting her vocal contributes to the ominous feel, though the soft ending suggests either resolution or resignation, depending on the listener’s state of mind at the time.

“Follow Me” is uplifting and brings hopefulness back to the collection, and the song’s official video is a great complement to the music, offering a fantasy-world, mystical quest-driven love story that provides imagery well-befitting the song.

Next up is perhaps my other favorite in the collection, the title track, “The Wishing Well.” You can feel the emotions well up throughout the song, as vocals and lyrics suggest a wishful fantasy ending with a less-than-satisfying return to reality. The song itself? Utterly satisfying for the listener as a complete journey led by a magical voice.

Kate Eppers with Brian Murphy (One Time Mountain)

photo by Lee Mac; photo courtesy of Kate Eppers

You recall I mentioned a theatrical closing? Yes, “Medley of the Melodies” is a six minute instrumental recollection of the six songs in the collection, wrapping up The Wishing Well‘s package with a musical bow.

Kate’s voice is big, sweet, and ready for the stage. I’m guessing Broadway would be an ideal landing spot for her. But her voice is equally suited to a big, crisp pop album, versatile but distinct, able to capture a variety of moods, notably the roarin’ big ones but also the softer, subtler ones more easily conveyed via album than musical theater. The Wishing Well is a journey worth taking, and Kate Eppers’ voice and talent is a discovery you’ll welcome.

What’s Next?

Since The Wishing Well was recorded (while it sat in my review queue), Kate released another single. “The Hero of Our Time (You Are Mine)” hit online music outlets last summer.

Kate doesn’t have any live gigs on her calendar right now. But who does? As live music returns to our lives, though, you’ll be able to find her upcoming performances listed online at the “Tour” page of her website and the “Events” tab of her Facebook page.

 

Album Review: Hats Off Gentlemen It’s Adequate – Nostalgia for Infinity

Hats Off Gentlemen It's Adequate

photo courtesy of Hats Off Gentlemen It’s Adequate

by James Morris, Contributing Blogger

Album Review of Hats Off Gentlemen It’s Adequate: Nostalgia for Infinity

Nostalgia for Infinity is a new album from the sparingly-named band Hats Off Gentlemen It’s Adequate. From London in the UK, the band are led by singer/multi-instrumentalist/producer Malcolm Galloway and bassist/co-producer Mark Gatland, with flautist Kathryn Thomas. This looks to be their seventh release since 2012 and presents an ambient soundtrack with a nostalgic throwback feel to the prog folk rock of Pink Floyd or Mike Oldfield.

Hats Off Gentlemen It's Adequate - Nostalgia For Infinity album cover

image courtesy of Hats Off Gentlemen It’s Adequate

It’s easy to get lost in its soundscape of swirling hypnosis, and this musical drama provides a luxurious bedding for the vocals that gently scintillate and tease, leaving you in their enigmatic haze.

A complex score to an imagined movie which allows you to lay back, tune in, and drift with the ebb and flow of the enchanting musical waves.

At just over an hour long, you have to invest time to listen, and I recommend doing just that. Headphones on, chill out and listen to music like we used to, as it was intended to be listened to. No shuffle play and media swirling distractions. Listen from start to finish. That is, after all, how the artist intended you to experience their work, and great, enjoyable musical reward will be yours.

Hats Off Gentlemen It's Adequate

photo by Lisa Knight; photo courtesy of Hats Off Gentlemen It’s Adequate

Looking Ahead

Here at the Blog, we often like to list upcoming tour dates at the end of reviews. That’s more challenging during this pandemic, but if you look at the “Gigs” page on the band’s website, you’ll see the HRH Prog X concert at O2 Shepherds Bush Empire in London is still scheduled for October 27 and 28, 2020. The band’s Songkick website also still lists a November 11th show with Blank Manuskript at The Fiddler’s Elbow in Camden and HRH Prog XI at O2 Academy Leeds on April 3 and 4, 2021.

You can also follow the band here on Facebook and here on Twitter.

Album Review: Sarah Levecque – Moments of Silver

Sarah Levecque

photo by Chris Yeager; photo courtesy of Sarah Levecque

by Eric Harabadian, Contributing Blogger

Album Review of Sarah Levecque: Moments of Silver

Sarah Levecque has been a fixture on the Boston music scene for several years now. Playing multiple coffeehouses, nightclubs and venues of all kinds truly earns you troubadour status. It also gives you the fuel of experience and emotional depth that she bestows so eloquently on her latest release Moments of Silver. Her musical style could easily be categorized as Americana or roots music. But, whatever the genre, her voice and songwriting approach will stop you in your tracks. She’s got this smoky, ethereal delivery that makes you hang on to every word. And she is backed by a group of faithful compadres in fellow guitarist/backing vocalist Peter Zarkadas, bassist Johnny Sciascia and drummer Scott Sherman.

Sarah Levecque - Moments of Silver album cover

image courtesy of Sarah Levecque

“Circle Back Around” is the lead track on the album and is a brisk traveling tune. The mix of acoustic guitars and electric slide dovetail nicely with Levecque’s buoyant lyrics. “Please believe it’s all temporary, a lapse in time,” she sings. “Oh don’t backtrack now if you missed something this time. ‘Cause it’s all gonna circle back around.” The thoughtful singer-songwriter kicks off the festivities on an upbeat note. She gives you hope and, perhaps, some personal tools for survival.

“Dead Center, Head On” follows and is a strong country rocker. Levecque employs the spirit of Bobby Gentry and Tanya Tucker, with a little Lucinda Williams thrown in. This features some smooth lead guitar and a cool laid-back traditional Bakersfield vibe.

The title track has a very spacious atmospheric quality to it. Early Joni Mitchell comes to mind here. Tasteful guitar fills suggest a modal feel blended with a Grateful Dead kind of openness. A somewhat surreal asymmetric mood also is present.

“Go With It” restores a bright pace, with its bopping country charm. Levecque offers good advice as she sings “Go with it if you feel it. Don’t let it pass you by. Making this living is killing you slow. Before you know it you’ve got nothing to show.” Those are words which could apply to anyone and lift one up from their lowest point.

Sarah Levecque

photo by Chris Yeager; photo courtesy of Sarah Levecque

“Dissatisfaction Got You Down” explores another therapeutic angle. This has a very classic blues structure. It essentially drones on minimal chords a la John Lee Hooker. Levecque uses her voice in subtle hushed tones, supported by cool understated guitar breaks.

“Good for Nothin’, Good for Now” features a smooth driving beat and a lyrical struggle with destitution and self worth. “I wanna feel the wind coming out of nowhere cold, ’cause nowhere is where I’m headed,” she sings. But she seems to resolve things with the line “I might be good for nothin’, but I’m good for now.”

“Keep a Line Open” is a mid-tempo song that expresses sentiments of connectivity and communion with others. We all have our struggles, but the chorus “Keep a line open for me, I’ll keep a line open for you” is the kind of message we could all use right now.

“Rolling Over the Cracks” is a nice mix of minor and major keys. It slowly smolders and crescendos with a kicking electric guitar solo. The melodies here really support the lyrical call to action of moving forward through despair. She sings “Is it tragedy or disorder? Is it what’s waiting behind black windows or down the dark corridors? It’s all been off the tracks. Somehow we gotta keep rollin’ over the cracks.”

Sarah Levecque

photo by Chris Yeager; photo courtesy of Sarah Levecque

The album concludes with “Blues Keep Me Company.” It’s a thoughtful ballad that brings it all back to Levecque’s roots, which are the blues. It’s a place she can always return to and seems to find solace in. The hook states “I’ve been trying to outrun the failure, but trouble keeps gaining on me. So, I’ll let the blues keep me company.”

Sarah Levecque is an introspective artist who writes from the heart and puts a lot of emotional weight into her songs. Perhaps her greatest gift is her ability to clearly articulate the human experience and share her passion, vulnerability, and strength with the listener.

Looking Ahead

Though she doesn’t currently have any shows on the concert calendar due to COVID-19, you can find out when and where Sarah Levecque will be performing live via the “Shows” page of her website.

Album Review: Shawna Caspi – Forest Fire

Shawna Caspi

photo by Roni Hoffman; photo courtesy of Shawna Caspi

The Backstory

I first discovered Shawna Caspi‘s music quite by accident, just in time to catch a live performance in the fall of 2017. This fortuitous discovery and review of an exceptional live performance in a unique setting was, of course, chronicled in a review. Fast-forward to today, when I’m just now getting a chance to review an CD that has graced my car stereo for more than two years. So, let’s jump in, shall we?

Album Review of Shawna Caspi: Forest Fire

Shawna Caspi - Forest Fire

image courtesy of Shawna Caspi

Shawna can be described, most succinctly, as a folk singer. Of course, that’s an incomplete description. There’s a lot of picky, plucky, upbeat guitar, a sweet, surprisingly powerful voice, a matter-of-fact, old-school folky delivery, and well-written songs that paint a picture and tell a story. But yeah, she’s exactly the sort of artist you’d expect to find headlining a folk festival. And yikes, she bursts with talent; you’d be excited to spot Shawna’s name on the marquee as any event’s headliner.

Forest Fire opens with “Love in a Moving Van,” exactly with one of those plucky guitar rhythms you’d expect. Cheerful, vagabondish… this CD has you smiling right out of the gate. She follows it with the engaging story-song “Devil’s Rolling Pin,” a tune that delivers a rich music bed and emotive vocals, driven by rolling rhythmic musical motor. One of my faves from day one, from the first time I heard it delivered live during her WICN studio performance. (Yes, the one I wrote about.)

Shawna Caspi

photo by Ian Sinclair; photo courtesy of Shawna Caspi

A mood change is next, to the dark, somewhat haunting version of Lynn Miles’ “Brave Parade.” Slow, brooding, quietly defiant, and full of inner strength. All this, of course, established by the quiet guitar plucking and serious, sweetly strong vocal line, hinting at that intersection between traditional country-folk and modern singer-songwriter vocals. “Never Enough” follows with lyrics that reside in the same neighborhood as “Brave Parade” but with a more uptempo, determined focus and a hint of a haunting Chris Isaak-esque edge striking a peppy, uncomfortable balance.

“Oleaster,” next, is a catchy, memorable, smoothly flowing song that strikes a hopeful tone, leading up to “Numbers Game,” with its ominous overtone. Then the cheery “Take This Mountain,” a very folky tribute to finding homespun happiness as a metaphor for navigating life.

Next up, Shawna adds her signature to the swaying country music dancehall standard “Tennessee Waltz.” Her sweet, precise vocal phrasing brands Shawna’s rendition of this oft-recorded classic her own.

Shawna Caspi

photo by Geoff Wilbur

Following is “The Love I Know,” a soft, flowing number without a happy ending, a song whose tones and tune are a fitting album-ender.

Of course, if Shawna’s dulcet tones on “The Love I Know” do send you off to dreamland, you’ll be awakened by “My Baby Can Fix a Bike,” if you’re lucky enough to have a disc that contains this bonus track. With all the angst and inner turmoil elsewhere on this album, it provides a nice, cheerful, lighthearted “alternate ending.”

Beginning to end, this CD has been a joy to have in my car, as one of the handful of discs rotating through my CD player, accompanying me on my commutes and adventures for far too long, though not, of course, during the last three months. An elite talent on the folk scene, Shawna Caspi is someone you absolutely should check out, if you aren’t already familiar with her voice and music.

Looking Ahead

Shawna is working on her next disc, and I’m looking forward to it.

Also, you can keep an eye on Shawna’s performance schedule at the “Gigs” page of her website. Tonight, Monday, June 8th, at 8:00 PM EDT, she performs online on a Club Passim Live stream, her COVID-cancelled concert here at Boston’s iconic Club Passim restructured as a more socially distanced live stream. She has two other online shows currently on the calendar. On Monday, June 22nd, at 7:00 PM EDT, she’ll perform at the Philadelphia Folksong Society’s Digital Concert Venue. And on Sunday, July 12th, at 7:00 PM EDT, Shauna will be performing her scheduled Flying Cat House Concerts showed, originally scheduled for that Indianapolis venue, online via Facebook live stream. Details and links for all of these online shows are on the gigs page at her website.

Album Review: Danielle M and the Glory Junkies – All My Heroes Are Ghosts

Danielle M and the Glory Junkies

photo by Caroline Alden; photo courtesy of Danielle Miraglia

Album Review of Danielle M and the Glory Junkies: All My Heroes Are Ghosts

I have referred to Danielle Miraglia’s musical style as blues-rock (when electric) or blues-folk (when acoustic), but it’s always very clearly, identifiably Danielle Miraglia. She’s one of the few Boston-area musicians who play as often as she wants without diminishing her draw. You’ve seen her reviewed frequently in this Blog, including her last album, Glory Junkies, and last summer’s annual Front Street Concerts gig (an annual concert that always sells out early).

Stylistically, there are pieces of classic rock, old-school blues, modern song-driven pop-rock, and a several additional influences in Danielle’s music. Her live covers generally include Janis Joplin, the Rolling Stones, and Prince, and for a while her standard concert-closer was a raucous rendition of Tom Waits’ “2:19.” Piece those together, add a vocal delivery style that combines power, grit, and smirk, and sprinkle in some of the Boston area’s marquee musicians (Danielle, herself, included), and an album like All My Heroes Are Ghosts is exactly what you’d expect. And while Danielle draws tremendously in metro Boston, and she fills rooms up and down the east coast on occasional tours, the one thing that’s hard to grasp is why this original, old-school, genre-crossing talent still hasn’t found a large, national audience. The cool thing about the blues, though, is that it’s a genre that will give her credit for “time served,” especially as she builds an impressive back catalog.

Danielle M and the Glory Junkies - All My Heroes Are Ghosts

image courtesy of Danielle Miraglia

All My Heroes Are Ghosts, surprisingly, is the first disc Danielle has recorded using a band name rather than as a solo artist. With an awesome band name referencing the title of the previous album, Danielle M and the Glory Junkies have performed together for quite a while, but this time the band went in as a unit and has its full name memorialized on the album cover. And, why not individually by name, in this review, as well. One of Boston’s best collections of versatile, talented musicians, top to bottom: Danielle Miraglia (guitar, vocals), Laurence Scudder (viola, vocals). Erik White (guitar, vocals), Jim Larkin (bass), and Chris Anzalone (drums). And, with the band’s increased visibility, the Danielle M and the Glory Junkies have been selected for Boston Music Award nominations in the “Blues Artist of the Year” category each of the last two years.

Now, of course, back to the disc. The album saunters into its first cut, the title track, “All My Heroes Are Ghosts,” a nostalgic track whose hits just the right laid-back rockin’ ‘n rollin’ sentimental tone.

Not one to let sentimentality sit there unprovoked, Danielle and gang follow with the rollicking “All On Fire.”

Danielle Miraglia & the Glory Junkies

photo by Geoff Wilbur

Danielle continues down the social commentary path with two tracks attacking a similar topic with different tempos. First, the toe-tapping, groovy “Monster,” with instrumental lines dancing in and out around a pulsing, driving, slow bluesy rhythm. Then rocking wailer “Everybody’s Wrong” cranks things up, though not immediately – this tune simmers slowly before even the most attentive frog realizes its boiling. It never quite reaches a rolling boil, but it’s a fun ride.

Another favorite – that makes five out of five “favorites” so far, but who’s counting? – follows with “Don’t Pray for Me,” where Danielle’s rich, gravelly vocals really drive the songs slow, steady wailing delivery.

Danielle M and the Glory Junkies

photo by Neale Eckstein; photo courtesy of Danielle Miraglia

I won’t swing song-by-song through the disc’s back nine. Er, five. But I should call out “Rock Star,” which has a Prince meets Ziggy Stardust vibe, as the band plucks its way through in support of Danielle’s plucky, funky vocals; plus it’s a song you’ll catch yourself singing whenever you see the phrase “rock star” once you’ve heard it. Oh, and “Aim Low,” just because I love the clever, hilarious lyrics delivered with Danielle’s trademark mischievous half-smile/half-snark, beloved by fans and reserved for songs like this, on what could easily have been Homer Simpsons’ personal theme song. Oh, geez, and of course her delivery is spot on during the band’s rendition of Janis Joplin’s “What Good Can Drinkin Do,” during which the bands rhythmic musical tour de force backs Danielle’s bluesy rockin’, growling blues (can I say “bluesy” again?) vocal. OK, that’s three of the last five mentioned. I’m sure Danielle could write a great song about how badly I achieved my mission of skimming the back five.

But hey, Danielle Miraglia’s albums just keep getting better. Even though it doesn’t seem possible. I’m almost afraid of what comes next.

Danielle M and the Glory Junkies at the Spire Center

photo by Denise Maccaferri; photo courtesy of Danielle Miraglia

Looking Ahead

What comes next for Danielle Miraglia is a new record. She’s currently working on a solo acoustic folk/blues album, whose release has been bumped back from this spring to fall 2020 by the less-than-conducive-to-tour-support conditions we’re going through right now. That as-yet-unnamed album is available for pre-order here, and it will feature a combination of acoustic folk/blues covers and acoustic versions of DMiraglia originals. Also, until it’s possible to begin touring again, Danielle performs occasional live streaming concerts. The most recent one was May 15th, but you can stay current here on this social distancing-based page on her website or, likely, on the events tab of her Facebook page.

As for live performances, the “Shows” tab on Danielle’s website still lists a May 28 Bob Dylan birthday tribute event in Portland, ME, but a clickthrough to get tickets shows a May 19, 2021 performance date, and the St. Lawrence Arts venue calendar doesn’t list the show, so I’d assume that gig is likely going to be a casualty of COVID-19. The other date listed on Danielle’s “Shows” tab is a Friday, October 9th show at the Second Friday Coffeehouse in Belmont, MA. Let’s hope that happens. It looks like the event site doesn’t currently have a show listing, since it’s closed until the situation changes. Danielle’s Facebook page also lists shows currently scheduled for December 12, 2020 and April 17, 2021. She’s a road warrior, so I’m sure she’ll be gigging everywhere when it’s safe to perform live again. In the meantime, though, be sure to check out this album, past discs, her upcoming release, and, of course, Danielle’s live streams.

Looking ahead for the Blog? Hopefully, this will be the first of an increasing cadence of reviews again. I began writing this review back in November 2018, and I just found time to finish it this past week. It’s the first album review I wrote personally that I’ve published since November 2018, when my review of Persona’s Metamorphosis hit the blog. (I’ve managed a few – but not many – live reviews since.) I currently have countless reviews still “in the queue” – exceptional recordings from some of my favorite, talented artists – so assuming I’m able to write regularly again now, look for more long-overdue reviews of albums you’re going to enjoy discovering in the coming weeks and months. But this review is a good place to start. Danielle M and the Glory Junkies’ All My Heroes Are Ghosts, if it doesn’t already grace your collection, will quickly become a rockin’ blues favorite.

Album Review: Dan Israel – Social Media Anxiety Disorder

Dan Israel

photo by Steven Cohen; photo courtesy of Dan Israel

by Eric Harabadian, Contributing Blogger

Album Review of Dan Israel: Social Media Anxiety Disorder

Believe it or not, Social Media Anxiety Disorder is the 15th release for this Minneapolis-based singer-songwriter. Heck, there are many major label artists that can’t claim that accomplishment! So, what’s the prodigious Minnesota troubadour been up to? Well, hot on the heels of his 2018 record You’re Free, Dan Israel climbs out of his songwriting comfort zone a little bit in favor of some clever production manipulation and playful arranging. He worked with two different producers in Jon Herchert and Steve Price, resulting in a cross-pollination of inventive ideas.

Dan Israel - Social Media Anxiety Disorder album cover

image courtesy of Dan Israel

Israel kicks things off with the horn-driven pop/rock of “Be My Girl.” It’s a strong single, with terrific airplay potential. The uptempo spark of the rhythms are complemented by Israel’s emotive Elvis Costello-like twang and a good time feel.

“125” shifts gears entirely placing the listener in a pseudo-psychedelic state. The dreamy flowing lead vocals and fuzzed out lead guitar are stellar. “Just Can’t Take It” features little quirky production ear candy bolstered by a catchy chorus and lush bridge. “Still I’m Lost” returns to that semi-psychedelic spacey kind of vibe. It’s a nice blend of thoughtful experimentation and melodic pop. It sounds like something Bowie would do.

“Might As Well Be Me” features a country-folk element. It is the closest to pure Americana you’ll probably find here. There is some tasty acoustic guitar soloing, and Israel’s vocals kind of remind me of something by John Sebastian.

Dan Israel - Social Media Anxiety Disorder album back cover

back cover; image courtesy of Dan Israel

“Another Day” is more catchy upbeat pop that this artist is known for. The slide guitar breaks here are very nice as well.

“Just Can’t Take It (Revisited)” is kind of a vocal reprise montage. Through musical snippets from the original track and spoken word, Israel slyly comments on the impinging stresses of modern society and the expectations of those involved in social media. It’s a mind-bender, for sure.

“Tired” prominently features organ and has an overall gloss similar to The Wallflowers and Crowded House. “Alright” follows and ushers in a kind of rockabilly swing. Its upbeat and bouncy groove is infectious. “Here for Today” has a simple and pragmatic message toward life of “trying to take a little and leave a little behind.” The dense guitar work here really rocks and provides a wall of sound.

Dan Israel

photo by Steven Cohen; photo courtesy of Dan Israel

The concluding two tracks “Out of My Hands” and “Out of My Hands” (Reprise)” sort of combines the spirit of the Rolling Stones album Exile on Main Street with a gospel touch. It’s a fitting way to wrap up the festivities and sends a poignant and pensive message of acceptance and soldiering on.

They say music is a healer and Dan Israel brings to light songs that can address serious topics of personal challenges and societal anxiety and present them in an entertaining and uplifting fashion.

Looking Ahead

Per the “Shows” tab on Dan’s website, he has a packed schedule of performances ahead. Currently lots of gigs in and around Minneapolis, some shows in northern Minnesota, and a January 31/February 1 house concert in Wilmington, North Carolina. So keep an eye on his website for performances in your area.

[Publisher’s Note: Geoff Wilbur’s Music Blog has reviewed each of Dan’s last three releases. I reviewed Dan’s album Dan. James Morris reviewed You’re Free. And now Eric Harabadian has reviewed Social Media Anxiety Disorder. – GW]

EP Review: Hobo Chang – Clockwork Monster

Hobo Chang

photo by Rob Watts; photo courtesy of Hobo Chang

by James Morris, Contributing Blogger

EP Review of Hobo Chang: Clockwork Monster

Hobo Chang, a band from North East Essex in the UK, are releasing a new EP on the 29th November. When I reviewed their previous album, Beast in 2017, I summed it up as a “hypnotic and swirling sonic landscape with a vaguely disturbing mood.”

This new EP continues in the same vein. Apocalyptic, bedsit rock with a heavy dark melancholy hanging over it, like a psychedelic, indie shroud.

Hobo Chang - Clockwork Monster

image courtesy of Hobo Chang

The songs, “Clockwork Monster,” “Nightcrawler,” “Borrowed Time,” and “Where is Your God Now,” are four tracks of intense, moody prog rock in the trademark style you would expect from the band.

No one song stands taller than another, instead they all co-exist, increasing in their dark mass, like the gravitational pull of a black hole.

If you are a fan of Hobo Chang and the music they produce then you will be extremely happy to once again be immersed in the darkness of this new music which carries all their signature, experimental, musical hallmarks.

Keep up to date with the band on social media or on their website: Facebook @hobochang; www.hobochang.co.uk; hobochang.bandcamp.com

Album Review: Norwood – Lizzy White Doesn’t Give a Fuck

Norwood band photo

photo courtesy of Norwood

by James Morris, Contributing Blogger

Album Review of Norwood: Lizzy White Doesn’t Give a Fuck

Norwood album cover

image courtesy of Norwood

Norwood’s new album, Lizzy White Doesn’t Give A Fuck, is the follow up to their 2016 album Notes to My Blood. It finds the band once again presenting fast, wordy, personally observational and quirky songs. If you haven’t heard them before and need a reference, then think indie REM meets They Might Be Giants.

Enjoyably put together with an underlying acoustic vibe enhanced by appropriately layered instrumentation. Whether it’s the violin that bows its way throughout the album or the brass on songs like “Against the Grain,” it all adds to the uplifting, unique, joyous feel of the album.

Norwood band photo

photo courtesy of Norwood

Don’t be fooled, though. On the surface it all sounds upbeat and fun, and this bright and breezy feel could easily be more than enough reason to enjoy the album. But listen harder and you can dig down to discover more of what is going on in the twisting and turning of the lyrics. The songs’ themes are refreshingly original and dripping with enough enigmatic quandary to make you really think, which is very appealing and rewarding in an often trite and cliched musical world.

Norwood band photo

photo courtesy of Norwood

If this album is your starting point for this band, then it is a great one for starters, but I would also recommend you go and discover their previous album, Notes to my Blood, as the two complement each other like cheeky, wry, indie, musical bookends.

The band have a gig coming up in Bellmore, NY on November 5th at KJ Farrell’s Bar and Grill, 242 Pettit Ave., from 7:30pm. You can find this information on the “Upcoming Shows” page of the band’s website.

Engage with the band on social media: https://www.facebook.com/norwoodtunes/.

Album Review: Simon Scardanelli – The Rock, the Sea, the Rising Tide

by James Morris, Contributing Blogger

Album Review of Simon Scardanelli: The Rock, the Sea, the Rising Tide

Simon Scardanelli has a new album release on September 6th. The Rock, the Sea, the Rising Tide is a mature and contemplative listen. Simon takes on the mantle of the balladeer, a storytelling troubadour, regaling us with intriguing tales of high seas and adventure, darkness and human frailty, global catastrophe and personal doubt.

This is a carefully considered body of work. Acoustically styled, guitar picked songs with a sparse balance of additional instruments. The occasional use of violin, cello, recorders, and cumbus, round out each song perfectly.

There is a dark theme of human fragility through the album; it’s like a bleak but majestic windswept moor, or like standing on a wild cliff edge gazing over a brooding misty sea. You listen with suspense, transported by the haunting stories within each song. The narrative of his songs is something Simon has always taken great care with, and the poetry, imagination, and imagery that shines through this album shows how much enjoyment he had in writing them.

The album opens with “The Ballad of Jago Trelawney,” the story of a Cornish tin miner summoned into navy service for his country, which ends in a tragic sea battle. Based around a fictional character, the events it describes are from an actual battle that took place in 1793 between the ships English Nymph and the French Cleopatra. It’s from the chorus of this song that the album takes its name.

The album is full of imagined and real-life experiences that Simon has woven into an intriguing and rewarding musical landscape. The perils and mysteries of the ocean continue in the unfolding tales “The Cold Green Sea” and “Pearly Diving Sea,” leading to the only instrumental in this collection. “Becalmed” provides a moment to reflect before the wind once again whips us on to the lightly picked and beautifully haunting “Different.”

The next track is the most personal and introspective song on the album. “Patience” steps away, for a moment, from the more enigmatic storytelling and provides a more direct insight into the writer’s own creative world and, dare I say, insecurities.

Next up is “Human Nature – the Cry.” “Human Nature” was the first single from the album and is a clear warning of the climate change disaster that threatens the planet we live on and the arrogant disregard a particular world leader pays to the threat. It’s a spartan and compelling listen. Complexity disguised with chameleon simplicity with a depth of thought behind every carefully chosen word and guitar phrase.

More human vulnerability and oracular observation are brought forth in “A Simple Case of Time” and “Star City,” which has quirkier feel but remains moodily within the album’s sense of positive desolation.

Before we reach the album’s conclusion, Simon sings touchingly and illustratively on “Requiem for the City of New York,” which is a reflective backward glance at a city he once lived in.

Finally, there is an alternate version of “Human Nature – the Lament.” It is less strident and angry than the single version. It’s sadder and more resigned, and this presents the song in a very different light, which provides a fitting end to this thought-provoking album.

Once again Simon has produced an album uncompromisingly his own. Different from all that has come before and no doubt from what he will do next. This is no fashion-following attempt to please anyone but himself. As he sings in the song “Patience,” “Jumping on a bandwagon seems to be the next big thing.” Never so for Simon Scardanelli, and in following his heart, he has made an album of bleak majesty which pulls its listener deep under crashing waves to the ethereal realm that lies beneath their cacophony. A place of quiet solemnity, where you have space to ponder and unravel these modern folk chronicles as they are spun out before you in sparse but richly delivered song.

You can read more of what Simon had to say about his new album in a recent interview I did with him here.

Keep up-to-date with his news and live shows through his website www.scardanelli.com or on social media: Twitter: @scardo; Facebook: @SimonScardanelliMusic.