Gabe Hizer’s Persistence of Memory was a totally unexpected listen.  His music can best be described as a cross between 70s folk and adult contemporary, and there’s a little bit of country sprinkled into the mix. Think Gordon Lightfoot’s song-stylings with a voice like Gary Puckett.

All of that makes Persistence of Memory a very unique listen. Gabe’s songwriting is elegant and mature. I can’t see kids grabbing this up; this is music for people that have already traveled down life’s road a bit, especially songs like “Some Things Never Change” and “The Lesson”. These two are particularly poignant. “Some Things Never Change” deals with the changes that Alzheimer’s Disease takes on the life of a loved one. It’s hard not to feel the emotion when listening to this song. This is one of those songs that will leave you in tears by the time that the last note is played and sung. With “The Lesson”, Gabe paints an accurate picture of how we all react to the end of a relationship, from the self-imposed loneliness to the inability to see that there may be hope for good things in the future. I particularly love the lines “It’s the time when you’re out of on you own/Your heart turns to stone for awhile/You can’t see that there’s light up ahead/All you know is the darkness inside”. I can’t think of any better words than these to describe how I’ve felt after a break up.

Gabe seems to be in tune with the broken hearted. “Paris Café” is a reflection of a man that can’t get away from the memory of the lover that’s left him, no matter how far he travels.

One of my favorite songs on Persistence Of Memory is “The Ballad Of Joey And The Bottle”.  I think Gabe was channeling Gordon Lightfoot when he was writing this one.  The song is actually about the insanity defense, something that Gabe, a former lawyer knows more than a little bit about. The song is sung in that folk country style that Lightfoot perfected in the early 70s. “The Ballad Of Joey And The Bottle” would be right at home sung next to the likes of Alberta Bound and High and Dry.

This album was an absolute joy to listen to.  I loved the beauty of the songs, but more than that I loved Gabe’s voice and his incredible range. The man can hit the low notes and some pretty high ones, and he does it without making the listener cringe. In fact, listening to Persistence Of Memory is blissful. It’s an album I’d recommend to all my friends that love the music of the 70s, because Gabe has captured all the good things that were brought to music in that decade and he’s created a beautiful album that should be savored like a fine wine. It’s only February, but I count Gabe’s Persistence Of Memory one of my favorite albums of the year. I’m sure in December when I look back on all the music that’s come out, this album will still be in the top.

Review by Andrea Guy

admin Andrea Guy, Reviews Gabe Hizer, Persistence of Memory

When it comes to jazz and singers that perform standards, most of the performers that come to mind are men. Well, move over Michael Buble. Move over Harry Connick Jr. There’s a new voice in town and it’s a lady. Audrey Silver has a voice that’s unforgettable. I think its safe to say that she’ll give the likes of Diana Krall and Jane Monheit a run for their money.

Dream Awhile is a strong sophomore effort for a singer who we can only hope is going to give us many more albums in the coming years.  Her debut album Here in My Arms appeared in 2004 and fans have been waiting for new material ever since. One thing is for sure: Dream Awhile was worth the wait.

On Dream Awhile, Audrey tackles eleven songs from the American Songbook and she does it with class. The songs she picked aren’t the same tried and true tracks but more eclectic picks that others may have overlooked.

The album opens with Irving Berlin’s “The Song Has Ended”. The scat at the end of the song gives it a memorable twist. “In The Wee Small Hours” is a heartbreaking song of unrequited love and Audrey sings it with such longing. You automatically sympathize with the woman she’s singing about.  That’s one of the things that make Audrey’s singing so special. Her voice is deep and rich, and she has a way of really emoting that makes the songs more intimate almost as though she were singing each one for you.

The songs that stand out the most are tracks like “Too Marvelous For Words” and “So Many Stars”. On the “Stars”, Silver’s vocal style sounds very much like her contemporary Krall, but where the two may have similar sounding voices at times, Silver has a style all her own. My personal favorite is the album closer, “I Could Write A Book”, a very upbeat number about falling in love with a friend. There is only one other song on Dream Awhile that’s upbeat, “Exactly Like You”. These two tracks are toe tappers, and the kind that make you want to grab someone and dance they way your mother or grandmother used to dance.

Audrey’s voice is a treasure. It doesn’t matter whether the songs she’s singing are about falling in love or out of it. Audrey could sing in the New York City phone book and it would sound beautiful. That statement may be cliché, but that doesn’t stop it from being true.

Another reason Audrey’s Dream Awhile is a stellar recording has to do with her choice of musicians. Her current band is made up of many stellar musicians: pianist Joe Barbato,

Chris Bergson on guitar, Joe Fitzgerald on bass, and drums by Anthony Pinciotti and Todd Isler.  These players, along with Silver and her voice of gold create an album that jazz fans and casual listeners won’t want to miss.

After listening to Dream Awhile several times, I find myself wondering, if Audrey is this wonderful now, what will her album’s will be like a few years down the line. I guess we’ll just have to wait and see.

Review by Andrea Guy

admin Andrea Guy, Reviews Audrey Silver, Dream Awhile

Honey V’s is led by indie duo Vicky Reardon and Lili McGovern. Alternating vocals and guitar throughout In the Garden & Dancing, the band sings of life, love and motherhood. An extremely personal release, Reardon and McGovern talk about everything from the frustrations they feel as mothers on “Don’t Ever Change” to body image on the comical “Big Ample.”

No stranger to the music industry, McGovern has been releasing solo work for years. Funding the album themselves, honey V’s recorded and produced three songs on their debut release in McGovern’s home studio. Both writers and mothers, McGovern and Reardon wanted to have fun while taking care of their families. As a result, the duo continues to perform locally and sporadically when they can.

“We’re all about passion and love expressed vibrantly and vivaciously by two voluptuous, voracious, visionary women,” McGovern said.

Both met while performing with the Derry Aires (Tin Pan Alley & a capella) in Alaska. Comedic songs were the basis of their repertoire, but as a writer it’s one of the toughest genres to tackle. Perhaps it is no surprise then, that many of the tracks on the album embody a distinct sense of satire. One song in particular, “Big Ample,” has charted at the top of the comedy category on Ourstage.com for a month. “I hate my butt, my belly my hips and my thighs/My nose is too big and my shoulders too wide/But there’s one part of me that I don’t detest/I just love my big ample eyelashes,” honey V’s jest.

The listener can sense the passion and excitement for music McGovern and Reardon have throughout the 12 tracks on In the Garden & Dancing. A very organic sounding release, both women’s voices blend well together with the accompanying music.

In their biography, McGovern and Reardon cite their muses as being Calliope, Goddess of Eloquence and Epic Poetry, and Athena, Goddess of Heroic Endeavor and Wisdom. Second track, “Athena” is a testament to her powerful inspiration.

“I was young when I realized how strong I was/I made boys cry just because/I made tomboys look like beauty queens/I was obscene!/I am not weak, I’m Athena/I am not weak, I am strong/
I am not weak, I’m Athena/Mount Olympus is where I belong,” honey V’s sing over light percussion.

“I love writing powerful songs with a rock and country influence,” Reardon said. The listener can easily hear this throughout In the Garden & Dancing. “What This Town Needs” is a moving country ballad of love.

“Every woman needs a look that makes her cheeks turn red/Every neck wants to be kissed/Fingers need a lover to trace up and down/Even I want a love so strong I can’t resist…You crossed the room, while they all just stared/Your tender kiss made them all aware/And it was magic/That I could have this/Hell, what I need is you,” honey V sing emotionally. With light guitar strumming embodying the feeling of the song, Reardon’s soprano soars with fitting harmony from McGovern.

Stand-out song, “Valentine” is a stripped down acoustic track that showcase McGovern and Reardon’s voices best. An impeccable piece, the light guitar and percussion accompaniment never overshadow the vocals and instead, accentuate each artist’s voice.

Full of emotion and unique storylines, honey V’s latest release separates them from the pack. Whether it’s their comical lyrics, stripped down acoustic tracks or vocal harmonies, the duo manages to keep the listener’s attention. While music may not be their full time focus, their passion is evident throughout In the Garden & Dancing.

Review by Annie Reuter

admin Annie Reuter, Reviews Honey V's, In the Garden and Dancing

Not everyone has a near death experience and is given a second chance. However, this is the case for California-based singer-songwriter Justin James. After an encounter with a tiger shark left him bleeding to death on a South American beach, multiple blood transfusions and hundreds of stitches later, James found himself bedridden for a long year of recovery. Lucky to be alive, but understandably frustrated, an acoustic guitar gifted to him by his grandmother helped revive James’ longing for life, surf and music.

Definitely a life changing event, the encounter refocused his outlook on life. “It’s crazy to digest,” he writes on his Web site. “That’s why I spend my life now chasing what I love the most: traveling, surfing and playing music.”

Listeners can hear this passion on his latest release, Perfect Sometimes. Produced by Andrew Williams (Five for Fighting) and Mikal Blue (Colbie Callait, One Republic), Perfect Sometimes is a stand out release that one can find himself listening to for hours on repeat. While his easy-going and effortless singing style begs comparisons to that of Jack Johnson, Jason Mraz and fellow California songstress Colbie Caillat, his music has been making a distinct impact on its own. Hit single, “California” earned James a “Best Male Vocalist” nod at the 2007 Los Angeles Music Awards which eventually brought him to Japan, where it peaked at number 5 on the Top 40 chart.

The laid-back title track, “Perfect Sometimes,” kicks off the 11-song release. Featuring ukulele legend Jake Shimabukuro, the listener is taken on a journey with James’ accompanying soothing vocals. While his delicate guitar picking is reminiscent to Jack Johnson, it is his vivid lyrical description that transforms the listener to a tropical island complete with an orange tree, sun and sand. Not always an easy feat for a singer, the listener can actually picture himself at the beach – feet in the sand and the ocean waves reverberating in his ears.

What is perhaps most striking of the album is that James’ voice is so relaxing and comforting, making it easy for one to get lost in the music. Singing of love, hope and heartache, his stories are moving and relatable while each track segues effortlessly into the next.

On “Deeper Waters” James sings of a former love and not wanting to see her “with another man.” Trying to find solace, James sings, “Just remember how our story starts/Even when the lights are dark/Even when we’re worlds apart/Even when you’re falling hard/ There’s deeper waters/Even when you’re feeling lost/And the rain is falling soft/Even when you’re hanging on/There’s deeper waters.” With light piano, percussion and James’ poignant vocals this is just one of the many stand out ballads featured on Perfect Sometimes.

“Missed Again” picks up speed after “Deeper Waters.” His lyrics are incredibly honest, the listener easily feeling the emotion throughout the track. With more upbeat guitar accompaniment and percussion, it’s easy to picture James in a concert setting.

Songs like “You Don’t Know Me” talk of long distance love, which tends to be a theme throughout Perfect Sometimes. “Know that I’ve been gone for so long/But you can never get left behind/Far from you but you’re in my heart/You will be through in time/Find some trust/Let’s hope that you believed in us/You think you know it all/I need you to believe in me,” he sings.

“Moonlight” switches gears and sounds like a classic song that could have been sung by the older greats like Frank Sinatra or Dean Martin. A more mature feel, James sings, “Surrender to moonlight tonight/Your eyes tempt me gently to your side.” With soaring string accompaniment, “Moonlight” is one of the album’s hidden gems.

One of the last tracks on Perfect Sometimes, James sings, “All I want to be is forever free/Running with the wind,” on “Running With the Wind.” Singing in a deeper voice than heard on previous tracks, the emotional ballad proves James’ staying power. Such a versatile release, Perfect Sometimes is sure to bring the California surfer plenty of years catching waves on the music scene.

Review written by Annie Reuter

admin Annie Reuter, Reviews Justin James, Perfect Sometimes

For many years, from the late ’70’s to the mid ’90’s at least, bands and artists seemed to be constantly trying to outdo each other as to how much money they could spend recording and producing an album.  What started comparatively modestly with the then-huge bands like Pink Floyd and Fleetwood Mac later spiraled out of control as bloated act after act tried to spend as much as they could adding whatever gee-gaws to their latest disaster-piece.  Now, I am not talking about indie acts, but mostly music released on the big labels at the time.  Also, note that this endless spiraling of costs conspicuously coincided with the best money-making years of the music business and was a game played with artists as the labels wanted their artists to spend as much as they could so more could be recouped before any of these misguided artists got paid. Eventually, this spending proved their undoing as the business now sits, wasted and spent, headed towards certain extinction as the power of the Net has put business in the hands of the musician finally. Enter artist Robert Valente, who seemingly prefers his music bare-bones and raw, which makes sense right now with the music business in its huge sort of insanely terrible flux. Not that Valente seems to care a whit about the “music business” per se; this is music from an artist who sounds as if he recorded his album on his back porch.  This is not a bad thing, I guess, just a very interesting and often unsettling one, in the way of the music being immediate and down home, not in a “bad-quality” sort of way.

A raggedy-sounding down home country tune starts the album off, a song called “Gospel Man.”  Production is not really there and the band seems to speed up and slow down a little more than they should.  Nothing wrong with some country blues with a dash of folk but I guess I am thinking it shouldn’t be quite this ragged, at least not if they want airplay.  The Grateful Dead is gratefully dead, after all, and that sound is pretty passe.  Pretty infectious and fresh, though, I gotta say.  The next song “True Again” starts in a bluesy, Canned Heat sort of way and the vocals remind one of Heat as well as Valente’s voice is high and keening. Some great fiddle breaks on this song though, giving it a real good country flavor. The third song “You Don’t Know” is a rockabilly stomper with more emphasis on country than rock due to a plethora of ringing acoustic guitar. This song sounds the most “solid” of the three so far and the closest thing to a song that could get airplay, even though the production is not what you would call “radio ready”.  “The Answer” is next, and is more folk than the others up to this point, and has a old-style mid-’60’s folk-boom feel to it. Sounds like an old song, which is saying something about Valente’s songwriting abilities; great songwriting here, at least for that style.  The next song is “Love Has A Way” and again is quite folk-y, but has tinges of the Byrds in the delivery, though much more traditional than most of their stuff and with female harmony accompaniment on the vocals. “Country Singer” comes next, and pretty much covers the style in the title. Valente has a good voice for old-style country and sounds at home in the style, though I am wondering how good this album would have sounded with T-Bone Burnett or Eric Ambel producing.  “Alive”, the title song, is next and has the same ragged feel as the first couple of songs.  While it sounds good in context, it has a sound almost as if these songs are unfinished and maybe the arrangements have yet to be fully worked out, as if these are demos.  Fiddle does a great job on this song and adds depth to the band and album overall.  “This Old World” is next and starts out folk-y, with guitar and piano and voice.  It’s an interesting song, with a very old-timey feel going.  Valente and crew have a great “old-country” sound down as the music sounds as if it is being played in the early 1900’s.  “In Your Mind” starts with some somber piano before voice and acoustic guitar join the proceedings.  Valente’s plaintive, keening tenor works best on this song, adding a gravitas and a little certain something the other songs seemed to lack.  The harmonies by the female singer are spot-on as well.  Great song.  The next song is called “Candy” and is sort of a throwaway compared to the seemingly more serious themes elsewhere on this CD.  Last song is “Take My Heart”, a cross between a hymn and a lullabye and a fitting way to end this curious CD. The CD seems “out of time”, recorded with new methods and equipment but displaying a sensibility as old as a redwood.

Though I think I “get” what Valente is doing, I feel his allegiance to his bare bones recording method may be Valente’s undoing as far as widespread acceptance. He indeed may feel the sound he is going for, a real old-fashioned, rustic Southern gothic take on country music, sounds best recorded in the style of old blues and country records from the ’30’s and ’40’s, but by doing so he will no doubt minimize his audience into some sort of niche contingent.  That said, I admire Valente for finding a viable framework for his songs that is not the flavor of the month and having the bravery to see it through. There is something to be said for finding and using the path less traveled and I am sure his almost “outsider” art will find its’ share of fans as the word gets out about his music. Who knows, while Valente is not on the path that usually leads to great monetary success, in time he may end up becoming an artist whose work is appreciated for its substance and not its popularity.  Though a lot of popular musicians would no doubt prefer the latter, the more cognizant of artist always ends up appreciating the former much, much more.

Review written by Scott Homewood

admin Reviews, Scott Homewood Alive, Robert Valente

Monkey Bones has a little fun at the expense of reality television with its song (its title song, to be exact) “Television”. After all, who doesn’t have a few sardonic thoughts about so called reality television? Men, women, and children exit any semblance of reality right after the cameras begin to roll, right? But isn’t this also a case of, ‘Look who’s calling the kettle black?’ Because if you’re looking for reality, you certainly won’t find a whole lot of well grounded individuals populating the drug and alcohol saturated late night, downtown clubs of AnyBigCity, USA (AKA rock & hangouts).

This band is from Tulsa, Oklahoma, which likely has a lot more centered people than, say, Los Angeles, CA. Michael Barkett is the lead vocalist, guitarist, and master of ceremonies for the group. He can sing real pretty, which is exemplified by the mid-tempo “Magic.” And when spits out rockers, like “Star Soul Rising”, he does so with an Axl Rose-esque snarl in his voice.

Alan Bates plays Keith Richards to Barkett’s Mick Jagger, with stinging lead electric guitar lines. Many of these tracks bring bands like Soundgarden and Stone Tempo Pilots to mind, although the Monkey Bones sonic doesn’t have the same low end growl associated with those acts. Nevertheless, tracks like “The Answer” contain a similar menacing crawl to them. The slight boogie groove found on “Hammer Comin’ Down” nicely matches a Guns N’ Roses feel with Barkett’s Axl vocalizations.

This group is not just a good sounding band, however; Barkett is smarter than your average front man. He especially shows these smarts during “Sell Your Soul”. In a rhetorical manner, Barkett converses musically with one who claims rock & roll’s going to save his soul. He replies, “Well, I’d like to see the plan.” Just as Monkey Bones know that television – particularly reality television – is vastly overrated, they also realize rock music cannot be the end all and be all of anybody’s life.

A song like “Sunny Rays” offers a welcome break from all this CD’s serious talk. Like the sun breaking through the clouds during a rainy period, its lyric basks in the emotional glow of romantic love. Just knowing that your girl loves you is sometimes all you need to get by. “Rock Me” may be one of this CD’s more somber relationship songs, but it’s got such an irresistible groove, it’s hard not to feel guiltily good while it plays. Bates guitar part on it chugs along like an unstoppable locomotive, and his solo is one where every note fits perfectly, instead of the show-off-y heavy metal riff-ery so popular in hard rock these days.

It’s so tempting to laugh whenever Victoria’s Secret puts together one of its annual rock and fashion shows on television. Let’s be serious; much contemporary rock is little more than fashion statements put to a 4/4 beat. Monkey Bones, bless their hearts, would never quite fit into such a shallow showcase. This is a meat and potatoes rock bend, in the best possible sense of that term. They write songs, not just riffs. They have something to say, not just to show. So do yourself a favor. Turn off your television, and turn up Monkey bones, instead.

Review by Dan MacIntosh

admin Dan MacIntosh, Reviews Monkey Bones, Television

It always starts off well with a band who cites Syd Barrett as an influence.  Ten points for Frantic Planet.

The record open “Games We Play”, beginning with a snappy guitar riff and drums and bass to complement it nicely. Steve’s vocals kick in almost right away and I’m treated to a catchy tune that gets my feet tapping from the get-go.  I start listening to the lyrics as the song unfolds before me, and I am enthralled. “Games We Play” is basically about manipulation.  The lyrics are thought provoking and will bring to mind the times we have been played, hurt, taken for a ride.

As for the instrumentation of this piece, I absolutely love the guitar work.  It sounds fantastic and there is clearly some serious talent here.  The rhythm is contagious and the drums make it work.  The bass falls in place perfectly and the sound of this song is very good.  Steve’s vocals are perfect for this piece.  His voice blends smoothly with the music and everything flows together extremely well.  With the lyrics, Steve’s vocals, and the instrumentation of this song, I would be absolutely delighted to hear “Games We Play” performed live.  This is a crowd pleaser like none other.

The second track, “You’re So Cold,” gives me a better sense of what Frantic Planet can do and what they are really about.  It’s got a bit of a British punk rock feel to it and it just flows beautifully.  Steve’s vocals are vaguely reminiscent of Iggy Pop combined with Billy Idol, and a bit of Richard Butler from the Psychedelic.  This is a great piece of music and Frantic Planet has done it perfectly in their signature style.

“Lonely Days Again” tones it down a notch, showing the lighter side of this band. This is a melodic tune that makes me want to hold someone while I close my eyes and drift off into oblivion, feeling warm and safe and content. The instrumentation on this is gorgeous. The sound is excellent. Steve’s vocals really come through crisp and clean. I can also hear each individual note that comes from each instrument. “Lonely Days Again” is currently my personal favorite so far.

The next piece, “No Control,” starts with a guitar riff that makes me think of Kings of Leon for a minute. There is some funk going on in this one, then Steve starts to sing and I am reminded again of Richard Butler with a touch of Ian Curtis of Joy Division.  The guitar really takes this track to a new level and this is another stellar piece of musical talent put on display by Frantic Planet.

The final track, “California Nights,” takes it down quite a few notches with a Jim Morrison approach.  Eerie, giving chills, this song has serious attitude and I dig it.

Frantic Planet combines several influences on this short five song album, and I am confident that there is much more lying in reserve.

Review written by Rhonda Readence

admin Reviews, Rhonda Readence

What do you get when you cross Pat Benatar with Chrissie Hynde, add a bit of Linda Perry and a dash of Lita Ford?  You get Lily Sparks with a twist.  Women of rock ‘n’ roll take heed.  Lily Sparks has come out swinging with their album Cooper Cobra.

It begins with “Stars,” a fantastic song about stars, guitars and muscle cars. I t’s also about feeling fine and free, cruising down the road with some good tunes blasting and the wind in your hair.  This is a killer track that simply rocks.  Niamh’s vocals are spot on and she sounds extraordinary.  The guitar screams, the drums and the bass are right in synch, and “Stars” sounds spectacular.  There is an old school feel to this piece that makes me feel cooler just by listening to it.

“Let Go” starts a little slower and I totally dig the guitar riff.  Niamh’s vocals are sultry and sexy and she sounds nothing less than perfect.  I thought she sounded great while listening to the previous track, but I had no idea the sheer talent she had in those pipes of hers until I started listening to “Let Go.”  Voices like that are few and far between.  The whole song is seductive from Niamh’s voice to the rhythm of the drums and the bass to the guitar riff.  I don’t think I’ve ever heard a more seductive song.  I would love to see this performed live.  I could just imagine the looks on the faces of every male concert goer in attendance.  They would be standing there gaped mouthed and drooling on themselves.  That’s the power that this song has.  That’s the power of Lily Sparks.

The next track, “Walk Away,” has a catchy groove and rhythm to it, and I am once more impressed with Niamh’s vocals.  There is a bittersweet undertone to this piece, and beneath the pure unadulterated rock feel of it, there lies a quiet peaceful sort of pain that tugs at the heart.  “Walk Away” gives me a sense of the softer side of Lily Sparks, especially while listening to the lyrics.  At the end of this track, I am left remembering good times that have passed but have left me with warm memories.

“Where We Are Today” is definitely a softer tune and I’m glad to hear it.  They slow it down a notch and I find myself really focusing on the instrumentation in this one.  As usual, Niamh hits it and she sounds amazing, but this track allows me to see what the rest of the band is made of.  The sound of this piece it truly phenomenal and each member of the band are in tune with the others, and I’m not just talking about being musically in tune.  I get a sense that the members of Lily Sparks are in tune with each other mentally and emotionally as well.  This is a great collaboration of talent and it could not possibly sound any better.

The final track, “The Girls,” has a slightly country vibe to it and this catches me by surprise.  I wasn’t expecting a country flavor, but I welcome it.  It only goes to show that Lily Sparks is diverse and can play several different styles of music, which is always a good thing for any band.  “The Girls” is definitely the slowest track on the album and it’s more of a story than it is a song.  The lyrics take me to other places in my mind and I am there; in New York City, on Bleecker Street, heading to O’Donnell’s to have a few rounds with the girls.  There is excellent imagery in this piece. I feel warm and friendly towards a place that I have never been, and I feel even warmer towards this band that has made me feel a little bit of everything.  I went from feeling cool and walking with a strut,  to remembering old memories and feeling that old bittersweet pain, to feeling nostalgic for a place that I have never been. When a band can bring forth so many emotions that are so wholly unconnected, that’s when I know I’ve just heard something extraordinary.

Review written by Rhonda Readence

admin Reviews, Rhonda Readence Cooper Cobra, Lily Sparks

Sexy Mathematics are indie rock at its finest. With guitar fuzz galore and high intensity percussion accompaniment throughout their debut six-song EP, Integration, Sexy Mathematics are well on their way. While some tracks embody more of an electronic vibe easily pictured playing at clubs, others are straight up solid rock tracks that I can only hope to experience live in concert.

After spending years crafting indie pop melodies in his basement, Chris Daviduik decided it was time to record his best material at a studio. The resulting masterpiece that is Integration, he describes as “a blend of piercing guitars and orchestrated synthesizers with alternative rocking drum and bass lines driving the songs to completion.” I couldn’t agree more. Based out of Saskatoon, Saskatchewan, Canada, the band consists of Chris Daviduik on guitar/vocals, Liz Syrnick on synthesizer/backup vocals, Dylan Smith on drums and Brandon Mellish on bass.

“A Novel Romance” kicks things off on Integration with plenty of guitar and percussion textures blending well with Chris Daviduik’s vocals. He sings softly at first, before a gritty guitar interlude envelops the track. At three and a half minutes long, the song is a glimpse into the rest of the EP and a solid portrayal of Sexy Mathematics’ talent.

Having spent years crafting each song to perfection, Sexy Mathematics’ debut EP demonstrates countless hours of hard work and perfection. With an EP this strong, one can only wonder what their next release will bring. “Who Knows” segues effortlessly after “A Novel Romance.” A guitar heavy track, it is the singer that is in the background on this song. “I don’t think this love is what we had in mind or resolved/Changing is young and over-rated,” Daviduik sings. The guitar riffs quickly capture the listener’s attention wholeheartedly while the musical accompaniment remains at the forefront of this track instead of the singer. Not always in the best interest for a band, but it works well on “Who Knows.”

“When Isometrics Collide” is as close to a psychedelic experience as one can have listening to music. Heavy in synthesizer, Daviduik sings, “Start seeing your life as the best thing to happen to me or anyone else alive,” among plenty of guitar fuzz. “When Isometrics Collide” leaves the listener begging for more. Just over halfway through the EP, the song presents an ethereal quality with Daviduik’s seductive singing style and accompanying music.

“The Void” and “Set Up!” close Integration strong and with incredibly high intensity. One of the more upbeat and gritty tracks on the EP, Daviduik’s singing style throughout “Set Up!” brings slight resemblance to that of The Clash. The song powers through from the guitar entrance to the fade out of the song, leaving listeners wanting more.  An accurate portrayal of an up-and-coming indie rock band, Integration promises great things for Canada’s Sexy Mathematics.

Review written by Annie Reuter

admin Annie Reuter, Reviews Integration, Sexy Mathematics

Benny Paul has mixed classical guitar mastery, alternative-punk style of vocals, folk poetry with a heart of bluesy country, and somehow produced a solid rock album.  I hope that is adequate, there are so many styles going on here it is difficult to discern any single influence.  The album My Kind of Normal stretches the fabric of the time-space continuum by synergizing so many great influences, that a style unique to Benny Paul is distinguished by range and ability. From raw screeching guitar solos to subtle classical melodies, his music is an exciting still undefined indie worthy of tearing up college radio around the world, and beyond.  The song Are You Happy especially hits home as a sure-fire hit on that scene.  The punk guitar and vocals conjure the spirit of the Sex Pistols, if Paul is a bit less vulgar and gives more sensible advice lyrically.  This kind of album is incredible for the massive extent and reach of artistic expression; one track your imagining moshpits and the next song it’s more like a folk jam-fest.  This is not normal.  This is Benny Paul’s normal, and life just wouldn’t be as interesting without such estranged perspectives.

Lyrically the subjects can range from love and misfortune, to striking juxtaposed comedy, when Paul sings “All I want for Christmas is a cardboard box,” it is humorous with stinging irony.  The song itself sounds funny, playful, but the message is poignant.  As cities around the world feel the depression, inner tent-cities have sprung up as my grandparents described the depression.  This is the kind of writing we usually find in Elvis Costello or Eric Clapton, great empathy for the common class, a message to help the poor and an incredible way of introducing painful subjects so that they do not offend, but grab the listener by the heart strings and tug gently to get the message across more effectively.

One must listen closely to Benny Paul’s singing.  His lyrics are brilliant, but his diction is muddy.  This is not a bad thing.  Honestly, it reminds me of a more lackadaisical Michael Stipe, who is -I must confess, a personal favorite- the lead singer of possibly the greatest band of all time, R.E.M.  One can hear the potential bursting from Paul’s voice; however he struggles with note resolution on occasion and has a tendency to mumble that takes a bit of power away from the impeccable guitar.  This may be a similarity between the two vocally.  There are two versions of Just a Touch by R.E.M.; one the familiar release on Life’s Rich Pageant, the other a live studio cut from And I Feel Fine.  The latter version is soft and mostly weaker then the album cut.  The difference is almost shocking, and all it took was a little more power, yet calm relaxed vocals on Life’s Rich Pageant, to boost the song into sensation.  I am highly biased, but this is a good musical example of where Paul’s voice also needs courage.  Sometimes I’m waiting for him to really build the vocals, only to have a soft song all the way through.  But this is a minor critique, the same way I would say I couldn’t understand early Stipe at first.  To put that into perspective, Murmur is still my favorite album, diction be damned.

Just because My Kind of Normal isn’t any sort of pop album doesn’t mean that it won’t be a treasure in your music collection to appreciate in value over time.  The album is indeed a work of art to be studied and enjoyed as the songs grow on you.  Benny Paul’s sense of alternative sound is only strange at first because it is at once, respectful of the past and groundbreaking.  If this is normal, this critic can’t wait to see Paul’s kind of supernormal.

Reviewed by Julian Gorman

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