Tag Archives: Album Review

Album Review: The Susan Constant – Wherever It Is You Are Now

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The Susan Constant

photo by Timothy John Smith; photo courtesy of The Susan Constant

EP Review of The Susan Constant: Wherever It Is You Are Now

Nineties-influenced college rock. That’s the simplest description of The Susan Constant‘s musical style. Harmonies, melodies, and songwriting drove this style to the top of the charts, while bands sporting this hooky sound dominated college towns like Athens, Charlottesville, and East Lansing. The best of this brand of alt-rock – this catchy, poppy, energetic subgenre – took root at the end of the eighties and provided the most melodic rock music of the following decade. From R.E.M. to The Smithereens and The Verve Pipe, from Semisonic to Spacehog and The Wallflowers, and even to a certain extent Hootie and the Blowfish, this was heartfelt college rock club music with a peppiness that suggested its message wasn’t too deep, even though often it was. The most widely-heard current music that has some of its ancestry in this bloodline comes from bands like Maroon 5 and Train.

The Susan Constant - Wherever It Is You Are Now

image courtesy of The Susan Constant

The Susan Constant, however, is a bit of a throwback. I’ve been following this band for a couple years now. Of course, all those comparisons are just to give you an idea what to expect. What makes me a fan of The Susan Constant is that, while this region of the alt-rock map is decidedly less crowded now than it was 20 years ago, I believe this band sound would have an uniquely identifiable even during the sub-genre’s heyday; not surprising, I suppose, since they’ve had more recent music from which to draw inspiration, as well. In any case, “I’m Not the One” from The Susan Constant’s June 2015 release Keepers EP is still a regular on my personal smartphone playlist.

The Susan Constant

photo by Timothy John Smith; photo courtesy of The Susan Constant

So I’m glad to finally get a chance to review a Susan Constant recording, its recently-released five-song EP entitled Wherever It Is You Are Now. And yes, to no one’s surprise, there are some catchy songs in this short collection. “The Set Up” kicks things off with an alt-rock musical crash, leading into quirky-guy vocals for a tune that’d be well-placed on a Barenaked Ladies album. It’s followed by “I’ve Got Friends,” whose tempo is similar to Talking Heads’ “And She Was” but vocally more like R.E.M.’s “Stand.”

“Leave Me Behind” sports an almost electronically-staticy overriding sound, combining well with hooky stops and starts that could have led to an uncomfortable sparseness in spots; instead, this is a full-sounding, energetically not-as-happy-as-it-seems tune that hints at what Jimmy Eat World might perform if it ever ventured this far into The Susan Constant’s musical neighborhood.

It’s followed by track number four, my new favorite Susan Constant song, “Science.” Paul Sennott hits that insistent college alt-rock vocal sweet spot on this one – all the energy of a full rasp while actually employing just a hint of it. Combined with a persistent, catchy rhythm and a musical soup that sounds a bit like a bumblebee in one spot and ends abruptly, it’s a song you’ll remember and want to request on the radio, but you’ll have no idea what the song title is.

The Susan Constant

photo by Kevin James; photo courtesy of The Susan Constant

The disc ends all-too-soon with “The Hour Hand,” a smoothly rolling rocker that builds to emotional alt-rock screams before succumbing to the inevitable, softens, and provides Wherever It Is You Are Now with a comfortable send-off. And yes, coming more than a year after The Susan Constant’s last release, this EP is a bit like being served your favorite appetizer but leaving the table hungry because you had saved your appetite for a full dinner. It’s not enough, but it’s really good.

The EP release party was November 12th at The Middle East in Cambridge. I couldn’t get to that show, and the only show so far this year was a January 14th Pawtucket, RI gig at News Cafe. I don’t see any others scheduled yet, but I will be watching the band’s website and its Facebook page for them.

 

Album Review: Peter Vitalone – This Side of the Dirt

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Peter Vitalone - This Side of the Dirt

image courtesy of Media Stew Public Relations

Album Review of Peter Vitalone: This Side of the Dirt

Peter Vitalone‘s voice is interesting. It’s at-times straight-up rock-gravelly, a bit like Bruce Springsteen but with a smoother edge, while sometimes adding more gravel to his voice resulting in a sound reminiscent of Randy Newman channeling Bob Dylan. On the whole, though, it’s rough with round corners, fitting the songs well but not necessarily being instantly identifiable. Peter relies on strong songwriting to bring out the best in his versatile voice.

Because of its variety of influences, This Side of the Dirt is kind of a difficult mid-tempo, mainstream rock disc to get a read on. The performance is tight. The band is talented. The songwriting is precise. And there’s a cool, classic rock organ line that drives several tracks. So I’ve knew from experience the distinctive elements of the album would reveal themselves over the course of multiple listens. It took a couple dozen listens to develop favorites, since the hooks are subtler and not particularly in-your-face. Typically, that means an album will hold up over months and years and become a longtime favorite, and in that sense I don’t expect This Side of the Dirt to surprise me.

Peter Vitalone

photo courtesy of Media Stew Public Relations

Peter kicks the disc off with the energetic “Into Me I See,” his voice’s rough edges summoning the lyrics’ emotion and laying it bare. That leads into “Everyday is Yesterday (Down South),” a laid-back, Jimmy Buffett-esque, feel-good song whose line “shake it up/and pour that bloody mary/’cause everyday is yesterday down south” could be Peter’s “lost shaker of salt” lyric.

My favorite track may very well be “Old Friend.” It’s mellow with energetic bridges, rock organ-meets-piano at times. With a bit of a Bruce Hornsby flavor behind its melancholy tone, the song seems both defiant and resigned. Mostly, though, it’s a comfortable “old friend” and a memorable, enjoyable listen.

“Man Alone” goes full-on rock organ with some slightly Motown-meets-the-blues-inspired backing vocals; this one might be best absorbed in a black-lit room with a lava lamp.

A couple of my other favorites follow “Man Alone.” “In the Morning” has an energetic, folky pop energy. And it flows pleasantly into “Sofia,” a mid-tempo number that recalls ’70s guitar-driven mainstream rock hits.

Peter ends the disc with “End of the Line” — a fitting end to the album. It provides just a hint of energy on the heels of its haunting lead-in, “Living on the Ledge.” But “End of the Line” doesn’t bring the tempo up too much. It maintains much of the uneasy balance of its predecessor, as if the song’s footing is still a bit uneasy but less so as it slowly builds, defiantly finding its strength before easing off into the sunset. It leaves the listener with a contented sigh as the last rhythms fade away.

Beginning to end, this is a solid disc, a welcome long-term addition to my CD collection. And, if you take a listen, perhaps yours.

Album Review: Edge of Paradise – Immortal Waltz

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Edge of Paradise

photo courtesy of Edge of Paradise

Album Review of Edge of Paradise: Immortal Waltz

Edge of Paradise‘s Margarita Monet delivers theatrical vocal power with a melodically shrill edge, kind of like Faster Pussycat and their ilk, kings of late ’80s/early ’90s melodic hard rock. But there’s a very modern, edgy, theatrical tone to this band’s music. Think melodic heavy metal meets Phantom of the Opera in a room of funhouse mirrors… but with the emphasis on the metal. Immortal Waltz was produced by rock icon Michael Wagener, too, bringing out the best of this talented four-piece’s abilities.

Edge of Paradise - Immortal Waltz

image courtesy of Edge of Paradise

Immortal Waltz starts strong, with Margarita’s vocal wail fronting a metal wall of music on “Perfect Shade of Black.” The expressiveness of her voice and the theatrical soaring, booming, and progressive-metallic axework and powerful drumming behind her establish a level of rocking that’s maintained throughout.

It’s immediately followed by the most carnival barkerish track in the collection, one that’s become a personal favorite, “It’s My Showtime.” The rhythm is hypnotic, the vocals expressively follow suit, and a late-song blistering guitar solo carries the track toward its carnival-themed finale; the overall carnival flavor (sans barker), however, is most pronounced in the next song, “Immortal Waltz.”

There’s a classic heavy metal ballad on Immortal Waltz, too, “In a Dream.” The vocals here are Monet’s breathiest on this album, and the gentle music crescendoes to power in the chorus, about as metal ballady – and as effective – as it gets. As such, this is probably the most accessible track for reaching fans across genres and subgenres.

Margarita Monet

photo courtesy of Edge of Paradise

It’s followed by the trio of songs that initially attracted me the most, likely due to their well-constructed classic rock/heavy melodic metal cores, upon which Edge of Paradise adds its trademark progressive and occasionally-piercing vocal elements. The first, “Rise for the Fallen,” utilizes a catchy rhythmic hook, a variety of vocal techniques varied to meet the moment, and a classic rock-styled guitar solo bridge. “Ghost,” which was initially my favorite of the bunch, soars and drifts a bit more between its moments of vocal power, while its instrumentation never really exceeds moderate heaviness, even as its axework occasionally blisters; it’s an inspired mix of elements, in fact. And “Break Away” rides a ploddingly-paced progressive intro into its mid-tempo rhythmic power rock, a la “Rise for the Fallen,” providing a cohesiveness to this trio of songs.

“Goodbye” follows, its rhythm combining with a more progressive, symphonic instrumentation to create a song with a more theatrical flavor, trending back toward the songs from the earlier portion of the disc. And the album closes with Monet channeling Dio on the band’s booming cover of Black Sabbath’s “Children of the Sea.”

With Immortal Waltz, Edge of Paradise has carved out an original sound built upon time-tested classic, progressive, and symphonic metal elements. Because of its uniqueness, this album takes a little time to become familiar, but it’s interesting right from the start, and the talent involved is unmistakable.

Beyond the Album

The band released a subsequent single, “Shade of Crazy,” in July 2016 that brought a heavier edge to Edge of Paradise’s trademark sound; the song relies on the expressiveness of Monet’s voice to balance its extra heaviness. Next up, slated for a February release, “Alive” continues that full-on power while deploying an engagingly recurring heavy rhythm. Both songs leave me hopeful for a compelling next album.

The “tour dates” tab on the band’s website currently lists a few upcoming shows. This weekend, you can catch them on Saturday, January 14th as part of the Metal Meltdown at the M15 Concert Bar and Grill in Corona, CA. Other dates currently scheduled are April 21st at The Soundbox Tavern in Simpsonville, SC; April 22nd at The Drunk Horse in Fayetteville, NC; and September 23rd at the Female Metal Event in Eindhoven, Netherlands.

Album Review: Nathaniel Land – My Destination’s You

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Nathaniel Land

photo courtesy of Serge Media Group

by James Morris, Contributing Blogger

EP Review of Nathaniel Land: My Destination’s You

Nathaniel Land is a New York City singer and songwriter whose roots stem from a musical family – he’s a relative of Robert Hunter of Grateful Dead lore. His press info says that after years as a performing and studio guitarist, Nathaniel developed his songwriting craft under the tutelage of Nashville legend Hugh Prestwood at the New School. He says that he writes and arranges vibrant material in the mold of Max Kearney, Ryan Adams and David Gray.

“I am so excited to release My Destination’s You”, states Land. “The material represents a huge step forward for me on many levels.”

I am sure that every artist strives for progression from album to album. No one wants to get stuck in a groove, and yet it is important to keep the themes and styles familiar to your fans. I would say that this is achieved on this new release, which has extended on the earlier, vaguely R.E.M.-esque sounding album Make This World Our Own into this much more Americana experience. My Destination’s You is rather like Michael Stipe goes country.

Nathaniel Land - My Destination's You

image courtesy of Serge Media Group

The progression from the previous album brings us closer to something more reminiscent of an imagined 21st century James Taylor or Cat Stevens with a grounded Americana country vibe. Nathaniel has a rich, pleasant timbre to his voice, and the record is well-recorded with wholesome production, crisp acoustic guitar, and clean simple construction with just the right decisions being made about the instrumentation. This has been achieved with the studio talents of Chris Cubeta, who produced the album at Studio G, Williamsburg, New York City and Alex De Turk, who mastered it at Strange Weather Studios. All the songs on the album have been written by Nathaniel, and as he says, “The songs reflect my sincere desire to touch and inspire, to help people reflect on their own lives, and to open new possibilities of love and fulfillment.”

Opening track “Emily” quickly makes this desire a reality. There is a longing tone of a traveler’s remorse that colours the song with an identifiable resonance. On a personal level, I think that it can be an exposing method of songwriting. When you write, you can choose to hide behind the imagery you create or you can be intensely honest about your feelings. This is a revealing and open approach to writing and works well here set to a relaxed and syncopated acoustic groove.

“California Blue” is another travelling road trip of a song. Descriptive and easygoing with a rewarding sense of build, enhanced by its sprinkled subtle guitar parts. I can’t imagine anyone who likes this genre of music would not enjoy this; it does everything you would want it to.

Nathaniel Land

photo courtesy of Serge Media Group

There is a similar feeling of musical satisfaction on the next track, “Take Your Chances.” Once again, the swing of the track is perfectly achieved to draw you in, and the melodic acoustic approach combined with the universal message of taking your chances while you can is an appealing one.

I should say that, as the next track “Lonely Life” began, it struck me that, as well as the quality of the songs and production, I was also enjoying the sequencing of the track listing. One song effortlessly moved to the next and took you on the journey no doubt intended by the creators. “Lonely Life” is more uptempo and maybe the most contemporary country pop sound so far on the album. Like a soft Nickelback, and I could see it being the most radio friendly.

“Liar” is the penultimate song on this 6-track EP/album. This was the least penetrable one for me. It’s not that I didn’t like it, just that maybe I needed more listens of it to grow on me. There was a very ’80s sequencer synth part that made me slightly question if it fit with all the other songs as comfortably as maybe hoped. Verdict’s out, but I think in time I will like it, just not so much as the rest.

The release ends with the title track “My Destination’s You,” which rounds off everything very nicely and fulfills Nathaniel’s original desires to speak of love and possibilities in a sincere and inspiring way.

This release does indeed deliver Nathaniel to his hoped-for destination. There are a lot of people trying to make music in this genre, and so it takes something special to stand apart. I think Nathaniel has that, and so it’s not hard for me to encourage you, if you like good quality acoustic-based Americana pop, to go and buy his new record.

Land is currently planning a fundraising event in NYC (February 15th at Rockwood Music Hall) to benefit the Amani Children’s Home. When Land visited the Amani Children’s Home during his travels to Kilimanjaro, he became so inspired by the home he felt it necessary to provide visibility for this organisation through his music. Like his last album release, he has dedicated My Destination’s You to the Children of Amani, and all proceeds from music sales will be donated to the Amani Children’s Home in Karanga, Tanzania.

Album Review: Love Love – Love Love

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Love Love

photo courtesy of Love Love

Album Review of Love Love: Love Love

Music journalists love when bands self-title their first albums, mostly because we like to use the word “eponymous.” But I’ll resist because there’s so much more to write about Love Love than its album title choice. Hip, hillbilly-in-a-coalmine Americana. But with a dark side. And a tendency to wail in such a way that you’re both energized and haunted at the same time. And a proclivity toward throwing in some psychedelic, mellow guitar rock just when you think you have the band’s style figured out.

But let’s start with the dark side. This Boston band sure does. I had never even heard of murderpedia until I found myself singing along to this oh-so-catchy, truly demented opening number, “Murderpedia.” Indeed, it sounds as if Chris Toppin and Jefferson Davis Riordan, who, along with bass player Darren Ray, form the core of Love Love, sought out some of the more gruesome entries and wove them into a song. I guarantee you’ll sing along to this catchy, guitar hook-driven knee-slapper… and that you’ll be simultaneously amused and horrified at yourself for doing so. (To be honest, you’ll mostly be singing along with “devil back to hell”; not so horrifying.) Yes, this song is on my phone playlist.

My other favorite Love Love song on this disc is a gravelly-vocalled, psychedelic Americana-folk anthem of unique pride, “I Like You Weird.” This could be a major hit, a movie theme song, the band’s entrée to pop music consciousness. At a minimum, it’s going to be one of your favorite songs on Love Love’s eponymous debut album. (OK, it turns out I couldn’t resist.)

Elsewhere on the album, which totals 14 songs, you’ll have your own favorites, but there are a few I’m particularly drawn to. “Hey Fella”, for example, is a slow-paced, engaging, heavy roots rock behemoth. And “Big Backyard Moon” is a harmonizing, guitar picking, energetic, hillbilly-esque ditty.

“Bailing” extends the Opry-like flavor all the way to Hee Haw territory; lyrically modern with a hint of rock guitar where you’d perhaps expect banjo on a truly old-school country song, but it frequently sports a classic country harmony. Structurally, if you appreciate a well-crafted song, this is a work of art. And it’s followed by singer-songwriter-esque melodic alt-rock “Maryland,” just to keep listeners on their toes.

“Wide Open Skies” is a medium-tempo, ’60s/’70s-flavored travelling song that just screams “Roll the windows down!” to which you will certainly reply, if you live here in New England, “No, not in the winter,” but you’ll still want to.

In the end, Love Love is a style of roots rock/Americana all its own. A pure old sound with a new bent and a propensity to throw in styles you didn’t expect, sometimes in large quantities so they take over a particular song, while always maintaining an underlying Love Love sound. A perfect example comes late in the album. “Love Myself” is one of those “do I have the turntable on the right speed?” mellow, psychedelic tunes that feels as if you’re drifting through the clouds in a black lit room full of lava lamps. It’s followed by “Lost Battle,” a fun, pickin’-and-grinnin’ knee-slapper. And the album ends to the tune of a capella, creaky hillbilly harmony on “Bright Morning Stars.”

Love Love is a unique entity. Boston-based, bizarre Americana.

Album Review: Mary Fahl – Love & Gravity

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Mary Fahl

photo by Lisa Hancock; photo courtesy of MelFarina Media

Mary Fahl – Love & Gravity

Album Review of Mary Fahl: Love & Gravity

Mary Fahl‘s powerful, emotional voice stands out, powering this disc that’s probably best categorized as folk, but there’s a power that suggests a concert hall might more nearly contain Mary’s voice than a coffeeshop. It’s as if her voice is echoing through a lush, green, hilly region of the Irish countryside, an image I’ve selected because there’s a bit of almost-operatic Irish folk sound powering Mary’s often-booming yet sensitive vocals. As a result, Love & Gravity occasionally courts the intersection between folk and classical; that’s interesting because I was previously scarcely aware there was such an intersection.

Mary Fahl - Love and Gravity

image courtesy of MelFarina Media

Love & Gravity, a 2014 release, is Mary’s fourth studio album since 2001. She also recorded two albums as a member of chamber pop group October Project in the 1990s.

The album opens with “Exiles (The Wolves of Midwinter),” its haunting power and orchestration providing a striking introduction to Love & Gravity. It’s followed immediately by soaring, echoing “How Much Love,” currently my personal favorite in the collection.

Perhaps the immediately easiest-to-absorb track on the disc is Mary’s exceptionally soaring, emotionally rising and falling cover of Joni Mitchell’s “Both Sides Now,” though that’s partially due to its instant familiarity. But also partially due to Mary’s exceptional arrangement and delivery, since this song, as performed, is clearly a Mary Fahl song, performed in her own style. Though I’ve heard this song covered a number of times, this is far and away my favorite version ever. You can hear the vocal power soar… and drop. Boom. Wow!

Mary Fahl

photo by Lisa Hancock; photo courtesy of MelFarina Media

“Gravity (Move Mountains, Turn Rivers Around)” is one of those folky songs of power and understanding, a song that takes a thoughtful journey through its own lyrics. And, of course, because of Mary’s amazing voice, the song soars, booms, and roars, quietly and with lush orchestration.

The most ethereal track on the disc is probably “Siren,” a soft, gentle, otherworldly number. Another quickly enjoyable track because of the familiarity with those referenced in the song, is the emphatically, powerfully romantic “Like Johnny Loved June.” (That’d be Johnny Cash and June Carter, of course.)

Mary lends that Irish folky, soaring power to “Dawning of the Day,” her tribute to the 9/11 rescue workers, before closing the disc with an almost lullaby of a tune, though clearly embellished with the vocal power and emotion of a Mary Fahl song, “Meant to Be.”

I know it was released a couple years ago, and so I’m a bit late to the party, but it should be clear I have a particular soft spot for amazing vocalists, and in that respect, Mary Fahl’s Love & Gravity is a gem that seems to capture the spirit and quality of her vocal prowess.

Mary Fahl

photo by Lisa Hancock; photo courtesy of MelFarina Media

Looking Ahead

Mary has several dates already booked for 2017, beginning with Saturday, January 21st in Auburn, NY; Saturday, February 11th in Beacon, NY; and Saturday, February 18th in New Hartford, CT. To find out more information about these dates and see future bookings, currently including scheduled shows from Maine to Georgia to Texas, see the tour dates page of Mary’s website. There’s a May 20th date at Club Passim in Boston; I’ll have that one circled, watching my calendar as it takes shape this spring, hoping my schedule will allow me to get to it.

Album Review: Dallas Cosmas – The Memory Keys

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Dallas Cosmas - The Memory Keys

image courtesy of Dallas Cosmas

Album Review of Dallas Cosmas: The Memory Keys

Dallas Cosmas‘ goal seems to be to push the envelope of progressive alt-rock music. His style is somewhat plodding and gloomy, enhanced by frequent musical dissonance. I’m never entirely sure if I like Dallas’ vocals; he seems to miss a lot of notes. Typically I’m not sure if he’s a little flat intentionally or not, and even if it is on purpose, I’m not sure what I think of it. But I’m also aware that the honest, raw emotional connection of a singer-songwriter, even one whose voice perhaps wouldn’t win any singing competitions, appeals to a large segment of the listening audience, especially so to those who enjoy Dallas’ mood-driven, progressive alt-rock style. And, indeed, after a couple dozen listens to The Memory Keys, there are several songs I can’t imagine would work nearly as well with more polished vox. Indeed, I do really like some of these songs. So if this is a genre you enjoy — or if you’re willing to give some solid, well-crafted, ambitious music enough listens for its quirks to grow on you — give The Memory Keys a shot. This is an interesting release from an artistic, talented musician, an album that’s tremendously well-produced and well worth the effort to get familiar with.

Prototype Musique engineering team

Dallas Cosmas with Martin Pullan, Wayne Rintoul, and Simon Segal; photo courtesy of Dallas Cosmas

Dallas wrote and produced the disc and delivered the vocals, keyboards, bass, and guitar on The Memory Keys. As always, Dallas worked with a talented team. He was joined by Paul Richards on the drums, with Wally Rankin (guitars, backing vocals), Wayne Rintoul (soundscapes, backing vocals), Brother To The Birds (rhyhtms, guitars, loops, backing vocals), Matthew Shadwick (guitar, slide), Evan Englezos (keys), and Simon Segal (keys, treatments) joining him. The disc was directed by Simon Segal, engineered by Wayne Rintoul, and mastered by Martin Pullan for Edensound.

Getting back to the music, though, The Memory Keys takes influences ranging from ’60s Beatles-style pop-rock to ’80s New Wave to ’70s Bowie progressive pop-rock and blends them into an identity all its own. Right off, there’s a late-’60s pop-rock vibe to the album-opener “45 Revolutions” that sets the stage for this record. The following song, “The Midnight Road,” then swings the album in a more progressive pop direction, lyrically imaginative with an electronic flavor to its bass and guitar hooks. I appreciate that there’s a music video for this number on YouTube, as it’s a great introduction to Dallas’ music, as good a litmus test as I can imagine for whether you’re likely to enjoy the rest of the disc… though perhaps not, as it’s not even among my personal favorites.

Dallas Cosmas

photo courtesy of Dallas Cosmas

The plaintive “Bang Bang (The Chorus)” serves up a real sense of anguish, actually reminding me in that sense a bit of an album I reviewed earlier this year, Night Worker from “Les Paul’s” (The Paul’s). Both albums leave the listener intrigued but uneasy as they navigate relatively uncharted progressive waters.

Interestingly, my favorite tracks land near the end of The Memory Keys‘ seemingly purposefully ebbing and flowing musical journey, but there are some cuts in the middle that are worth taking note of, including the haunting “A Part of Me,” the reverb-laden, ’70s-era, experimentally off-balance “Why Don’t You,” and the softly almost-melodic, tensely uncomfortable, emotionally bare “It’s Over Me.”

But, again, it is in the final third that you’ll find my personal favorites.

First is the alt-rock, soundtrack-ready “Meet You Once Again.” I’m picturing it playing in the background during one of those heartbroken montages… or perhaps even during a reuniting sequence at a dingy bar somewhere… or in a cafe while it’s raining outside, especially if there’s an uneasiness that it might not end well.

The strings and the ’60s pop-rock nature of its songwriting, along with a certain warm tone in Dallas’ vocals make “The Promise” an easy track to enjoy, like the alt-rock doppleganger of Billy Joel sings the Beatles in a funhouse.

The uneasiness doesn’t go away on “Green Girl,” a slow-tempoed, flower-childy number whose psychedelic nature comes through via distorted guitar and a tempo that always seems as if it’s going to fall a fraction of a count off but never does.

And then “Good Goodbye” closes the collection with another soundtrack-flavored number, this one a mid-tempo bit that seems as if it might play as the movie’s action fades into the credits.

I enjoy being tuned into the work Dallas and his cohorts at Prototype Musique produce. Such depth of musical background and willingness to experiment produce interesting sounds and albums conceived as a combination of art, expression, and music. I look hearing to seeing what this talented Australian ensemble produces next, both Dallas’ future solo work and the other projects on which he and his team are involved. So far, The Memory Keys stands among my favorites from Prototype.

Looking Back

For those who missed it, Geoff Wilbur’s Music Blog contributor Joe Szilvagyi reviewed Dallas Cosmas’ previous album, Farewell From the Lighthouse, back in June.

Album Review: The Dayz – EP2

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The Dayz

photo courtesy of The Dayz

The Dayz – EP2

The Backstory

I’ve been listening to this EP on and off for a couple months now, since long before I reviewed the band’s November 12th set at the Knitting Factory in Brooklyn. I’ve also known The Dayz’ frontman Dax Callner for a number of years from a previous band of his, as I noted at the beginning of the live review last month. I had heard some of the songs from The Dayz’ previous EP back before I launched the Blog, so I was especially looking forward to hearing the new stuff now that I again have an outlet for my reviews.

EP Review of The Dayz: EP2

The Dayz - EP2

image courtesy of The Dayz

The Dayz are a broad-based modern rock band with progressive pop-rock sensibilities. David Bowie’s take on modern rock with a jazz-rock horn section… or some combination or subset thereof.

The collection kicks off with hooky sax leading into insistent vocals on “This Planet,” with the music climaxing and popping with energy. It’s an ear-catching, attention-grabbing introduction. I’d say it’s one of the strongest songs on the EP, but I can’t find a weak one to make that a meaningful comparison. That’s the thing about The Dayz; they simultaneously feel like a comfortable old favorite and like no band you’ve ever heard before. The more I listen to these songs, the more impressed I am with this band. But I disgress…

The Dayz

photo courtesy of The Dayz

“Apology Song” follows, and you can practically hear the pain in Dax’s vocals, with old standard-esque keys, horn, and drums knowing just where to add emphasis. And I’m a sucker for a great sax solo.

“Ascension” (featuring Jo Hamilton) is a bit of a soaring, mid-tempo, mainstream progressive rock number that leans a bit on the sax to provide an interesting edge to an uplifting song.

It’s followed by “Leonela,” a keyboard-driven number with such a sense of self that you’ll have to re-listen a few times just to make sure it really is an instrumental. At least, if you’re like me and usually hang on the lyrics, you will. It’s a song with a deep, smooth, hip soul; vocals would only detract from its emotion.

And the collection closes with “The Fourth Estate,” a bona fide progressive hipster pop-rock hit if I’ve ever heard one. Live, I wasn’t surprised to see the crowd moved to dance to this number because it’s hard enough to stay in your seat for the recorded song. The hoarse, emphatic vocals combine with a party-sized wall of sound and adept drum, key, and guitarwork… and, of course, a signature sax line past the song’s midpoint just in case the hooks aplenty weren’t already enough. Take a listen; you’ll remember it days later.

The Dayz

photo courtesy of The Dayz

To be fair, a blended mix of sounds like this can take some time to really soak in. The opening and closing tracks are catchy monsters that will bring you back for more while the subtler aspects sink in to give you a full appreciation of the music produced by this ensemble. It’s a fun disc, and it’s hip and sophisticated enough that, if you’ve got headphones on, you’ll feel a little cooler than everyone around you when you listen to it.

Looking Ahead

The Dayz currently have upcoming gigs scheduled January 3rd, 8 pm at Bitter End; January 13th, 7 pm at Drom; and March 9th, 8 pm at Bowery Electric. You can find information about these shows (and others as there are added) by checking The Dayz’ Facebook events page.

Album Review: Lew Jetton – Christmas Past

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Album Review of Lew Jetton: Christmas Past

I just downloaded this Christmas album a few weeks ago, and I’m enjoying the heck out of it.  Christmas and the blues go well together, though all-too-often blues artists will try to over-blues a holiday record. Lew Jetton resists that urge on Christmas Past, getting the bluesy energy-to-Christmas spirit ratio just right on this six-song release.

Lew Jetton - Christmas Past

image courtesy of Lew Jetton

Lew kicks things off with a rousing, energetic rendition of “Winter Wonderland.” It’s a great song to rock to, with growling guitars and emphatic piano punctuating this disc-opener. It’s joined by three other Christmas standards, a Chuck Berry-era-esque “Run Run Rudolph,” a version of “White Christmas” performed in a peppy crooning style, and an Elvis-worthy, smooth, soft-rockin’-bluesy, kinda cheerful-sounding “Blue Christmas” (because everyone knows a bluesman loves a blue Christmas).

Mixed in among the standards are a couple Lew Jetton originals that fit the record like a glove. The title track, for example, delivers emotion in the form of a country blues-style reminiscence, with Lew’s hoarse vocals keeping things smooth and a bit sad. As much as I like Lew’s take on the cover tunes, I think “Christmas Past” may be my favorite track on this disc.

The other original, “Christmas With My Baby,” is rather the polar opposite; it’s a cheerful, energetic blues-rockin’ number, carrying along much of the energy of its lead-in, “Run Run Rudolph,” by somewhat emulating its early blues-rock guitar sound.

I enjoy Christmas music only in moderation, so I don’t add to my collection often, but this EP, with its energy, precision, and variety, has earned its spot on my holiday playlist. And it earned a rare Christmas album review.

Looking Ahead

I first ran across Lew’s music when I reviewed his album Rain earlier this year. And he’s planning a new non-holiday release for late spring next year which I’m really looking forward to. In the meantime, keep an eye on the “upcoming shows” page of his website to see if he’s playing near you.

 

Album Review: Lauren Lizabeth – To Be Young

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Lauren Lizabeth

photo courtesy of Lauren Lizabeth

Lauren Lizabeth – To Be Young

EP Review of Lauren Lizabeth: To Be Young (Nine North Records)

Lauren Lizabeth

photo courtesy of Lauren Lizabeth

For such a young artist, Lauren Lizabeth has already been turning heads for a while. As far back as 2011, Lauren was nominated by the New England Music Awards for Country Act of the Year. She has some professional stage experience, as well, working with the well-known (well, I’ve known about it for decades), highly-regarded Southern New England Theatre By The Sea while still in high school.

This EP, To Be Young, focuses on Lauren’s emotionally powerful voice; it’s a collection of seven crisply-performed pop and pop-country numbers. Her sharp, clear voice and young-skewing topics, lyrics, and enthusiasm could land her on a Disney TV movie soundtrack; and while her radio genre could easily be pop, some of the tunes herein showcase why she’s finding her early success on country radio with her pop-country stylings.

Lauren Lizabeth

photo courtesy of Lauren Lizabeth

The disc opens with the title track, “To Be Young,” an energetic number on which Lauren’s always-at-eleven vocal enthusiasm is supported by a peppy guitar hook. With its positive energy and youthful appeal, this song could connect with a pretty sizable audience.

It’s followed by “Every Single Night,” whose mid-tempo pop-rock style is supported by a more versatile, emotive vocal and melodic hook and a well-placed guitar run late in the track to help move the song forward. Indeed, this catchy number is one of the two songs from To Be Young that has found a place on my personal smartphone playlist.

There’s something a little special about “Light a Match,” as well, with a very country-esque, brooding bridge showing Lauren’s versatility, tying together this lyrically worthwhile, mid-tempo emotional pop-rocker. It also features a fun country-rock guitar line… because even a strong voice requires well-written songs.

Lauren Lizabeth

photo courtesy of Lauren Lizabeth

“Beginning of the End” is notable as the most ballady song in this collection. Not exactly a ballad, but not far from one, this is another of those tracks that shows a nice mid-range; it’s nice to hear her use more vocal richness at times to offset her powerful high notes.

The last song on the album, “I Hear That,” is perhaps my favorite. It’s a cheerful country-rock ditty that’ll bring a smile to your face. It’s a bit sassy, showcasing perhaps more of Lauren’s personality than any of the others on To Be Young. As with the title track, this song could ring true with a monster breakout audience.

Overall, this is a nicely-constructed selection of catchy songs showcasing a talented vocalist. If pop or pop-country, especially with a bit of young energy, is your cup of tea, check out this disc. Indeed, I have a couple favorites from among this assortment, and I look forward to hearing where Lauren’s musical journey takes her from here.