A Music Junkie's Fix

Songs of the Week: September 11-20

2011-09-20T11:33:00.000-05:00

So, since it took me a couple extra days to get around to this post, I've extended the span of the week. Don't worry about it. Here we go.

Paramore: Monster -- Paramore's most popular single of recent days is "The Only Exception." I do not like that song. At all. In fact, it bugs the heck out of me. I think Hayley Williams voice sounds flat, the lyrics are trite, and musically, it just isn't very Paramore-esque. Luckily, Paramore recorded the song "Monster" for the Transformers: Dark of the Moon soundtrack. This song, in my book, makes up for the awfulness that was "The Only Exception." The video is pretty cool, too.

Flyleaf: Circle -- Personally, I think Flyleaf is a horribly underrated band. Why they've never gotten more recognition, I have no idea. This song is from the band's second album, Memento Mori, which I think kind of kicks the ass of their first album. Flyleaf upped the heaviness on Memento Mori, but somehow managed to make their sound smoother at the same time. It's fantastic. Most noticeably, though, singer Lacey Sturm's voice came a long way from Flyleaf. It's especially evident on "Circle" that developed more control of her vocals; on the first album, Sturm's voice was strong, but often sounded like she was just yelling on some notes. This time around, she executes the high, powerful notes flawlessly.

D.R.U.G.S.: Sex Life -- Love this song. Love Craig Owens (in case I've never mentioned it). That's all.

The Postal Service: Such Great Heights -- This song will never, ever, ever get old for me. Just go listen to it. So lovely.

The Hoosiers: Made to Measure -- So, this song was actually on a playlist that I downloaded, and I am now obsessed with it. Fun, catchy, etc. etc. Now, if someone could just tell me how the British manage to be so good at this style of music...

Louis XIV: Pledge of Allegiance -- Oh, Louis XIV, how I heart you. So dirty, so fun, talented. Louis XIV does, in fact, rank as one of the best bands I've seen live. They have such a "don't give a f**k" attitude, and it comes out in both their recordings and their onstage presence.

Songs of the Week: September 4-10

2011-09-10T01:37:00.000-05:00

Hi! I apologize for taking last week off...I was out of town for a chunk of it. But I'm back, and with awesome tunes for your listening pleasure.

Alkaline Trio: This Could Be Love (Damnesia re-recording) -- Back in July, Alkaline Trio released the album Damnesia, which consists of acoustic and semi-unplugged versions of some of their greatest hits. Well, imagine my excitement when I discovered they did a re-recording of "This Could Be Love," one of my faaaaavorite Trio songs. And, my goodness, it Blew. My. Mind. "This Could Be Love" is kind of a twisted song (listen to/look up the lyrics and you'll see what I mean), and the Damnesia version totally takes on a more sinister, desperate vibe that fits absolutely perfectly. The original recording of the song has a somewhat manic air to it, which is also great, but I really dig the darker tone Alkaline Trio gave it on Damnesia. Gives me chills!

Cobra Starship: You Make Me Feel -- This song was the first single released from Cobra Starship's most recent album, Night Shades. I have lukewarm feelings toward the album as a whole (which will be addressed in a separate post), but I love this particular song. "You Make Me Feel" is typical Cobra Starship--very dancey, synthy, and catchy, with Gabe Saporta's stellar vocals shining through. It has a slight hip-hop vibe to it, which is cool, and the female vocals by Sabi add a nice dimension to the song. As for the video...how freaking cute is Gabe? I swoon.

Avril Lavigne: Smile -- I'm just going to assume you're judging me for the fact that Avril Lavigne is on this list. Let's just acknowledge that and move on, ok? Righty-o. So, here's why I like this song (aside from the fact that it's catchy and has sweet lyrics). Avril's first hit, "Complicated," was my self-proclaimed theme song in 8th grade. Sort of set the standard for my longtime reign as the emo one in my group of friends. Well, a decade later, someone has come into my life who makes me smile more than I thought was possible (seriously, I'm pretty sure if things keep up I'm going to have to relinquish my title as the emo kid). The chorus in this song is very fitting to the situation: "And that's why I smile. It's been a while since every day and everything has felt this right, and now you turn it all around, and suddenly you're all I need--the reason why I smile." It's also kind of cool to have come full-circle with an artist's music. So...yeah.

Matt & Kim: Daylight -- I had heard a lot about Matt & Kim and had listened to a few songs, but for some reason never gave them a very serious listen. Well, the other night they opened for Blink 182's Minneapolis/St. Paul show (review coming soon!) and I was so impressed. Super fun, high energy, interacted with the crowd, and great musically. Across the board, awesome performance. I've been listening to them somewhat incessantly since. And! Discovered while seeing them live that Matt is really cute*. Bonus!

*Sidenote: I am in no way whatsoever one of those people who will listen to a band solely because I think a member of the band is attractive. In fact, I make a very conscious point not to look for pictures or watch videos of the band until after I've listened to them so I don't have that sort of bias in my head.

Adele: Rolling in the Deep -- Vocally, Adele is pretty much the embodiment of perfection. I'm fairly certain the girl couldn't hit a sour note if she tried, and the power with which she delivers her music is earth shattering. As far as female artists go, Adele is what the music industry needs to try to get more of: someone who not only possesses pure talent (no autotune!!!), but who is all about marketing herself based on that talent and not off of gimmicks and raciness. Classic.

Enjoy the tunes, and be on the look out for several more posts coming in the next couple of weeks because I have lots of ideas tumbling around in my head that I want to share with you guys!

Songs of the Week: August 21-28

2011-08-28T21:54:00.000-05:00

Another week, another list of song suggestions. So far, I'm doing really well keeping up with this....go me! And heeeeere we go.

Portishead: Machine Gun -- So, I was in hardcore emo mode for a couple days this week. Not the most fun, but it happens. Ah well. This song, in particular, fit my mood perfectly one day. Not so much lyrically, but the overall tone of it. Just very heavy, a combo of melancholy and angry. Awesome.

Lydia: One More Day -- Oh, this song. Musically, I think it is absolutely gorgeous. However, it is beautiful in that tragic way that makes me want to cry, just because of the tone of it. Throw in the lyrics, and you get what is --in my opinion-- one of the top 5 most emo songs ever.

The Rocky Horror Picture Show Soundtrack: Time Warp -- I have had the entire Rocky Horror Picture Show soundtrack stuck in my head lately, but this song in particular keeps running through my noggin. Such a fun song! Plus, you gotta love that it tells you what the dance is...it's just a jump to the left! Then a step to the right!

A Skylit Drive: Thank God It's Cloudy Cause I'm Allergic to Sunlight -- My favorite song from the album Adelphia. Just wonderful.

The Spill Canvas: Our Song -- Yes, my recent obsession with The Spill Canvas has continued. I love what a different feel this song has from my last featured song by them ("The Tide"), and how it's actually upbeat! Plus, I think the video is adorable. As are the lyrics.

Enjoy!

REVIEW - We the Kings

2011-08-25T11:12:00.000-05:00

As promised, I'm finally getting around to a review of the We the Kings show I attended a few weeks ago. Excited? You should be.

Now, I need to give some background first. I'd seen We the Kings once before their performance on August 6th. It was about a year and a half ago in St. Louis and, while I loved their music, I didn't have the highest expectations for their live show.

I had been going to a lot of pop-punk shows, and all of them had ended up pretty lackluster. I expected the same from We the Kings, but they completely blew me away. This time around, with my last experience of We the Kings in mind, I had very high expectations for the concert. And I was far from disappointed.

Opening for We the Kings were Action Item, The Downtown Fiction, Hot Chelle Rae, and the Summer Set. My concert companion and I missed the Action Item and most of The Downtown Fiction, but the crowd already seemed pretty amped when we got there, so I'm assuming both bands put on a good show.

Unfortunately, the venue hosting the concert, St. Paul's Station 4, lacks air conditioning. Consequently, it was about a million degrees inside, so we spent Hot Chelle Rae's set listening from outside where it was significantly cooler (despite still being in the 80s). Hot Chelle Rae sounded great and, when we went back inside for the last bit of their set, the crowd seemed to be enjoying them thoroughly.

Following Hot Chelle Rae was The Summer Set, and they were fantastic. They sounded great and were troopers through the boiling conditions within the venue, even while much of the crowd wasn't. Really, my only disappointment with the night was the fact that the audience never got overly into the performances. Everyone looked like they were enjoying the performances, but, for the most part, people just stood there instead of dancing.

The Summer Set at first seemed a little frustrated by this, but I think they realized pretty quickly that the reason for the lack of movement from the crowd was the heat in the venue and not lack of interest in the band. I felt they even stepped it up for the second half of their set as a way to say thanks to everyone for enduring the heat to see them. Personally, I was a little bummed that they didn't play my favorite of their songs (Passenger Seat), but they had a solid set, and were fun to watch, so I can't complain about one song not being performed.

Finally, it was time for We the Kings. And once they took the stage, I did not stop moving for the next hour (which I'm pretty sure annoyed all the people around me who insisted on standing still).

We the Kings were absolutely brilliant. They played a great selection of songs from all three of their albums (including all of my favorites!), and were very sincere when they'd break between songs to talk to the crowd. And, of course, they actually seemed to be enjoying what they were doing. I've seen bands that will say from stage how much they love performing, but look absolutely miserable while onstage. We the Kings is not one of those bands. They make it completely evident how much they appreciate their fans, and how much pride and enjoyment they find in making those fans happy. Stage presence is an extremely important factor of live music for me, and We the Kings has it in abundance.

From beginning to end, We the Kings put on a fun, energetic, and entertaining show, even despite the heat and a couple of technical difficulties. There was one odd part where singer/frontman Travis Clark decided to give a spiel about the birds and the bees, but it was funny and led into a good song, so I can look past that. Overall, though, it was one of the most fun concerts I'd been to in quite some time. If you ever get a chance to see either The Summer Set or We the Kings live, I definitely recommend you take advantage of the opportunity.

Oh, and you know it was brutally hot in the venue when both The Summer Set (from Arizona) and We the Kings (from Florida) commented that it was the hottest show they'd ever played. Well done, Minnesota.

Songs of the Week: August 14-20

2011-08-21T21:54:00.001-05:00

First off, I promise I will have a review of the We The Kings show very soon! I intend to have it up before the next concert I go to (Blink 182!), which is on September 7th, so that really doesn't give me too much time to get cracking. So look for that this week!

Now for this week's song picks!

The Spill Canvas: The Tide -- This song is so outrageously wonderful in every way possible. Nick Thomas's voice is smooth, sincere, and overflowing with emotion. The music is melancholy, and so simplistic that it really makes the lyrics the focus of the song. And the lyrics? Very sad, but tell the story beautifully. It also contains one of my favorite lines ever: "Heaven's not a place that you go when you die, it's that moment in life when you actually feel alive." Perfection.

Bring Me the Horizon: Blessed With a Curse -- I love this song because I feel like it approaches screamo much differently than what one would usually expect. It's still heavy and screamtastic, but it's very slowed down, and even beautiful -- definitely not a word I'd generally associate with screamo. While some screamo bands tend to let the vocals go more melodic on slower songs, BMTH keeps the harsh vocals, which creates an awesome contrast with the instrumentals. Crossing my fingers they play this one when I see them September 13!

Holiday Parade: Crimson Red -- OK, the best way I can describe the sound of this band is Jack's Mannequin meets Jimmy Eats World. Not a bad combo, huh? Musically, "Crimson Red" is fantastic. Piano-backed, simple, and includes all those chords that make you feel something. Lyrically, it sort of feels like it's been done before, but the lyrics are sweet and meaningful, so we'll look past that.

Blink 182: First Date -- Let me say from the get-go, my personal opinion is that Take Off Your Pants and Jacket is Blink's best album (and not just because of the wordplay!). I'm sure a lot of people would disagree with me on that, and that's fine. That being said, "First Date" gets the distinction of being a song of the week. I think this song is awesome, and more accurately describes the awkwardness/nervousness that accompanies first dates than most songs.

Mayday Parade: Miserable At Best -- So, I have actually hated this song for about 3 years, due to the way I first heard it. My boyfriend at the time broke up with me for another girl, and decided that I was going to be his go-to person to talk to about her and how much he liked her and how she didn't like him back, blah blah blah. Well, every time he would call "Miserable At Best" would be playing in the background. And it absolutely sucked knowing that he was listening to that song, and the lyrics "I can live without you, but without you I'll be miserable at best," bummed about the fact that he couldn't have her, and that I wanted to be with him but instead had to listen to him crying over another girl. Awful, awful, awful. As a result, during that whole situation the song would make me sob uncontrollably every time I heard it. Even after that, when we got back together, it still made me cry because I associated it with that really bad time. So yeah, really long time despising the song because of the emotions/memories it brought back. Well, now it makes the Songs of the Week list because for the first time in 3 years I heard it and, while it still made me sad, I did not cry. Didn't even tear up. Big step for me! Emotional growth based on this song? Pretty much.

Songs of the Week: August 7-13

2011-08-14T22:55:00.000-05:00

Songs of the week for the second week in a row! I'm on a roll! Woo!

We the Kings: Say You Like Me -- As mentioned last week, I recently saw We the Kings live. Absolutely amazing show. Consequently, I have continued listening to them obsessively. "Say You Like Me," from their new album Sunshine State of Mind, has been the track I've been playing most repetitively. It's sweet, it's upbeat, it's an all-around great song.

Forever the Sickest Kids: Tough Love -- Really, you can't go wrong with Forever the Sickest Kids. They're just kind of fantastic. They've got a bit more edge to them than a lot of pop-punk bands, and I dig that.

Every Avenue: Girl Like That -- Not going to lie, this song cracks me up. And I don't think it's intended to be a funny song. It's about being into a girl you don't think you can have, and not knowing what to do about it. Pretty typical fare, right? And then there's the chorus:

"I would make a move if there was a chance she'd let me in. I would make a move if I thought there was a chance she'd let me in. What can you do with a girl like that? Taking everything giving nothing back. Stuck between her legs when she sets her trap, what can you do with a girl like that? It's like a curse that's she's put on me, sweaty hands, shaking knees. Tell her that I want her to move too fast, that's what you do with a girl like that."

So basically, it's not even about liking this girl. It's just about wanting to sleep with her. The lack of subtlety it awesome.

Go Radio: Goodnight Moon -- In case you don't know, Go Radio is the band that Jason Lancaster, former vocalist, lyricist and guitarist of Mayday Parade, started after leaving MP. The vibe of Go Radio is very similar to Mayday Parade, except pushed to more extremes. The emo songs are emo-er, and Go Radio has an all-around heavier sound than Mayday Parade. I dig it. "Goodnight Moon" was the first Go Radio song I heard, and I love it. It's unbearably sappy, but so heartfelt that you can't help but enjoy it. Plus, I'm a sucker for any slow songs sung by Lancaster. The man legitimately has a great voice, and slow songs like "Goodnight Moon" really showcase the power and emotion his voice carries. Fantastique.

Dashboard Confessional: Stolen --Weird fact: I only listen to Dashboard Confessional in the summer. I might listen to a song or two at other times during the year, but for the most part, DC is summer music to me. No idea why. Consequently, I end up rediscovering different Dashboard songs every year, and this year I've found myself once again head over heels in love with "Stolen." I honestly think it's one of the most romantic songs ever. Really, who doesn't want to be told that they've stolen someone's heart?

Tune in for next week's songs!

Songs of the Week: July 31-August 6

2011-08-06T15:43:00.000-05:00

Last summer I attempted to do "Songs of the Week" posts, but only managed to cover two weeks...and did both weeks in one post. Oops. Let's see if I can be more consistent this time around, eh?

Here we go.

We the Kings: Heaven Can Wait -- Tonight I'm seeing We the Kings (expect a review in the next couple of days), so have been listening to them fairly incessantly in preparation. In particular, I keep coming back to "Heaven Can Wait." In typical WTK form, the song is poppy, catchy and a lot of fun to listen to. Add to the musicality sickeningly sweet lyrics--"Heaven can wait up high in the sky, it's you and I. Heaven can wait deep down in your eyes, I'm yours tonight. Lay your heart next to mine, I feel so alive. Tell me you want me to stay forever, 'cause Heaven can wait"--and you've got a delightful pop-punk love song. I've linked to the official music video (which takes place at a dog show and really makes no sense attached to the song), but there's also an acoustic version out there that's worth checking out.

The Summer Set: Passenger Seat (Acoustic) -- Opening for We the Kings tonight is Arizona-based band The Summer Set. They're equally as pop-punk as WTK, although my personal opinion is that, both musically and lyrically, they have a much younger feel. Nothing wrong with that, of course, especially as my favorite song of theirs is "Passenger Seat," which is all about a boy and girl sneaking out at 3 a.m. to hang out, risking getting caught by their parents. Ignoring that part of it (which makes me feel rather old), the song is absolutely adorable in the way in which it talks about new love: "Just sweep me off my feet again, my new addiction. I've been waiting, I've been addicted to this story of a girl who can help this boy meet world and sweep me off my feet again." Love it. There's also a non-acoustic version, but I much prefer the acoustic version, so linked to that.

Chiodos: The Words 'Best Friend' Become Redefined -- One of the things I was most impressed by the first time I ever listened to Chiodos was how effortlessly [former] frontman Craig Owens could go between actual singing (and good singing, at that) and screaming. I saw Chiodos twice before Craig's departure, and have seen his new band, D.R.U.G.S. once, and I remain baffled as to how his singing voice can remain so smooth immediately after screaming. Amazing. Anyway, I love that back-and-forth dynamic in Craig's voice, and I love "The Words 'Best Friend' Become Redefined" because the music takes on that same back-and-forth. It starts out really heavy, then goes into light piano, then gets heavy again. Throughout the entire song, it keeps going between hard and soft, sped up and slowed down, resulting in a song that keeps you on your toes.

Automatic Loveletter: Black Ink Revenge -- If you have not heard, or heard of Automatic Loveletter, you're missing out. ALL is technically a four-person band, fronted by Juliet Simms (who not only sings, but also writes the songs for the band and plays guitar), but Simms often performs solo also. And man can she perform! Listening to ALL's songs, you can tell that Simms has an amazing voice, no question about it. Back in July, though, I got to see her live at Warped Tour, where she played an acoustic solo set, and I was absolutely blown away. Nothing is done to her voice on ALL's albums! In a music industry that's becoming dominated by autotune, it's so refreshing when artists have legitimately brilliant pipes. And just to prove how good Simms is live, the link goes to her performance at Warped Tour. As for the song itself...well, if you've ever been cheated on or been in a relationship where you fought all the time, it'll speak to you (I, for one, cried through the entire song when I heard it live).

Demi Lovato: Skyscraper -- Demi Lovato's new single "Skyscraper" was actually recorded twice; first when Lovato was dealing with bulimia and her voice was extremely raw due to the damage to her vocal chords from purging, and then again after she finished treatment for her eating disorder and emotional issues. She decided to release the first recording of the song, and in the rawness of her voice you can hear every ounce of emotion she had been dealing with. It's a powerful song about remaining strong even when things are falling apart around you, and that message (and Lovato's fans) helped "Skyscraper" to be released as the #1 song on iTunes without any radio play.

Starting Fresh

2011-07-26T21:14:00.000-05:00

Hi there, friends! You may have noticed that my attempts at the 30-day song challenge are gone, and now my most recent post is from February. Well, there's a reason for that.

I want to be more serious about this blog, which means updating regularly and with something worthwhile to say. I originally thought the 30-day song challenge would motivate me to post consistently but...that didn't work out so well. It felt too restricting, which made it difficult to write.

Now I'm starting fresh! My goal is to post at least once a week, go back to posting songs of the week, and include my own reviews and music-related thoughts, along with music videos, links to music-related articles, and whatever I think you fine folks might enjoy.

So, I invite you to join me on this musical adventure, and hopefully I can help any fellow music junkies to get their fix. After all, music IS the best addiction!

Koi: In Tomorrow Hid Yesterday

2011-02-11T07:53:00.000-06:00

In Tomorrow Hid Yesterday is the debut album from Swedish quintet Koi, and shows the band as having definite potential for future albums.

The album is a meshing of sounds that comes together in a way refreshing from much of what is on the market today.

Where some bands make heavy use of synthesizers and lose some of the “real” instrumentation, Koi uses minimal synth. Synthesizers are used sparingly throughout the album and, when they are, they’re kept light so the focus remains on the other instruments.

And those other instruments are played in a beautiful fusion. For some of the tracks on In Tomorrow Hid Yesterday, the guitar has almost an acoustic quality that gets paired with delicate piano and simple drumming. On other tracks, Koi goes in the opposite direction, mixing things up with wailing electric guitar and heavy drums and keys....MORE

Aaron Alexander & Julian Priester: Conversational Music

2011-01-30T12:47:00.000-06:00

nversational Music is a collaborative effort between established jazz artists Aaron Alexander and Julian Priester, both highly regarded for their talent with their respective instruments (drums and trombone).

The title of the album, Conversational Music, is aptly titled, since the structure of the music tends to be that of a back-and-forth dynamic between the drums and the trombone; the songs are like a conversation taking place between the instruments.

Conversational Music is a fitting title on another level, too. Alexander and Priester met over two decades ago when Alexander was a student at Seattle’s Cornish College for the Arts, where Priester was an instructor. Conversational Music is the first time the two have worked together in more than 15 years and, as such, can be taken as a musical conversation between the artists themselves...MORE

Eugene Marlow's Heritage Ensemble: Celebrations

2011-01-27T12:43:00.000-06:00

Eugene Marlow’s Heritage Ensemble has made its name with its jazz renditions of pieces from the Hebraic songbook, as well as Israeli folksongs.

Now, being unfamiliar with both those categories of song, I can’t really give input as to how well the songs on Celebrations are covered, or what (if any) changes to pacing or tempo were made to the songs by the Heritage Ensemble.

Being an instrumental album, though, familiarity with the music of Celebrations as it is traditionally done isn’t a necessity. Even without having a basis for comparison, Celebrations can be appreciated as a top-notch jazz album.

Celebrations presents a variety of jazz styles, ranging from the hip, almost Latin-flavored take on “Chanukah, O Chanukah,” whose instrumental focus is the saxophone, to the soft, piano-dominant “Halleluyah.” Regardless of the style, the Heritage Ensemble delivers flawlessly.

Not only is the instrument-playing itself superb, but the Heritage Ensemble presents the songs in such a way that they feel like they are meant to be jazz songs, rather than jazz covers of religious songs or folksongs....MORE

Koldasee: Messiah/I See a Land/I Believe

2011-01-06T15:49:00.000-06:00

Christian group Koldasee is back with their second remastering of their album Messiah: Cradle That Rocked the World.

Koldasee originally released Messiah in 2008 as 9-track album. In 2009, they released a remastered version of the record, with five new tracks added to it. This time around, Messiah features 12 songs.

Messiah is, as a concept, a Christmas album. However, don’t expect it to be like other Christmas albums you’ve heard. You aren’t going to be getting a record full of your favorite Christmas classics.

Instead, being a Christian group, Koldasee steered away from the traditional Christmas songs that are covered and re-covered on a yearly basis to put the focus on their own, original songs.

These tracks take Christmas music in a very different direction from the holiday music we’re all familiar with, that laud Christmas as a time of snow and presents. The emphasis is entirely on Jesus being the reason for the holiday, and how that fact should be remembered.

Musically, the vocals on Messiah are really what make the album. The backing instrumentals are fine, and the variation between songs is just ok. But the vocals add something else....MORE

Coupled with Koldasee’s remastered album Messiah comes the DVD I See a Land. Now, calling it a DVD is a little misleading.

Yes, I See a Land is in DVD format, but it’s not a DVD like you would think, with a menu and options and several things to watch on it. Instead, I See a Land contains only the music video for the song “I See a Land.”

And it’s a little bit of a silly video at that.

“I See a Land” is a very patriotic, heralding America as being the land of angels and a place that God has smiled upon.

There’s nothing wrong with that.

There’s also nothing wrong with the fact that, to accompany that sentiment, the music video is rife with images of American landmarks, men and women in military uniforms, and farmers working the land, connecting us back to America’s roots.

The silly part of the video comes from the backstory that is apparently supposed to go with the song....MORE

Along with Koldasee’s remastered album Messiah comes the DVD I Believe.

The DVD contains nothing more than the music video for the track “I Believe” (found on Messiah), but is delightful in its 3 minutes and 47 seconds.

The song is all about the joy of Christmas and recognizing Jesus as the reason for the season.

As such, the music video is full of Christmasy footage, such as snow falling, kids playing in the snow, and families opening presents.

It’s not the highest-quality made video, but that just adds to its appeal...MORE

Healing Sixes: Blue Jay

2010-12-03T11:41:00.002-06:00

Blue Jay, the fourth album from Indianapolis band Healing Sixes, is a bit of a hit and miss album. From the first track to the last, Blue Jay, just isn’t the most consistent thing you’ll ever hear.

When I bring up consistency in this case, I’m not talking about sticking to one style throughout the album. As far as that goes, Healing Sixes know what sound they’re going for, and they stay true to a bluesy rock feel for the entire album.

The problem of consistency comes up in the technical aspects of Blue Jay. On some tracks, everything is spot-on. Singer Doug Henthorn’s vocals flow out smoothly, the instruments all balance each other out perfectly, and you get a solid, well-done piece of music.

On other tracks, though, Henthorn’s voice lacks fluidity and sounds strained, while either drums or guitar overpower the rest of what’s going on with the song...MORE

Galia Arad: Ooh La Baby

2010-12-03T11:40:00.002-06:00

If you like such female artists as Colbie Caillat, Ingrid Michaelson and Sarah Bareilles, I guarantee you will enjoy listening to Galia Arad.

Galia Arad’s sophomore album, Ooh La Baby, is a delightful blend of pop and folk (she describes herself as “Bob Dylan meets Britney Spears”), and Arad packs a three-fold punch as being singer, songwriter and guitar player for the album.

Ooh La Baby has a strong acoustic leaning, and the simple melodies and instrumental backings are there simply to give a little support to Arad’s voice. Her vocals are beautiful, and the fact that there is minimal backing to them allows Arad’s voice to really shine.

The album is a concept album with all the songs revolving feelings toward a specific guy, and Arad’s voice captures this perfectly...MORE

Craig Urquhart: Within Memory

2010-11-23T13:18:00.000-06:00

I’ll admit it: I’m a bit of a sucker for good piano music. And Craig Urquhart’s album Within Memory definitely hits the spot as far as piano music goes.

First off, Within Memory is an album of completely pure piano. There’s no distraction from the presence of other instruments accompanying Urquhart, which allows his piano playing to really shine.

The songs are mellow and easy to listen to across the board, but Urquhart manages to play with styles within each track. Heavy chords are meshed with delicate high notes to create a musical contrast that’s almost haunting in how beautiful it is.

Not all of the songs have the heavy undertones to them, though. Several of the tracks have a very light feel and elegance to them...MORE

Gabriel the Marine: Your Friends and Loved Ones

2010-11-20T19:48:00.000-06:00

It’s been a few months since I’ve fallen in love with an album as much as Your Friends and Loved Ones, by Long Island’s Gabriel the Marine.

It may be due to the fact that there are only five songs on the album, but there are zero misses on Your Friends and Loved Ones—all five tracks are absolutely excellent.

The vibe of Gabriel the Marine’s musical style is something along the lines of indie rock with hints of Brit-pop and jazz thrown into the mix as well. The result is an album that feels very fresh and distinct from much of what’s on the market right now.

Out of the five tracks, it’s split about half and half on catchy, upbeat songs, and mellow, soulful ballads, and both styles are performed brilliantly. The more upbeat songs have a very fun, youthful feel to them, while the slower songs have a definite maturity to them.

“The Ocean,” featuring Bob Dylan, takes on a different quality than on the rest of the album, and the passion and emotion in Dylan's voice is extremely evident...MORE

Billy Lavender: Memphis Livin

2010-11-01T16:47:00.003-05:00

Billy Lavender’s album Memphis Livin is blues at its finest. It’s gritty and jazzy, with an equal balance of funk and fun.

On Memphis Livin, Lavender, who was born and raised in Memphis, clearly demonstrates the influence growing up in the heart of the blues scene had on his musical style.

There’s a classic quality to Memphis Livin, as well as a freshness that makes it easy to imagine swaying to the music at an outdoor venue.

A particular highlight of the album is the fact that it balances out slow songs with upbeat ones, and Lavender sounds in his element in both styles. He easily transitions from heavier, wailing guitar riffs to light melodies, depending on the type of song...MORE

Bud Summers: Eons

2010-10-19T09:39:00.006-05:00

It’s a pretty obvious statement to say that people have a variety of tastes when it comes to music. What sounds positively heavenly to one listener may have the same effect as nails on a chalkboard to another listener. Every once in a while, though, an artist comes along who can easily appeal to listeners with all sorts of different tastes.

Bud Summers is one such artist.

The first thing one notices while listening to Eons, the sophomore effort from Summers, is the simplicity of the music. Each track is rooted in acoustic guitar, with only minimal percussion and just a touch of bass. The songs have a lightness to them, and Summers’s gentle voice fits in perfectly, creating tracks that are really just easy and enjoyable to listen to...MORE

The Britton Brothers Band: Uncertain Living

2010-10-11T18:05:00.000-05:00

Listening to Uncertain Living, the debut album from The Britton Brothers Band, the first thought that came to mind was, “Wow. This music is classy.” It’s the type of jazz one would expect to be playing at a fancy restaurant, or an elegant event of some sort.

What the Britton Brothers Band presents isn’t bluesy jazz, smooth jazz, and definitely not “elevator music” jazz. Rather than having the gritty or heavier sound that those subgenres of jazz tend to have, the music on Uncertain Living has a completely pure tone, and the musicians play clearly, crisply, and tightly complementing each other.

While the songs do have the presence of the improvisational feel that is commonly associated with jazz the tracks on Uncertain Living also seem to be fairly structured, which only adds to the aesthetic appeal of the music. A sour note is never hit, and each instrument plays off the others flawlessly...MORE

Jean-Paul & Things to Hear: Zonk

2010-09-30T14:53:00.004-05:00

When you go to a band’s website and right off the bat it says “A weird band,” it raises questions as to what that band’s music is really going to be like.

This is the case with Jean-Paul & Things to Hear. On their website, they call themselves “A weird band not stuck in any one genre.” Well, listening to their most recent album, Zonk, I’d say that description is false on both accounts.

The first (and title) track, “Zonk,” is a little odd, since it consists mostly of just saying “Zonk” a lot, backed with some accordion. That is, literally, the only thing about Jean-Paul & Things to Hear’s that can even remotely be considered weird. Even that, though, is an entertaining track, so weird is good.

“Not stuck in any one genre” isn’t exactly an accurate description either. With the exception of “Zonk,” Zonk has a consistently bluesy sound to it. At times it may extend into the umbrella-term genre of “alternative,” but even then there is still a definite blues tinge to the music...MORE

Copernicus: Nothing Exists

2010-09-19T10:18:00.000-05:00

Nothing Exists, the new (yet old) LP from Copernicus is easily one of the coolest albums I have ever heard.

Originally released in 1985, Nothing Exists was Copernicus’s first album, paving the way for the eleven albums that would follow. After releasing a new album in 2009, Copernicus went back to the beginning, digitally re-mastering and re-releasing Nothing Exists.

The album is an extremely interesting fusion of spoken word (Copernicus the vocalist started out as a spoken word artist) and progressive rock, which is simultaneously very chill and incredibly intense...MORE

Wide Hive Players: Players

2010-09-17T18:43:00.000-05:00

Although it rarely receives the same attention as other, more mainstream genres of music, the jazz scene today remains alive and well. California natives Wide Hive Players are proof of this.

Given when it was that jazz was in its hey-day, the genre tends to have an inherent older feel to it. Listening to jazz can elicit images of being in a completely different time period.

With their album Players, Wide Hive Players stick to the roots of jazz while bringing a freshness and modernity to it that sets them apart from other jazz musicians.

In fact, the sound of Wide Hive Players is like a hybrid of traditional jazz fused together with jam-band style music...MORE

David Wahler: A Star Danced

2010-09-04T08:37:00.000-05:00

On his sophomore album, A Star Danced, David Wahler takes us away from everyday life without ever saying a word. Wahler uses electronic keyboards to create an atmosphere that is simultaneously whimsical and mysterious, and instantly brings to mind images of floating through space.

However, despite the celestial ideas the album evokes, the title A Star Danced isn’t entirely accurate. It’s more as though a star…hopped.

Being his second album, one would have expected Wahler to try pushing things to the edge, rather than relying on melodies that are simply pretty. Or, if that were the chosen route for the album, there could definitely have been more variation put into those melodies...MORE

Songs for Your Listening Pleasure

2010-08-15T00:08:00.001-05:00

So. It occurred to me that I have been hardcore failing at the whole 'songs of the week' business. Luckily for you, there is a whole slew of songs that I've been digging lately, so here's a nice barrage of songs that you should check out.

And just because I feel so badly about not giving you song suggestions, I'm even going to make this super easy for you and include links for you to listen to the songs. You're welcome!

Enjoy!

Edward Sharpe & The Magnetic Zeros: Home (Love, love, LOVE this song! SO cute!)

Christina Perri: Jar of Hearts (Thank you 'So You Think You Can Dance' for introducing me to this one!)

Jesca Hoop: Four Dreams (Heard this song on The Current--aka the best radio station ever--and I was hooked instantly.)

The Undeserving: Something to Hope For (If you like OneRepublic, I think this will strike your fancy. Similar sound, in my opinion.)

Ryan Calhoun: Who We Are (Really pretty song, but a bit on the sad side. I tend to be drawn to that type of song. Sorry about that. Maybe that's why my best friend calls me emo?)

Barenaked Ladies: The Big Bang Theory Theme Song (I am absolutely obsessed with the show 'The Big Bang Theory.' Seriously. If you have not watched it, go do so. RIGHT. NOW!)

Joshua Radin: Sundrenched World (Another lovely but heavy one.)

Katzenjammer: A Bar in Amsterdam (Not sure which I like more...the song itself, or the music video for it. Both are faaaantastic!)

Florence & The Machine: Drumming Song (I love female singers whose voices are just naturally stellar. Eff autotune!)

Adam Lambert: If I Had You (Gotta admit...I think Adam Lambert is a fox. Seriously. And he can legit sing, too! Even better!)

Janelle Monae: Tightrope (I get to see her live next month! Yay! I've seen her perform on TV appearances and she is soooo talented.)

The Avett Brothers: Head Full of Doubt/Road Full of Promise (Saw them live about a month ago. So. Freaking. Good. If you ever get a chance to go to one of their shows, I'd highly recommend doing so.)

Metric: Waves (One of my all-time favorite bands. First discovered them back in 2004 when they had an appearance in the movie 'Clean.' Insta-love. I've also been told I look like their singer, Emily Haines. So that's cool too.)

Sia: Soon We'll Be Found (Her hair makes me giggle, but DANG is this song gorgeous, and the video is one of the most unique I've ever seen.)

Devotchka: How It Ends (Sound familiar? If you've seen 'Little Miss Sunshine,' it's in there. Was also the song that two of my loves (Neil and Kent) from 'So You Think You Can Dance' danced to.)

Mumford and Sons: The Cave (Not even going to start about how I'm missing seeing them yet AGAIN. It's a tragic tale. Anywho, they're wonderful, so have a listen.)

The Antlers: Bear (The beginning of this song makes me smile. Reminds me of a lullaby.)

Wild Beasts: We Still Got the Taste Dancin' On Our Tongues (This song just rocks. Entrancing is a good word for it.)

Brandon Flowers: Crossfire (I've seen The Killers three times. The last time, Mr. Flowers was kind of a douche. I'm hoping he redeems himself solo. Because I really like this song.)

Tramgirl Karaoke Club ft. Maskopet: If Your Time Runs Out (Sorry I couldn't find a better video. Still a great song, though!)

Spiral Beach: Voodoo (This song is in one of my favorite movies, 'Charlie Bartlett.' EVERY time I've watched I've thought, "Wow, I like this song, wonder who sings it?" but never looked it up. Yesterday I finally did. Woot!)

H'ok. 21 songs for your listening enjoyment. I think that makes up for the 9 weeks I missed, don't you?

Hunters & Runners: Of Classic Renown

2010-08-13T20:08:00.000-05:00

There are some albums that are good without knocking your socks off. There isn’t anything wrong with them; they’re just missing that extra oomph that would push them from a good album to a great album.

This is the case with Of Classic Renown, the spring release from New York City band Hunters & Runners.

From the outset, Of Classic Renown has what I would call a ‘comfortable’ feel. The music is played well, the vocals are good, and, overall, it’s pleasant to listen to. However, it doesn’t quite catch the listener in such a way that they’re actually invested in the listening experience.

Rather, listening to Of Classic Renown is an easy listen. The listener doesn’t have to pay too close attention to get the vibe of the music, nor is it music that the listener can just tune out. It’s simply enjoyable...MORE

Nnenna Freelon: Homefree

2010-07-29T11:40:00.000-05:00

When you think back to some of the “greats” in jazz history, several of the superstars are women. Billie Holiday, Ella Fitzgerald, Peggy Lee, Etta Jones—these women were, and still are, considered among the elite of the jazz world.

With her latest album, Homefree, Nnenna Freelon makes it clear that she’s well on her way to being regarded as in the same league as those old-school jazz queens.

Taken just at surface-level, Freelon has an aesthetically pleasing voice—it’s as smooth as silk, and it has a gorgeous warm tone to it. Listening deeper, one hears in Freelon the qualities that set her jazz predecessors in stone as stars.

When Freelon sings, she oozes the same class, confidence, and undeniable “cool factor” that characterized the leading ladies of jazz. At the same time, however, it never feels as though Freelon is trying to imitate those artists or be a throwback to an age gone by. Instead, it’s more as though she channeled the artists, and then used their inspiration to take a standard and make it her own...MORE

The Primary: Days Among Giants

2010-07-16T14:00:00.000-05:00

When it comes to musical development, there’s a stage in the game where mixing up one’s style is a worthwhile risk, and stage where it’s not. If you are an established artist/band with a steady fan following, then a bit of change can be refreshing. If you’re just starting out, though? It’s probably best to avoid meshing styles until you’ve made it known exactly what you’re going for.

On their new album, Days Among Giants, Texas-based alternative band The Primary made the poor decision to try several different styles, and the result is an album that gives the impression that the band really hadn’t thought out what they wanted their sound to be.

Literally every song has a different style to it, from the Incubus-sounding “Get Out,” to the mellow yet heavy “Until Then,” to the psychedelic “The Trial of the Knave of Hear,” just to name a few...MORE

Brandy Lynn Confer: In the Dust

2010-07-11T16:19:00.003-05:00

When an artist creates an album, there’s an important goal he or she has to achieve right off the bat: grabbing the listener’s attention.

With her album In the Dust, Brandy Lynn Confer accomplishes this, but not really through any effort of her own. What catches the listener most is the striking similarity between Confer’s voice and Sheryl Crow’s.

Confer’s voice has the same raspy, throaty quality as Crow’s, and even Confer’s tone and inflection very closely match the superstar’s. This is so evident on the first track, “Heartbreaker,” that it keeps you listening to find out if Confer’s voice really sounds that much like Crow’s, or if it just happens to be on that song....MORE

Sonya Kahn: New Beginning

2010-07-10T14:14:00.000-05:00

It’s not often that I find myself at a loss for words, but when it comes to defining Sonya Kahn’s album New Beginning that seems to be the case.

There is plenty to be said about New Beginning, but as far as easily categorizing it? Almost impossible.

This album consists of songs that bring together 80’s-style pop-rock, classic Euro-pop, power ballads, and a sound that is suggestive of what ABBA would have sounded like were the group formed today. Despite these aspects being able to be picked out, though, none of them quite accurately describe Kahn’s music.

There are hints of all these styles, yet Kahn melds them into one style that is distinctly her own, and rather indefinable. To simply lump her into the genre of pop or pop-rock would be to do a grave injustice to Kahn.

There is a power and edge to Kahn’s music that isn’t often found with pop music, especially with female pop singers. There isn’t the slightest presence of auto-tune, just a voice that comes through the airwaves with a pure, inherent strength...MORE

Sun Domingo: Live in Montreal, Marillion Weekend 09

2010-06-28T13:17:00.000-05:00

When it comes to live albums, artists need to be very, very careful in the execution of both the concert being recorded for the album, and the final product of the album itself.

From the sound quality being off—too loud, too soft, too harsh-- to the artist not realizing that the amount of talking usually done in a concert might not work well on a record, to just losing the overall vibe of the performance, there’s a lot that can go awry on live albums.

Luckily, Atlanta-based rock band Sun Domingo does a pretty good job of avoiding these issues on the recently released Live in Montreal, Marillion Weekend 09.

The trio, made up of Jason Pomar, Edgel Groves, Jr., and Nathan Lathouse, give a performance that is totally in sync the entire way through. This is easy enough to accomplish when recording in a studio, but to be consistently spot-on with each other throughout a live concert? Impressive...MORE

Songs of the Week: May 30-June 5 and June 6-12

2010-06-12T23:12:00.008-05:00

I recently decided that, at the end of every week, I'm going to present a list of my "Songs of the Week." They may be new discoveries, they may be revisits to older songs. Really, just whatever happened to strike my fancy that week. Since I actually kept track of what I listened to a lot over the past 2 weeks, here are two lists to get things started. Enjoy!

May 30-June 5

Portishead:The Rip (Album: Third)

Richard Walters: The Animal (Album: The Animal)

Stornoway: Zorbing (Album: Beachcomber's Windowsill)

Lissie: Everywhere I Go (Album: Why You Runnin')

Ron Pope: You're the Reason I Come Home (Album: Daylight)

June 6-12

St. Vincent: Paris is Burning (Album: Marry Me)

Stars: Fixed (Album: The Five Ghosts)

Basia Bulat: Gold Rush (Album: Heart of My Own)

Telepathe: Lights Go Down (Album: Dance Mother)

Michael Bublé: Haven't Met You Yet (Album: Crazy Love)

Who Gives a Hoot About Owl City? This Girl!

2010-06-12T16:42:00.001-05:00

Let's get one thing straight right off the bat, shall we? Upon first listen, one may notice some similarities between Owl City and Death Cab for Cutie. After listening a bit more, though, one starts to notice more and more distinctions between the two.

So please, don't give me any of that, "Oh that Owl City guy is just trying to be Benjamin Gibbard" rubbish. Because I'll adamantly argue that he is not.

That being said, let's get down to business. What business, you ask? Owl City's live performance.

On May 5th (I promise I'm going to get better at writing about concerts closer to when they happen!), I trekked down to The Pageant in St. Louis, excited to finally see Owl City.

I say "finally" because, for me, the show had been a long time coming.

Last May, long before "Fireflies," the mega-hit that would thrust Adam Young to stardom, hit the airwaves, my ears were introduced to Owl City, courtesy of my friend Beth.

Beth was looking up concerts that were going to be taking place in Omaha (where she went to school) that fall, and told me that The Scene Aesthetic were going to be playing. We quickly decided that I would travel from St. Louis (where I went to school) to Omaha for the concert in October.

The opener for The Scene Aesthetic was to be a little band known as Owl City. I had never heard of Owl City, and Beth had only heard one or two songs-- "I listened to them on their Myspace. I think you'll like them."

So, I followed Beth's steps to Owl City's Myspace, and there heard the song "Strawberry Avalanche." I loved it, and immediately obtained Owl City's first two albums (yes, there was Owl City before Ocean Eyes). I was hooked, and and Of June and Maybe I'm Dreaming became the soundtracks of my summer. The Scene Aesthetic was forgotten about, and Beth and I began referring to the upcoming concert solely as "the Owl City show."

A couple of months went by and Ocean Eyes was released, propelling Adam Young into the spotlight. As people started taking notice of this kid who made music in his basement, I discovered that Young was a fellow Minnesotan! Just one more reason for me to like his music!

As October drew closer, neither Beth nor I became less enthusiastic about how much we wanted to see Owl City. Unfortunately, circumstances changed and it didn't work out for me to get to Omaha. Even more unfortunately, the show sold out before Beth was able to get tickets, so we ended up with neither of us able to go.

Well, as luck would have it, it turned out that Owl City was going to be in St. Louis in January. I was not going to miss out on seeing him this time! I pre-ordered tickets, and counted down the days until the concert.

Once again, fate dealt a nasty blow. The night of the concert, my boyfriend and I headed down to the St. Louis's Delmar Loop to get dinner before the show. Everything was all fine and dandy--until we walked to The Pageant.

Instead of the usual line of people outside the venue, there were clumps of people and several Pageant employees.

The concert had been canceled. Half an hour before doors were supposed to open.

We later learned that it had been canceled due to Adam Young being rushed to the hospital with kidney stones. But still, strike 2 as far as seeing Owl City was concerned.

The concert was rescheduled for May, and finally, finally, the day of the show rolled around. This time it went off without a hitch.

In the months since my initial excitement about seeing Owl City, though, I started worrying that, being so electronic/synth based, Owl City's music wouldn't translate well to the stage.

My concerns were entirely unwarranted.

Owl City put on a show that exceeded my expectations. Rather than utilizing synthesizers, Adam Young and company took a more organic approach to their performance. Young rocked the guitar, with Breanne Duren on the keyboard, and Matthew Decker on drums. Most impressive, though, were Laura Musten and Hannah Schroeder who took on the violin and cello (respectively), and looked to be having an absolute ball being on stage.

Young himself kept his energy going throughout the show, although it was obvious that all the articles referring to Young's shyness weren't kidding. He didn't talk to the audience much, and would often turn his back on the crowd and seemed to be rocking out in his own little world during his guitar solos.

Still, the atmosphere was fun, lighthearted, and positive. I've been to so many shows where the members of the band throw out the F-word every time they say anything to the crowd, so it was refreshing to be at a show that had more of an innocence to it--this included those on the floor dancing and swaying, rather than shoving and moshing.

Backed by a constant light show, Owl City's performance was as much a visual spectacle as an aural one. As for the songs played, though, I was pleasantly surprised that Young chose to go with more of the songs from Of June and Maybe I'm Dreaming than from Ocean Eyes; I thought that showed a definite appreciation for the fans who had been there since the beginning. Of course, "Fireflies" was on the set-list and, as expected, the audience went nuts with that one.

The way in which the concert exceeded my expectations, though, was in how well Owl City made the transition from their recorded music to the live performance. Playing with live instruments rather than the synth-backing gave a different sound to their music, yet Young managed not to lose the bubbly, whimsical vibe that I think has become the most defining characteristic of Owl City's music.

I'm not sure if it's because of the simultaneously upbeat and mellow tone of the music, the catchy instrumentals, or the lyrics that are both witty (if you listen closely, you will catch a ton of puns) and non-sensical but, for me, listening to Owl City has always had the effect of taking me away from the real-world for a bit, and returning me to it in an absurdly good mood. The concert had the same effect, and I walked away with a huge smile on my face.

It may not have been one of the crazier concerts I've been to, but it was a breath of fresh air to attend a show that had such a genuinely positive aura to it and delivered musically, as well. It was definitely worth the wait.

Dream Travelers: Little Red Bus

2010-06-02T22:48:00.005-05:00

Oh Little Red Bus, where do I even begin talking about you? This album is really a musical hodge-podge. There are a lot of different styles and feelings all thrown in with each other, which can work just fine, but in Joel Straup’s case there’s no fusion between those different styles.

The first track on the album, “Corporate America,” is incredibly socio-politically driven. Now, it’s not uncommon for folk music to have that kind of message behind it. This particular track, though, feels like it would be better suited to an angry punk band than to a middle-aged folk rocker.

Next up is “The Old Man’s Barn,” the focus of which is taking responsibility for one’s own actions instead of playing the blame-game. Looking just at the instrumental backing of the song, this is one of the best songs on Little Red Bus. However, there are times when the background vocals hit a very shrill, squeaky high note that does not mesh with the rest of the song in any way whatsoever, and makes an otherwise decent track almost unlistenable...MORE

Whiskey Six

2010-05-24T10:29:00.005-05:00

The proverbial “they” have been known to make the claim that imitation is the sincerest form of flattery. While that may be true in some areas of life, I’m not sure if it’s true for music.

Of course, all bands have their inspirations what they strive to be like, and that influence can be heard in their music. For the most part, though, bands generally work in the influence of their musical idols around their own style. I can’t say that’s the case for Whiskey Six.

Whiskey Six’s self-titled EP is one of those records that leaves the listener with a feeling of “been there, done that.” The band seems to be aiming for the blues-tinged, southern-hard-rock style, channeling the likes of ZZ Top but, while doing so, Whiskey Six never really finds a sound of their own. Rather than using their musical inspirations to create their own style around, Whiskey Six brought in so much outside influence that it overpowers what could have been something new and different...MORE

Glenton Davis: Are You Ready

2010-05-19T10:01:00.005-05:00

I always think it’s interesting when an artist decides to mesh two different music styles together. What’s even more interesting is when an artist combines two styles that you wouldn’t expect to work with each other.

This is exactly what Glenton Davis does, though. Davis fuses R&B with pop, presenting a style that is soulful, while at the same time being up-tempo and danceable.

It’s an unexpected mix, but Davis pulls it off well.

On the four-track album Are You Ready, Davis manages to give a little taste of all the styles he’s incorporating. He moves from the dance track “Go Get on the Floor” to the slower “She Don’t Have to Know,” finally wrapping things up with the mellow “Dangerously in Love 2.” It’s a fluid transition between the songs, and each gives a little bit different side of Davis....MORE

There's a Reason "Shazam" is Part of Their Name...

2010-05-10T22:16:00.013-05:00

As I sat down to write this, I said to myself, “Carly, it’s been 2 weeks since you went to Foxy Shazam’s concert. It’s been months since you first heard– and got very excited about–their new album. Why has it taken you this long to get around to finally writing something up about them?”

Really, I think I’ve just been too overwhelmed by the awesomeness of Foxy Shazam to be able to articulate my feelings about them. But now? I’m ready to give it a go.

First off, if you’ve never heard/heard of Foxy Shazam, you’re missing out. Rarely does a band come along that has so much character in both their recorded music and in their live performances.

Foxy released their 3rd album in April (after being leaked in February), and let me tell you: this is a band that is never going to be able to be pigeon-holed into one particular genre.

On their first album, The Flamingo Trigger, Foxy Shazam had a pop-tinged metal vibe. It was fast, it was frenzied, it was like the musical equivalent of a storm of electrically charged particles whizzing around. In short, it was insanity in the best possible way.

Album number 2, Introducing, took things in a slightly different direction. Moving away from the screams of The Flamingo Trigger, Introducing introduces (heh, see what I did there?) a more piano-centric, punkish sound. And Foxy Shazam pulls it off just as effortlessly as their previous sound.

Now, with their most recent album Foxy Shazam, the boys have changed things up yet again. This time, Foxy has created an amazing blend of cabaret/piano rock glory. It’s a far cry from the frantic chaos of their first album, but, once again, it works unbelievably well. In fact, I will go so far as to say that, on this album, Foxy Shazam comes across like modern-day Queen. It. Is. Fantastic.

I have listened to Foxy Shazam dozens of times, and am more blown away by it with every listen. The entirety of the album is pure gold–there is not a bad song in the bunch. Even when Foxy Shazam puts forth a mellower song, the result still has the same energy behind it as the fast-paced, danceable songs.

And Foxy doesn’t slack in the lyrics department, either. For example, the line “Life is a bitch, but she’s totally do-able” in the song “Bye Bye Symphony,” or “For you I wear this mask, at home I tear it off ’cause I don’t need it,” in the song “Wanna Be Angel,” all about wanting to be seen a certain way by people.

Whether it’s talking about love gone wrong in “Count Me Out,” trying to fit in, or just trucking through life when it gets rough, Foxy Shazam’s lyrics are always making a point–without beating you over the head with that point.

It’s always impressive when a band manages to successfully mix up their sound, but it’s even more impressive when a band a) is constantly experimenting with their style, and b) consistently delivers an outstanding result with each new sound. Foxy Shazam keeps proving their versatility, while consistently putting out music that is fun, energy-packed, and unique from pretty much anything else out there today.

Two weeks ago, I had the long-awaited opportunity to see how well Foxy Shazam could bring their music to the stage. I had heard good things about their live shows, but I wanted to see it for myself.

To say that I was impressed is a huge understatement.

The men of Foxy Shazam were, hands down, some of the best performers I have ever seen. How can you not enjoy a show in which the keyboardist hops on top of his instrument to play it, and the lead singer jumps on top of his shoulders? In live concerts, you often get a frontman who rules the show, while the rest of the band is just sort of in the background.

Not so with Foxy Shazam.

Don’t get me wrong, lead singer/frontman Eric Nally was without a doubt the star of the show, but his bandmates did a superb job keeping pace with him. And that was with Nally jumping into the crowd several times, eating 3 LIT cigarettes, and even scaling the rafters of St. Louis venue Off Broadway.

Nally had no trouble engaging with the audience, and the crowd responded well. There was moshing, dancing, crowd surfing (my own crowd surfing experience at the show left me standing on stage, holding Nally’s hands for a brief moment), and an all around air of heart-pounding excitement. It left me bruised and exhausted, but utterly exhilarated at the same time.

And really, isn’t that the effect we all hope for a show to leave on us?

I don’t know about you, but whenever I hear the word “Shazam” I associate it with two things: superheroes, and a certain sort of “wow” factor. While I’m not sure I can quite stretch the superhero idea to Foxy Shazam, the “wow” factor definitely applies to the guys of Foxy Shazam. Onstage or recorded, Foxy Shazam have an extra oomf to their music and a presence that is rarely found. They are rock stars, and it’s easy to see why “Shazam” is part of their name.

Jess Ray & The Rag Tag Army: Jess Ray & The Rag Tag Army

2010-05-01T23:12:00.007-05:00

In case you’ve never noticed, when you rip a CD onto your computer, iTunes will list a genre for that album. With Jess Ray and the Rag Tag Army, iTunes decided that the album fell under the label of “pop.” This could not be more misleading.

When you think of pop, generally the words “soulful,” “mellow” and “heartfelt” don’t really come to mind. But they are definitely words I would use to describe Jess Ray and the Rag Tag Army.

Jess Ray has a voice that will hook you instantly. It’s smooth, it’s strong, it emotional. It is impossible to hear her voice and not feel a connection to the music. Ray’s vocals come across in such a way that it makes you feel as though she is singing to you specifically, and the effect is something really quite beautiful.....MORE

Barenaked Ladies: Born on a Pirate Ship

2010-04-29T22:02:00.005-05:00

It might be due largely to the fact that my formative years occurred primarily during the '90s, and as such there's a certain nostalgic value when I now listen to the music from that decade, but I am an ardent fan of '90s music. For some reason, though, '90s music--especially '90s pop--has unfairly earned itself a pretty bad rep.

Personally, I've never understood this. Perhaps it's because there were a lot of one-hit-wonder bands during the '90s, but even that doesn't justify it, seeing as those one-hit-wonders were all sorts of fantastic. I mean, think about it. If you're somewhere in the age range of 18 to 30, chances are pretty good that, as you're perusing radio stations in search of something other than today's tween sensations (Justin Bieber, anyone?), some of the songs that most catch your attention are straight from the '90s.

Admit it. You know you leave the station where it's at when you hear Marcy Playground's "Sex and Candy" or "Breakfast at Tiffany's" by Deep Blue Something.

Now, somewhere in the midst of all the artists who came along in the '90s, leaving their mark on the music world with one (maybe two) big hit, there were a few bands who managed to consistently crank out stellar single after stellar single. One such band, however, managed to never quite get the attention that their music warrants. I'm talking about the Canadian band Barenaked Ladies.

Barenaked Ladies first hit the scene back in 1992 with the release of their first album, Gordon, featuring the still hugely popular single "If I Had $1,000,000." That song set Barenaked Ladies rolling with a series of single releases that all did pretty well. Interestingly though, despite the fact that several of their albums made it into the Top 10 on the Billboard charts, most of their albums seem to have gone relatively unnoticed by the general public. Really, the only one of their albums that I recall being talked about widely was 1998's Stunt, which, I'll admit, was in fact a very good album.

That being said, though, I strongly suggest that BNL's album Born on a Pirate Ship be given another listen by the masses.

I was eight years old when Born on a Pirate Ship was released in early 1996, and I remember instantly falling in love with the song "The Old Apartment" the first time I heard it on the radio. The track was played on a consistent basis for about 6 month, and then...nothing. It just sort of fizzled out. I'm pretty sure it's been years since I've heard "The Old Apartment" even randomly played on the radio. "Shoebox," the only other single from Born on a Pirate Ship, generated some buzz when it was on an episode of Friends, but aside from that, the album garnered little attention.

To be frank, the fact that Born on a Pirate Ship went so unrecognized is a downright shame. This is an album that has a little bit of everything in it, and it's all executed amazingly. You've got a touch of folk with the track "Straw Hat and Old Dirty Hank," lighthearted pop with "Stomach vs. Heart" and "Call Me Calmly," an utterly heart-wrenching ballad in the form of "Break Your Heart," and a nice bit of introspection with "Same Thing." Throw in the strong vocal work of Steven Page, instrumentals that are catchy and completely unique on each song, and you've got a fusion of musical elements that make Born on a Pirate Ship a great listen the entire way through.

Where BNL's real genius lies, though, is in their lyrics, and on Born on a Pirate Ship they completely nailed that aspect of their music. The lyrics take on a serious note when necessary, but for the most part are driven by very well utilized sarcasm. They lyrics are humorous, often biting and tongue in cheek, witty, and thought provoking, even when they don't entirely seem like it on the surface.

Honestly, I have never been able to find a reason why Born on a Pirate Ship didn't receive more accolades, or why Barenaked Ladies remain (at least in my humble opinion) one of the most underrated bands in the music biz.From beginning to end, Born on a Pirate Ship is a fun, entertaining album without being cheesy or camp, and Page's voice perfectly conveys whatever emotion is called for in each song (believe me, the power and raw emotion in his voice on "Break Your Heart" has moved me to tears on more than one occasion).

As I said, Born on a Pirate Ship was released when I was 8 years old. I'm now 22, and it remains one of my most consistently listened to albums--and it's not just the sentimental value of listening to an album from my childhood that makes it such. Everything about this album is so spot-on to begin with, and yet I find something that strikes me differently, something I appreciate more, every time I listen to it; Born on a Pirate Ship gets better with every listen. Regardless of whether or not you're into '90s music, whether or not you enjoyed Barenaked Ladies at the height of their career, Born on a Pirate Ship is definitely an album worth revisiting.

Capelle: Money Now, Money How, Money When

2010-04-21T15:26:00.004-05:00

I don’t think anyone will argue with me if I make the claim that there’s a lot of very good music out there. Every day, new artists break onto the scene, hopefully bringing something fresh to the music world. However, while a lot of the new music we’re graced with is good, not all of it has that extra something that makes it truly pop out from the rest.

Who knows what exactly defines that extra something, but whatever it is, Capelle has it.

Money Now, Money How, Money When, the debut album from British band Capelle, has everything one looks for in an album: stand-out vocals, excellent instrument playing, lyrics that grab your attention, and a perfect synchronization of those elements that results in a record that keeps the listener hanging on the entire way through...MORE

MGMT: Congratulations

2010-04-16T16:39:00.004-05:00

My first exposure to MGMT was three years ago when they opened for Of Montreal at a show at The Pageant in St. Louis. Oracular Spectacular had been released about a month earlier, but there were still only murmurings about this band that was bringing a 60s, psychedelic feel back to music. Having seen Of Montreal before, I knew how brilliant of a live show they put on, and that whoever opened for them would have to be pretty outstanding to compare.

When MGMT took the stage, I was absolutely blown away. They brought a fresh sound and stellar stage presence, and genuinely seemed like they were having fun while they performed. I was hooked instantly. Needless to say, I was more than a little excited when I heard MGMT was working on a new album.

Well, the new record, Congratulations, was released on Tuesday and, honestly, it's a little disappointing.

What shot MGMT to fame with Oracular Spectacular was the style of their music. While reminiscent of music from the 60s, it still felt completely new; it was catchy, it was fun, it was different from most other stuff out there. With Congratulations, something got lost.

The sophomore effort from any band is always the most challenging, especially when the band started out with a strong debut. On Congratulations, it's fairly evident that MGMT was well aware that they had to make a good follow-up to Oracular Spectacular-- maybe too aware of that fact.

Congratulations has a more mature vibe to it than Oracular Spectacular, and one can understand how a band that gained its popularity thanks to catchy, danceable songs would want to make an album that portrays them as more serious musicians. However, in their attempt to do that, Congratulations ended up with an overall feel that the guys of MGMT were taking themselves too seriously when they were making the album.

There are a few standout songs, such as "Flash Delirium" and "Song for Dan Treacy," but as a whole, Congratulations falls short of the expectation listeners would have based on Oracular Spectacular. There's no doubt that MGMT consists of talented musicians, but Congratulations just feels like they were trying too hard to make sure their listeners realized what they already knew.

Congratulations isn't a terrible album, but it's not great either. Sit down, have a listen, appreciate the fact that MGMT is trying to move forward artistically-- but don't expect to have your socks knocked off.

Coheed and Cambria: Year of the Black Rainbow

2010-04-15T15:57:00.006-05:00

If you're a fan of Coheed and Cambria, you were no doubt anxiously awaiting the release of their fifth album, Year of the Black Rainbow. On Tuesday, the highly anticipated album finally dropped in stores and hit iTunes. Of course, if you've been looking forward to the album, you already know that. What you're really waiting for is some idea of what to expect when you get around to buying (or downloading) the album.

Year of the Black Rainbow is an interesting album, particularly for those who have already established a fanship of Coheed, due to the fact that it's sort of an in-between album. What do I mean by that? Well, the album isn't entirely what we've come to expect from Coheed and Cambria, but at the same time, Year of the Black Rainbow doesn't go in an entirely different direction from what Coheed fans are used to.

In case you didn't know (or never realized), Coheed and Cambria's first four albums were highly story-based, with each album being a concept album that connected to the stories of the other albums. Year of the Black Rainbow was made as a prequel to the series of stories, yet it doesn't maintain the same story-telling feel of its predecessors. Instead, this album is more of a stand-alone, which isn't a bad thing, just different from what fans would expect.

Musically, Year of the Black Rainbow is very much the same Coheed and Cambria we've known for years, but with a few tweaks made here and there. Coheed has always had a sound that is distinctly their own--due both to their instrumental styling and singer Claudio Sanchez's easily recognizable voice--and that sound remains in Year of the Black Rainbow. However, there is a much heavier feel to this album than previous ones.

Where Coheed's prior albums had a definite catchiness factor to them, with some songs being on the verge of peppy, Year of the Black Rainbow keeps things a little darker. The extra edge actually works pretty well, except for the fact that, if listened to straight through, the songs blur together a little bit. It's as if Coheed found a new sound they liked, but didn't quite know how to proceed further with it.

Even Sanchez's voice takes a different approach on this album. Rather than getting the frequent high notes that distinguish Sanchez's voice from any other singer's, listeners get to hear his voice brought down just a few notches, and kept at a more even level. It would be impossible to completely overhaul Sanchez's characteristic vocals, but there is a change that, while subtle, is still noticeable.

While it's clear that Coheed and Cambria were trying to take things in a new direction with Year of the Black Rainbow, it does feel as though they played it safe and didn't push the envelope as far as they could have, which is unfortunate because the album ends up being left in a mild state of limbo between their older stuff and something really different.

All told though, Year of the Black Rainbow is a solid album, especially when you start to feel more familiar with the newer sound. Coheed and Cambria definitely deserve credit for trying to change things up at this point in their career, and Year of the Black Rainbow is worth the listen.

The Sojourners: The Sojourners

2010-04-14T22:46:00.004-05:00

Do you ever find yourself just needing to listen to some straight-up feel good music? You know, the kind that puts a smile on your face and makes you want to bebop along with it as you listen? If so, The Sojourners self-titled album is a must-listen.

The Sojourners is a brilliant fusion of the sounds of southern Gospel and the blues, with a slight hint of doo-wop thrown in for good measure.

The vocals are smooth and passionate, with a joy and exuberance behind them. Listening to the strong voices of Will Sanders, Ron Small and Marcus Mosely, you can tell you are listening to artists who are genuinely enjoying what they do—the pleasure they take in their music really can be heard in their voices and the emotion they express...MORE

Jeff Callahan: Empty Swings

2010-04-07T11:34:00.003-05:00

Jeff Callahan is a talented poet. That fact cannot be denied. However, based on what his audience gets with Empty Swings, I’m not sure the same can be said of Callahan’s musicality.

Empty Swings is a spoken word album, so rather than hearing Callahan sing his poems as lyrics, the listener gets Callahan reciting his poems as poems.

This in itself is by no means a bad thing. However, the music that accompanies the spoken word throws off the entire album.

On Empty Swings, Callahan’s poems are backed by the music of B.D. Lenz. Just as Callahan is a gifted poet, Lenz is a skilled musician. The problem is that the work of the two artists doesn’t mesh very well...MORE

Sister Loolomie: Signals

2010-03-26T15:15:00.005-05:00

When the classic horror film The Blob hit theaters back in 1958, one of the taglines for the movie was “Run, don’t walk, from The Blob!” Now, within the context of The Blob, this line was referring to a globular alien that was eating everything in its path, but the advice applies here as well.

If you ever find yourself in even the general vicinity of anywhere that Sister Loolomie’s album Signals is being played, run away. Fast.

With Signals, I honestly can find nothing positive to say.

From beginning to end, Signals is an absolute disaster. When the first track, “No Final Decision Here,” starts out with a low, almost throbbing noise and proceeds to add in a whining akin to a dulled version of the sound made when a microphone gets too close to a speaker, a feeling of curiosity is elicited. Where is this “song” going? Nowhere good, unfortunately....MORE

Band Spotlight: Civil Twilight

2010-03-24T23:54:00.006-05:00

On March 16th, the audience at a small St. Louis venue was treated to a fantastic show from all four bands in the night’s lineup: local band Peach, Chicago-based AM Taxi and Company of Thieves, and South African natives Civil Twilight.

Without exception, every band fully delivered, making for a show that, from beginning to end, was everything one looks for in a concert experience: fun, intimate, and completely rocking.

For Richard Wouters and brothers Andrew and Steve McKellar of Civil Twilight, this was a far cry from some of the shows the band played when they were first starting out in the U.S. “Our first tour had some of the toughest shows,” said Steve. “We were going into the world as a new band with warped expectations, and then people walked out during our set.”

And sometimes there would barely be an audience to play for at all. The band cites a show in Connecticut where only two people showed up as one of the most disheartening experiences of their career.

But at Tuesday's show, far more than two people graced the audience, with Civil Twilight being one of the main draws for the evening.

Civil Twilight was first formed back in 1996 when Andrew and Richard were in high school, and Steve was only 13. It was “one of those situations where you have a band before you can play instruments,” but the guys quickly worked out the logistics of who would play what, and two weeks later they played their first show. However, it would be a while before they played again since “we didn’t really know that bands gigged,” said Andrew.

What they did know, though, was that they wanted to make something of their music, and that staying in Cape Town, South Africa was not the way to do that. “There’s a very small South African scene, far less bands,” said Andrew. “All your hero bands live here [in the U.S.], and amazing music comes out all the time.”

In what Steve refers to as a move of “youthful ignorance,” Civil Twilight and friend Kevin Mitchell, who serves as band engineer and tour manager, packed their bags and relocated to L.A. “just to see what would happen.”

What ended up happening was years of playing around L.A., learning the business side of things, “just the way it works. You think it’s something like you go to see someone famous, they see you play, and then you just start getting played. But there are a million little things to negotiate,” said Wouters.

With the help of their manager, Michael Carney, in 2007 Civil Twilight got an album made and began touring. Their songs also went on to be featured in several TV shows, including the popular CW drama One Tree Hill.

Since then, things have really started taking off for the band. They moved to Nashville, signed with Wind-Up Records, and have spent the last two years touring, as well as re-releasing their self-titled album Civil Twilight.

From being a band that played to an audience of only two people, Civil Twilight now has a growing fan base, including “Rob, our most hard core fan,” who first saw the band play at a bar in Tennessee where “you expected zombies to come out at any time,” and has continued to follow Civil Twilight on tour. They’ve also had the ultimate rock star experience of witnessing a girl crying because she was scared to come up to them.

The surrealism of their life now doesn’t escape the members of Civil Twilight. According to Wouters, “It’s weird to think of life outside the band,” a sentiment echoed by Steve.

“It’s a really weird lifestyle. I’m not sure what extensive touring teaches you, but it’s what’s really important about what we do.”

And how does the band deal with the constant touring? With “as little communication as possible,” says Steve, as the band acknowledges that one of the most interesting parts of their life is having known each other and their tour manager since they were just kids, and now living and working together as four grownups.

To keep things balanced, “in the last two years we’ve found individual passions,” says Andrew. From writing to painting to woodworking, the members of Civil Twilight each have interests that keep them from being overwhelmed by band life, but at the same time admit that, “I can walk away from music for about ten minutes, but after that I’m always drawn back to it.”

So what’s up next for Civil Twilight?

Aside from touring, “we haven’t really been big on goals,” says Andrew, but the general consensus among the band’s members is to just stay on their current path. “As long as we can keep doing what we’re doing and experience growth, we’ll be happy,” said Wouters.

Civil Twilight hopes to headline a tour in the future, and its members would love the opportunity to someday play with Radiohead or Elbow.

In the meantime, Civil Twilight remains focused on touring, while, as Andrew puts it, also “keeping the dreams and stuff alive. It’s really important remembering those things, like the first time we ever played music.”

As for those who haven’t heard Civil Twilight’s music yet, Steve encourages you to “give it a listen. What we do, we do with love and passion as a service to you. If you like it, or don’t, please tell us.”

Check out Civil Twilight's official website at www.civiltwilightband.com

Ann Sweeten: Just This Side of Spring

2010-03-19T13:57:00.004-05:00

Were I allowed to use only one word to describe pianist Ann Sweeten’s new album, Just This Side of Spring, it would be, plain and simple, “lovely.” But, since I’m not restricted to using this lone word, I’ll elaborate.

Instrumental—particularly classical—music doesn’t always get the credit it deserves. We live in a fast-paced world where everything we encounter battles for our attention, and since classical music tends not to have the hard-hitting, electro-backed feel that sends listeners into auditory overload, it’s a genre that sometimes gets overlooked.

However, Ann Sweeten is a classical artist that fans of every genre should not hesitate to listen to. As I stated earlier, Just This Side of Spring is absolutely lovely. Sweeten’s melodies vary from slightly dream-like and whimsical, to heavier with an air of sadness to them. Both effects are accomplished effortlessly, which makes for a very enjoyable listening experience...MORE

The Audition: Great Danger

2010-03-18T20:44:00.004-05:00

I would be lying if I said I don’t like the pop-punk genre. It may not be my favorite type of music to see live, but it’s definitely catchy, and there’s something to be said for that.
However, I do find pop-punk to be a fairly stagnant genre– there’s just not a lot of variation to it. Consequently, when I popped in The Audition’s new album Great Danger and was greeted with a song that starts out sounding like it could be by any of a handful of pop-punk artists, I was wary as to how the rest of the album would progress.

And, I’m happy to say, I was pleasantly surprised.

Great Danger is not just another generic pop-punk CD. It definitely has the characteristic catchiness of the genre, but it’s heavier than a lot of other pop-punk albums out there. There’s something about it that, while being a very fun album, has an edge and a somewhat mature feel to it.

Part of what sets this album apart from others of the genre is singer Danny Stevens’ voice. Stevens has a very strong voice, and a range to match. He sings with clarity and enunciation, and every word can be understood. Additionally, his voice maintains the power it has on the fast, upbeat songs, even when he’s singing slower, softer songs, such as “Run Away.” There’s confidence and control in Stevens’ singing, and it’s genuinely enjoyable listening to him.

From beginning (well, once you get past the first 20 seconds) to end, Great Danger is a great album. Occasionally CDs will be good for the most part, but have a song or two that just fall flat in comparison to the others. This isn’t the case with Great Danger. The songs are consistently good, and The Audition varies up the style enough that the songs don’t just bleed into each other. The overall vibe the band gives off with Great Danger is that of a band that is experienced enough to know what they’re doing and want to do that well, while at the same time not taking themselves too seriously and having fun with their music.

I’d definitely recommend giving Great Danger a listen–I think it’ll appeal to a wide range of musical tastes.

Album Highlights: The Art of Living, He’s All You Want, Run Away

Stereo Reform: The Whitestone Session

2010-03-18T16:07:00.003-05:00

In a mini follow-up to their first album Robots of Evolution, Stereo Reform came back with a four-track EP recorded at Whitestone Studios.

The album features three brand new tracks, plus a re-recording of Robots of Evolution’s “There’s No Time.”

With The Whitestone Session, Stereo Reform is back—but not in the same funkadelic way as on Robots.

Where Robots of Evolution was full of upbeat, grooving tracks, The Whitestone Session has taken things down a notch. Instead of the funk-rock vibe that characterized Robots, Stereo Reform went with a jazzier sound for Whitestone...MORE

Jesse Payne: Nesting

2010-03-12T11:21:00.005-06:00

Coming into a genre full of such established artists as Bright Eyes, Bon Iver, Fleet Foxes, and Andrew Bird, Jesse Payne certainly had his work cut out for him to make his mark.

And with his album Nesting, Payne definitely delivered. From start to finish, it’s is a solid record in every aspect.

First off, there’s Payne’s voice. It’s moody, sincere, and all-around pleasant to listen to. Payne doesn’t sing with a lot of force, but there’s a subtle power behind his voice that will capture the listener. It doesn’t demand the listener’s attention, but it gets it anyway....MORE

Stereo Reform: Robots of Evolution

2010-03-09T10:06:00.004-06:00

Ladies and gentlemen, funk is back, and the guys in Stereo Reform are the ones bringing it to the forefront.

The band’s debut album Robots of Evolution feels like a throwback to the funk scene of the 60s, but with a fresh, modern spin to it.

Despite that, the album is lacking the “wow” factor one would hope for from a band trying to do something so different from the styles that are currently the most popular in the music industry.

Robots of Evolution is consistently good—and groovy—all the way through, but that consistency prevents there from being any standout tracks on the album...MORE

Steve Lieberman The Gangsta Rabbi: DiKtatoR 17

2010-02-26T01:02:00.011-06:00

Have you ever heard a song on the radio and wondered how that artist managed to get a record contract? That’s the feeling that Steve Lieberman The Gangsta Rabbi’s newest album, DikTatoR 17, leaves the listener with.

Upon seeing an artist who refers to himself as “The Gangsta Rabbi,” one’s first assumption might be that this is someone along the same lines as Matisyahu. After seeing track titles such as “Crank That Kosher Boy,” an obvious play on the song “Crank That Soulja Boy,” one might think they’re in for listening to a Weird Al Yankovich parody-style album. Neither of these is the case.

Instead, what the listener gets with DikTator 17 is a twenty-two-song album that falls flat on every account...MORE

Jacob Merlin: Alchemy of Soul

2010-02-11T09:06:00.003-06:00

If you’re looking for just an all-around stellar album, Jacob Merlin’s Alchemy of Soul is it.

From beginning to end, Alchemy of Soul delivers a sucker-punch of great music. The songs are fun and energized, while maintaining the mellowness typical of R&B. However, this album is by no means generic R&B.

The R&B/jazz scene tends to be very guitar-driven, with other instruments serving primarily as complements to the guitar. On Alchemy of Soul, however, this isn’t the case. Instead, it’s the songs revolve more around the trumpet and keyboards/piano, which adds a certain flair to the music.

Throughout, the album never loses its energy, and manages to completely draw in the listener...MORE

John Wort Hannam: Queen's Hotel

2010-01-26T20:00:00.003-06:00

Since quitting his teaching job in 2002 to focus on his music, John Wort Hannam has done pretty well at getting himself noticed within the world of folk music.

While he may not be a huge star yet, the former language arts teacher has consistently been nominated for—and won—awards within the folk music scene. With the release of Queen’s Hotel, his fourth full-length album, Hannam is hoping to keep the trend going.

Unfortunately, I’m not quite sure if Queen’s Hotel will have the effect Hannam desires...MORE

Chops: Livin' 2 the Fullest

2010-01-18T19:57:00.003-06:00

I like hip-hop, but it generally takes a lot for a hip-hop artist to really “wow” me. Consequently, I was pleasantly surprised by Livin’ 2 the Fullest, the self-released debut album by California hip-hop artist Chops.

Despite being a first release, Livin 2 the Fullest is full of tracks that would fit right in with any of the established hip-hop artists being played in the clubs. The backbeats are strong, but not overwhelming, and Chops plays with the stylings to keep each track unique.

One of the most striking things about Chops is the clarity with which he presents his vocals. It’s sometimes difficult to understand what’s being said in hip-hop tracks, but with Chops you can understand every word coming out of his mouth. Chops breaks into some very fast raps on the album, but even when throwing out some tongue twisters it’s still easy to make out what he’s saying...MORE

The Complaints: Sunday Morning Radio

2009-12-23T12:04:00.004-06:00

It doesn’t happen often, but every once in a while I find myself stumbling upon an album where the band sounds like they were just trying too hard. Unfortunately, Sunday Morning Radio, the newest release by The Complaints, is one of those rare albums.

Sunday Morning Radio doesn’t start off too badly—in fact, it made me feel fairly nostalgic. The vibe of the first track, “Man Downtown,” has a sound right out of the mid-90s pop-rock scene.

For a better idea of what the album starts out as, think Bon Jovi meets a mellowed out version of the Gin Blossoms.

This, however, only lasts for the first two songs. After that, Sunday Morning Radio begins to sound more like a band you’d hear playing at the local bar or as the special guest at the city fair. The songs are bland, with a lack of variety in the instrumentals, and mediocre vocals...MORE

The Princess and the Frog: Soundtrack

2009-12-22T19:07:00.004-06:00

Honestly, I would wager that if I were to throw out the name of a Disney movie right now, the first thing that would spring to mind wouldn’t be the plot or even a character from the movie–more than likely, a song from the film would pop into your head. Part of what has defined Disney animated films are the songs that accompany them. They’re the type of songs that, no matter who you’re with, if you turn them on the majority of people will not only know the songs, but start singing along to them.

That is what I’ve always loved most about Disney films–their musicality. Consequently, when I found out that The Princess and the Frog was to go back to the days when Disney soundtracks actually featured the characters singing, rather than having the music simply set the tone.

I actually had the soundtrack for The Princess and the Frog before seeing the movie, and have been listening to it fairly regularly in order to give my best possible analysis.

I’m a little conflicted about The Princess and the Frog’s soundtrack. I really enjoy the songs, but overall the soundtrack just doesn’t feel like a Disney soundtrack. Allow me to clarify...MORE

Tom Braxton: Endless Highway

2009-12-19T17:34:00.003-06:00

Tom Braxton is one of the most respected artists on today’s jazz scene, and with his newest album Endless Highway, it’s not difficult to see why.

Braxton’s saxophone playing is absolutely flawless. Sax is an instrument that can sometimes get overshadowed by supporting instruments, but with Braxton the saxophone completely carries the music.

One of the highlights on the album is the track “Ventura Highway,” which features vocals by Arthur Dyer. Dyer’s voice and Braxton’s playing complement each other really well, with the result being an awesome break from the instrumental tracks on the rest of the album, without losing the overall feel of Endless Highway.

As can happen often with instrumental albums, Endless Highway hits a lull where each song sounds indistinguishable from the one preceding it. Luckily, this lull only lasts for about three songs, and Braxton steps it up in the following tracks...MORE

Koldasee: Journey

2009-12-19T17:31:00.004-06:00

I feel that Christian music tends to get a bad rep. No matter the style of it, any Christian music is automatically assumed to be overly zealous religious music. As such, it is a genre many people tend to shy away from. Journey, the latest album from Christian group Koldasee, is a pleasant surprise though.

There are, of course, the staple religious anthems, such as “How Great Thou Art” and “Amazing Grace,” and songs that have a blatant religious edge to them, like “Dancin’ on the Breath of God.”

Despite the religious slant of several of the tracks, much of the album tends more towards spiritual or inspirational. The songs talk about finding strength and hope when life gets difficult, which is a message that transcends religious borders.

However, if the fact that the album has any spiritual vibe to it still turns you off from checking out Journey, then ignore the lyrics and listen instead to the music itself...MORE

The Starting Line: Somebody's Gonna Miss Us

2009-12-07T19:28:00.005-06:00

The summer of 2008 saw the final tour (for now) of pop-punk band The Starting Line. This tour provided the content for the band’s recently released CD/DVD combo Somebody’s Gonna Miss Us.

The CD part of Somebody’s Gonna Miss Us is a live recording of The Starting Line’s final performance in their hometown of Philadelphia. The DVD contains a video of the performance, as well as a documentary following the band as they head into their last tour and talk about what has brought them to that point.

Out of the two parts to Somebody’s Gonna Miss Us, the DVD far outshines the CD. Lead singer Kenny Vasoli generally has a pretty good voice, but on this album it’s just not there. He frequently sounds as though he is shouting or talk-singing, more than doing any real vocal work. Even when his singing does come out, it sounds flat in comparison to the band’s studio recordings...MORE

Katie Locke & Bullet Proof Tiger

2009-12-07T19:25:00.003-06:00

Plain and simple, Katie Locke & Bullet Proof Tiger’s self-titled EP is wonderful.

The music falls into that genre of jazzy tinged pop that you hear from artists like Dido, Feist, and Norah Jones. However, Bullet Proof Tiger stands apart from those, thanks largely to vocalist Katie Locke.

With Dido, Feist, and Norah Jones, you have artists who are certainly talented and possess excellent voices. In common with the three though is the fact that their voices all have a certain softness to them. Not Locke.

Locke has a very strong, full voice that makes the listener sit up and take notice. Her voice has a power to it, and an awesome range, that can’t be ignored. Locke isn’t an artist you can have on as background music—her voice demands that you actively listen to her...MORE

Shane Beales: Heavy Clouds

2009-11-20T11:14:00.005-06:00

Liverpool based artist Shane Beales is quite the up and coming artist. Since 2006, he has released 2 albums, 4 EPs, and 52 singles—all independently.

Beales’s most recent effort, the EP Heavy Clouds, is an interesting set of four songs.

Heavy Clouds opens with “The Crunch,” which feels like a throwback to the early 90s grunge scene. Beales’s voice and the raw guitar rifts are both reminiscent of bands such as Alice in Chains or Pearl Jam.

“The Crunch” is a hard-hitting song, and leaves the listener wanting more. The strange thing is this: the next three songs on the EP, while good in their own right, are not what “The Crunch” sets the listener up to expect. Instead, the songs are about as stylistically different as putting Rob Zombie and Mozart on the same album.

The grittiness of “The Crunch” is followed next by “Across the Seas,” a very soft, mellow ballad. The song is absolutely beautiful, both instrumentally and lyrically. The piano that starts out and backs the entirety of the song has a delicate, dreamy feel to it, which perfectly fits Beales’s lyrics about committing to someone for life....MORE

Oz Noy: Schizophrenic

2009-11-12T14:42:00.004-06:00

It’s always disappointing when an album starts off strong, giving the listener the impression it’s going to remain that way throughout its entirety, but then fails to do so.

This is the case with Oz Noy’s fourth album, Schizophrenic.

The album starts off with “Ice Pick,” which has a sound similar to what you might hear during a Phish jam session. Schizophrenic maintains the jam-band style throughout, and Noy’s guitar playing consistently shines through.

About mid-way into the album, however, Schizophrenic starts to lose its appeal...MORE

Coco Montoya: The Essential Coco Montoya

2009-11-12T10:55:00.003-06:00

Coco Montoya is by no means new to the blues scene. He got his start under the guidance of blues legends Albert Collins and John Mayall before going solo in the early 90’s.

With The Essential Coco Montoya, Montoya reminds listeners exactly why he was able to be successful as a solo artist.

The songs on the album aren’t new, but instead are all songs Montoya recorded over a decade ago. Despite the age of the songs, there is nothing old or stale feeling about this album.

Montoya has a voice that catches the listener and leaves them hanging on for more. His voice is powerful, soulful, and oozing with sincerity. You can’t help but believe every word that comes out of his mouth...MORE

ROB: Rise on Belief

2009-11-09T23:06:00.002-06:00

If Jimi Hendrix and Lenny Kravitz somehow had a love child and let the Red Hot Chili Peppers raise it, ROB would be it.

These are some big names to compare a new artist to, but ROB is every bit deserving of such accolades.

ROB’s debut album Rise on Belief starts out with the song “Freedom,” which has guitar stylings, and even vocals, that sound like ROB directly channeled Hendrix, and Hendrix complied.

Although there is a definite reminiscence of Jimi Hendrix in ROB’s songs, there isn’t the feeling that ROB is simply trying to imitate Hendrix’s sound...MORE

Knight Area: Realm of Shadows

2009-11-09T23:04:00.006-06:00

If you are a fan of progressive rock or Europop, you might enjoy Realm of Shadows, the third album from Dutch band Knight Area. If you’re not a fan of that genre, then chances are the album won’t do much for you.

Realm of Shadows has, to say the least, an interesting vibe to it. It has the fairly electric sound that sets progressive rock apart as a genre, but that seems to be the only cohesive aspect of the album.

On some songs, such as “A Million Lives,” Realm of Shadows has an 80s flair similar in style to that of The Police. On others, such as the second half of “Occlusion” Knight Area sounds closer to one of the definitive prog-rock bands, Pink Floyd. ...MORE

Erin Hunt: Meet Me in the Middle

2009-11-09T22:57:00.004-06:00

In a music industry that seems to be moving ever closer to being taken over by synthesizers and electronic backing, anything that breaks away and has a sound of its own is a welcome change.

With her debut EP Meet me in the Middle, Toronto-based singer-songwriter Erin Hunt has given the music world something completely refreshing.

With a sound that can’t help but elicit images of a dimly lit jazz club, Meet me in the Middle is a fusion of soul, R&B, and pop, with a nice dash of Latin flair thrown into the mix to make for an album that is anything but generic...MORE