The name of the group whose CD that I hold in my hands is A Crack in Time and The Break of Dawn.  With a name like that, I can only expect a truly psychedelic offering.  This album better blow my mind and make my ears melt off of my head.  The name of this album is Remedy, so let’s hope this medicine does the trick!

Its time to burn some incense, turn on the lava lamp and hit the switch on the black light. Let’s see exactly what we have here. The first song starts with a steady drum beat and a bluesy psychedelic guitar riff that is soaked in reverb and just the right amount of delay.  Along creeps in a baseline and the first line of vocals hits, “I’ve made up my mind…”  This is a dark psychedelic trip all ready, and I am starting to love it.  The song just hangs in midair and floats while the vocals coast on the rhythm. The guitar slowly breaks apart to float away and Take lead of the song for a moment than retreats, only to come back later and reclaim the rhythm. This happens many times during this epic twenty minute long opening track. A bold move to put a twenty minute piece as the first track to your album, but it worked well and i’m ready to hear more.  There are a few moments of silence and the second track becomes audible with what sounds like an accordion or possibly a piano horn and hints of bass guitar, finely placed in the cracks between the other instrument.  We next hear some vocals, heavily delayed and totally tripped out.  These vocals rise and fall, gaining momentum and then dropping again, only to have their echo carry on in the distance. After we hit the seven minute mark, some drums kick in and some slight guitar experimentation. The song jams on for another twenty minutes or so changing colors like a chameleon and getting brave with experimentation but never losing its groove.  Never becoming even slightly unlistenable (which is grounds that many experimental albums tend to wander into).  The second track leads straight into the third track, so initially this is still the same song, even though the rhythm has totally changed yet again.  This time the rhythm holds down a more primitive beat that keeps building and building. Some juicy guitar licks accent this song while primal vocals are layered on top of each other.  Over and over, this song is now spinning out of control and cymbals are smashing and toms are beating and high hats are bleeding and harmonica is screaming, until… silence.  We fade out with only the ghosts of the previous jam and they are slowly fading away into memory.

Remedy is just that. Overall, a very impressive album that mixes multiple genres into some slight experimentation to create a totally new world for the listener.  A total head trip.  This has been a great escape but now its time to get back to reality.

Naaahhh, I think Ill listen again!

Review by Kenn Deaton

Kenn Deaton, Reviews A Crack in Time and the Break of Dawn, Remedy

There is really only one thing that I like better than a rock song, and that is a folk song.  What I have been listening to the last couple weeks is an album by a man who calls himself noon.  Confused ?  That’s ok.  This title that the musician Anthony Giamichael has picked for himself is up for your interpretation, as are his songs, which are every bit rocking while infused with stories that could easily be called folk.

Well, whatever you call them, they pack a punch one second and then have you dancing the next, and sometimes both at the same time. They tell a story and almost demand that you think, not just listen to them but really slip into full meditation mode. All the while there is a lyric quality and style that is speaking, not just singing.  If I haven’t peaked your curiosity yet than maybe you should take a listen for yourself.

Broke and Beaten Down is the name of this record that has held residency in my CD player for the last couple of weeks and not to move anytime soon. This album contains nine songs, or ten songs if you can find the hidden track, that don’t easily give up or easily back down.  This is a solid album with some very serious themes. You will find songs that everyone can immediately relate to, songs that you can easily identify with, songs that revolve around life and love. These are the songs that make us bond with an album.

Man Called Noon also showcases his creativity in fictitious settings that create audible worlds for the listener, such as songs that deal with a killer and a brothers revenge (very cleverly split into two very different sounding tracks, the latter being an intense acoustic offering), a song about a father who is locked up in the pen for the rest of his living days, and other intense and thought provoking material. Man Called Noon definitely has a gift for writing and recording these songs in a fashion that really pulls the listener into the song and makes you open your ears and pay attention.

After listening to Broke and Beaten Down quite a few times, I decided to do a little research on the man who calls himself Noon. What I found surprised me in that our Noon “Anthony Giamichael” and I have something in common.  We are both from the same part of the country.  Though I moved to Los Angeles years ago, I still have always longed for home and I think I hear that in Noons voice.  I will be visiting later in the year around late June when Virginia is in its hottest and the humidity is scraping paint off the walls.  I will be bringing this cd with me on the trip to take my mind off of the heat and to help me remember how much I love it there.

Review by Kenn Deaton

Kenn Deaton, Reviews Broke and Beaten Down, Man Called Noon

JD Shultz is a multi-instrumentalist residing in Los Angeles and has had a long history with independent funk & funk/punk rock bands ever since he was a teenager.  His new album is titled Vision Days on the Life Ride and on this new album, JD has slightly strayed away from his funk & punk roots to bring us a record that is full of rock and electronic bliss.  JD is also credited as having written, recorded, produced and performed everything on every track (except a little vocal help from Mirage on the opening track “Floor on Fire”).

As soon as I turn on and tune in to Vision Days on the Life Ride, I immediately feel myself rise and lift out of my chair.  Psychedelic & ambient beats swirl around my head and then smooth vocals come in to deliver the first verse. “Here we are, gonna take a chance. Time of your life is fading fast.”  The electro beats have definitely got me hooked and then the chorus hits. An instrumental bridge follows and that’s when some funky baselines kick in.  What a ride!  So many different influences and genres are explored.  I wonder what the other Vision Days look like?

A half an hour later and I am happy to report that they look great. I have floated back down to the sitting position in my chair and I’m ready to tell you all about the vision days that I experienced on the life ride. There is so much going on in these songs, ambience, keys, guitars (even some acoustic), synth beats, and vocals. All of this extremely catchy, and extremely well mixed!  The production on this album is stellar.  I am listening with headphones and I get 360 degrees of full sound.  I really love a mix that makes you part of the music.  I think that is the future of music, making it a little more physical, and that’s what Vision Days on the Life Ride is bringing us.  Something that pleasantly surprised me about this album are little parts here and there that break into a world music styling along with sitars and hollow world influenced beats.  I wouldn’t call this an experimental album, but I love to see artists incorporate less popular genres into rock and electronic music stylings.  Another pleasant surprise is the dance-ability.  Despite multiple genres being portrayed, I think that this is most definitely a rock record, but the electronic tones and structures of this album stand out and make me want to move.  The beats per minute are calling my ears and making the rest of my body groove.  This is what makes a great album.

Vision Days on the Life Ride is a nice trip for you to take.  When you get back, you can thank me… and of course, JD.

Review by Kenn Deaton

Kenn Deaton, Reviews Human Brother, Vision Days for the Life Ride

A light green ambient cityscape where tall Victorian styled buildings reach the sky. A slightly distorted visual collage of trees and traffic down below.  MOVEMENTS in big block letters. M o v e m e n t s, I say slowly and think about this word.  It leaves much to the imagination. I love a mystery and from the cover of this album and the thought provoking one word title… I think a mystery is what I might have in my hands here.

I hit play and the first thing that reaches my ears is a symphony of digital rain drops coming from all directions. After about 30 seconds of this downpour, rich synth chords float across the sky, tabla beats kick in with a killer guitar lead. This song is only building and building into a monster of a jam and not at all what I had expected from the first few seconds. With every turn of this tune something new is introduced in the mix. I’m loving this and now I’m guessing what the next song is going to bring and what this promising album is going to become.

I continue to listen to Movements closely and each track surprises me with new sounds of ambience, soft noise, progressive rock, classically composed guitar, eastern instrumentation and experimentation. Something I notice right away is that one track runs into the next like an audible collage. I personally love this style of recording and producing an album, and I like to listen to an album like reading a book, with one chapter after another.  The intros and outros weave their way in and out of each song and are masterfully crafted, and extremely experimental in nature.  Something that I really like about Movements is the world instrumentation that is added. It’s a shame that such stylings are hugely ignored by modern western music.

I start to close in on the last few minutes of Movements and I can visualize myself dropping in on this faded green cityscape passing each cloud and then every window on my downward descent to the ground below.  I get closer and people and cars come into clear focus.  Now, I can even hear their voices and street noise and sounds of a bustling metropolis.  These are the sounds of life, and PHWG has placed an excellent sample of these things at the very end of Movements.  The final goodbye… until the next album.  Maybe a trip around the city?

After listening to Movements in its entirety and reflecting on the album, I have decided that this doesn’t easily fit into any standard genre, and that is a really good thing.  I’ve stopped trying to analyze why I like certain music types or even more, certain bands or artists.  I come up with a blank page. A great album has to have something extra to really grab and hold my attention. Something a little different. Something that makes me want to press play or put the needle back on the groove. I think that is why I enjoy Movements so much.  It is definitely a rock album at heart but is equal parts of so much more.

Review by Kenn Deaton

Kenn Deaton, Reviews Movements, PHWG, Pontus Gunve

I like to review albums before I know anything about the artist.  I like to have a fresh approach with wide open ears so I never check out any kind of bio before my first listening of an album, and I try not to check out the album cover artwork either. In most cases, the only idea of what I can expect is by the name of the artist… Here we have Terracotta Pigeons. Hmmm… No idea what this could possibly sound like, but I do love surprises and as soon as I pressed play on Terracotta Pigeons new album, Ever Forever Never, I got a big surprise.  My initial reaction was being knocked in the head with a brick; only this brick was a big fat distorted bass line.  Next I hear some crunching guitar, a little feedback for good measure, and then one of the catchiest rhythms that I have heard all year comes in.  A steady head banger of a rhythm, and then the chorus kicks in and it’s on! My adrenaline is fully charged and ready to go now. This first track is an excellent intro, but can the rest of the album hold up to its standards?

Terracotta Pigeons push many musical boundaries within the rock genre and from the very first note; I can all ready tell that they are sincere. I am blasted by a certain honesty that is too much faked in modern music. As I listen to the album I realize that they are also very serious and that they are not here to fuck around. This is some truly head banging material.  Song after song, it never lets down.  Crunching rhythms followed by pounding bass lines wrapped up in juicy guitar solos just pushing through enough to let the vocals take total control and steer the songs straight into your subconscious.  This is music that works on you before you even know it. This is the power of rock and I know what you’re thinking.  If I’ve heard one rock band, than I’ve heard them all.  That may be true, but this is no mere rock band.  From funk undertones to punk attitude, smooth choruses, acoustic guitars, thought provoking lyrics, backing vocals.  This is an album that has it all and comes through shining, despite its somber mood at some moments. 

Ok, now it’s time to research the band a little.  Where exactly are they coming from with this album?

A few minutes into reading into Terracotta Pigeons website and I can’t believe what I have just seen.  This project is only one person?  Steven Smith?  He is the madman behind all of this?  What a shock!  Steven is credited with all instrumentation and production tasks in his studio, amusingly named Muscle Mother Ship.

Now I can see why Ever Forever Never sounds so focused, but I had no idea that it was only one person behind the creation of these tunes.  For touring, Steven grabs a couple of his friends to fulfill a three piece to hit the road. Maybe Terracotta Pigeons will be hitting your town soon.  By the sound of Ever Forever Never, they hit hard. With no remorse!

Reviewed B Kenn Deaton

Kenn Deaton, Reviews Ever Forever Never, Terracotta Pigeons

There is a place that I like to visit somewhere inside. It’s nice and slightly warm and comfortable. It demands no real attention, just open ears.  It’s this place that only the right kind of record can take me to.  I know you’ve been there too, and that’s why we constantly search for new music.  To revisit this place as much as we possibly can.  I would like to thank James Benton for taking me to this place and letting me stay awhile.  His debut album, Heavy Hearts, is just that.  It is heavy… and you feel it, right there in your heart.

“All I have is this”, “This Silence and Memories”, “This Stone Inside My Heart” and there’s nobody else here to see “the miracle of this.” – From The miracle of this.

James Benton first started his adventure in Kentucky where his first love was writing.  Not till James arrived in New York City in the mid eighties did he start composing music.  He was staying at The Chelsea Hotel where he spent most of his days writing poetry and prose in the lobby and it wasn’t until he was given an acoustic guitar by a night clerk, that his creative prowess fully took form.  James took this offering as a sign and you can hear the results of this gracious gift on Heavy Hearts.

James mixes multiple influences of folk, Americana, country, and rock music and then adds orchestral touches to make this album truly worth the visit.  These songs swing under a pale sky and a voice filled with the experience of the world.  From the foothills of Kentucky to the darkest corners of New York City to the keys of Florida, then to North California, staying in caves in Crete, and then finally James landing in the mountains of South France where Heavy hearts was recorded at The French House Studio in Pouzolles. The instrumentation on this album is nothing but stellar with surprises on every track.  James enhances his musical vision with sounds usually not heard on American records such as the shakuhachi flute of which he plays alongside more modern instruments like electric and acoustic guitars, harmonica and percussion.  Accompanying James on Heavy Hearts are Regis Abbal playing bass guitar, and dobro.  Bernard Ariu adds accordian.  Max Middleton on keys.  Maiuko for some backing vocals, and Mark Griffin with more percussion and drums. 

On Heavy Hearts, James seems to effortlessly weave a web of gentle storytelling based on a life that seems to have been anything but comfortable and everything but complete. Every note rings of trial and tribulation the underlying feeling of a desperate hope.  The hope that everyone, at one time or another in their life, dreams of and needs.  This is more than an album…  This is audible therapy for the soul.

“Cold like a night in December, hot as the flame dancin’ in your heart.”  You raise your cross to the little white star and I call for some angel in the dark. – From Handfull of Stars

Reviewed By Kenn Deaton

Kenn Deaton, Reviews Heavy Hearts, James Benton

Kindred Souls is a celebration in sound!  This band really knows the definition of genre defying.  As soon as I start listening to their new EP, entitled Social Ninja, the first thing to hit my ears is a piano intro that sounds a bit jazzy but I’m still not really sure where the song is going.  I then hear this outstanding and honest vocal presence (which remains true through the whole album.)  Just then guitars and bass slide in to slightly rock this track and before I can even fully put together what has happened, the song has turned into a huge sounding anthem.

Whatchagonnado? 

So many people ask themselves that same question every day.  It’s nice to have such a positive companion to lives every day questions.  Could Kindred Souls be the answer? Maybe if I keep listening ill find what I’m searching for. Maybe I’ll find that album that will pull me through.

The next song starts as a definite rocker.  This one is called Losing You and is as heartfelt as they come, but don’t let it fool you.  This is no power ballad and Kindred Souls is no hair band.  This is a solid track that everyone can relate to. A little over Midway through I find myself with a killer solo and then a drop out with just vocals and keys to come back and end the song glorious and full of passion.

The third song on Social Ninja is called A while.  This track starts with a bluesy guitar lick and follows suit with a nice flow that remains through to the end. “It’s been a while since I told you I need you.  It’s been a while since I told you I miss your touch.  It’s been a while since I told you I love you.  It’s been a while since I promised to show you how much.” When listening to this, I thought to myself… How many times have I wished I could tell those very same things to someone…it’s been a while since I have.

So I now find myself at the last track of Social Ninja.  This number is called High Wire.  The keys are very prevalent on this song as the vocals cascade into a chorus of optimism. “Shine, Shine, like the sun.”  I hear guitar chords rain down distortion as this song reminds me of life’s bitter moments where only hope can get us through. Another killer guitar lead midway rings true of a southern rock influence and the song ends the EP on a very powerful note.

 I’ll be looking out for more from this band, and also looking forward to exploring their past catalog.  Maybe even catch them perform live in New Jersey when I’m on tour next. Well, whatever the future holds, I know one thing is for sure.  I’m going to be singing along with their songs for a long time and “Shine, shining like the sun.”

Reviewed By Kenn Deaton

Kenn Deaton, Reviews Kindred Souls, Social Ninja

Even before I hear a single note off the album True, I am intrigued by the simplicity of its cover and the bold dark colors that create my first visual impression.  An illustration of a single guitar highlighted in blue and floating over a backdrop of infinite depth… I’m ready to listen.  After placing “True” into my CD player and headphones over my ears I am pleasantly surprised to hear that the first instruments are some uplifting electronic beats. I then hear some keys come in and add another rhythmic element to an already nice tune. Suddenly the sound of flamenco guitar arrives and takes control of the song by adding a sweet and steady melody.  This melody, a crisp mixture of single notes and strumming, will remain constant throughout all of True as the driver and focus of these songs.  Behind the guitar we hear an array of electronic beats and world percussion. The tabla sounds are my favorite on this album and effects such as delays and reverbs have been added to the percussion on some of these songs to further create a sound of timelessness and space.  All of these elements make True sound spiritual, if not entirely heavenly.  Even though the instrumentation on True is highly digitalized (despite the guitar), the whole of the songs have a very organic feel to them, which I love. I actually find it amazing how “real” this album sounds and feels despite the use of acoustic instruments.  I think that it is very important to have this feeling, this organic connection.  That is what makes music human and that is what puts humanity in the music, you can hear this hybrid all throughout True. Lastly, a blanket of ambience adds a comfort to the whole album and wraps these songs up nicely. 

True has an overwhelmingly calm feeling all though much of the album is very face paced; a perfect combination of technique, melody, and harmony. Another thing that really separates Zels’ True from just another guitar album is that there is a very traditional quality and overall old world feeling to these songs and despite the excellent production and quality of this album, it is hard to imagine that this is modern music. True is an instrumental album. Like many world and classical albums, there are no vocals whatsoever. Even though there are no lyrics and no words to guide the imagination, I have a feeling that these songs have a great story to tell. Stories of hope in worlds long past. Stories of struggle and promise..It is fully up to us to interpret these stories.  This is very exciting music! When I hear music like what Zel has assembled here, it makes me want to travel.  There is so much that I haven’t experienced, but with the help of True, I imagine new adventures.  Zel creates a world for us by fusing the songcraft of yesterday with the modernization of instrumentation and album production.  Not only did Zel write and record these songs, but he also mixed and mastered them. By the end of this album, I am in a total meditation.  Music is such a natural healing force and Zel reminds us of this. True is a sublime daydream. This is a trip that I will take again and again…

Reviewed By Kenn Deaton

Kenn Deaton, Reviews True, Zel

After reaching into my mailbox and ripping open a manila envelope, I find myself holding a CD that visually peaks my curiosity.  There appears to be a white circle on the cover which is emanating rays of different shades of purple.  No artist name, no album name…just the light.  On the binding of the CD is the word Consolation.  I can guess that this is the name of the album, but still no real indication of what my ears should expect. I then turn to the back of the CD and find a small clue as to what this album might sound like.  The word Consolation is followed by a Prelude entitled The Secret Nuptials.  Following the prelude are nine more tracks which are written in roman numerals and accompanying song titles.

Lastly, this track listing ends with a closing caption of “Transition Fullness,” very interesting indeed.  On the bottom I find just a small hint as to who is responsible for this. It reads “A music composed by Marc Beziat “.  This is a bold move in a music business where name is everything and the more you can promote yourself, the better.  This tells me that Marc is relying on his music to speak for him. Let’s hear what he has to say…

We begin with the opening track which starts us off with a very minimal piano sound which slowly gets heavier and deeper in nature.  Strings rise with a chorus of voices then quickly fade away.  This opening track is entitled, The Secret Nuptials and is referred to on the album as the prelude.  We then continue our journey with a song called Edge of the Lake Melody.  This is a very uplifting piece that is dominated by strings and instantly, I am sent into a daydream.  Next we reach the song that Marc calls, The Wound Healed.  This piece involves many different transitions of sound with equal parts of horns, strings, piano, chorus, and woodwind instruments; a truly pure sound.  Solace is the next stop on what has become an unprecedented journey.  This song reminds me of a ballroom waltz.  It is a little slower in nature and overall carries a very majestic quality.  We now find ourselves midway through Consolation and on to the song Unification Singing, where we find ourselves rising above and taking flight.  Fraternity is exploring the soul and begins to race midway and then closes in perfect harmonies.  Our next song, The Allayed Walk, focuses more heavily on strings and woodwind instruments with a little piano thrown in for a splash of color on the leaves.  Now for Consolations next track, Beautiful Nature; this song is just that, the beautiful nature of sound. Cello & deep undertones are showcased here and are a perfect example of why the cello is one of my favorite instruments. I know it’s one of yours too.   Next we move onto Serenity which is a quieter piece. This song allows me to reach into a deep meditative state and look back on the entire album thus far.  It also serves as an introduction to the last two pieces composed on Consolation:  The Free Movement & Fullness. These songs serve as an epic ending to this audible adventure.  They rise to climax in an aura of voices all destined toward the heavens.

After listening to Consolation I decided to do a little research on Marc Beziat. The most astonishing thing that I found was that March Beziat encountered music in his 28th year.  After listening to his album, Consolation, It is difficult to believe that the composer of this music has not been crafting his skill for a lifetime. Consolation is an uplifting experience for the ears.  This is the sound of hope.

Reviewed By Kenn Deaton

Kenn Deaton, Reviews Consolation, Marc Beziat

So I start listening to Trompe L’oeil Girl from The Beloved Infidels, and the first instrument I hear is the ukelele. I think to myself that this needs to be a really, really good album in order for them to set themselves up like that… now come on, the ukelele kicking off the album?  They must not only be beloved, but also brave.

So first I hear the ukulele and then some vocals kick in, drums next, then electric guitar and bass, and then some keys to seal the deal.  Next thing I know I’m listening to a nice little song.  This one is called Suzanne and it has the most charming lyrics; a very witty pop song that anyone could embrace.  I continue to listen to the album and by the third track, called Fallen Angels, I find myself hearing a pop tune with definite punk influence. Many bands try to pull a sweet pop song with punk undertones and fail miserably, but The Beloved Infidels pull this one off with seamless effort while still keeping composure.   This album is really starting to rock!  Which I didn’t expect. I’m also noticing little hints here and there of other influences as well. The British invasion, some surf guitar, even girl groups of the 50s and 60s. This is turning into an album that demands my full attention, and I love it! By the time I reach the song This Time Around, I am most definitely a new fan. The song, Accessory Doll, matches a honey sweet voice with opposition as can be heard in the lyrics “I’m not your accessory doll, I’m not a pretty thing you buy at the mall, and I’m not a trophy that you hang on the wall. Not your accessory doll.”  And then the real rocker hits, this one is called She’s just too good for you.  Power chords blazing in the intro to fall into reggae influenced verse, then back to a rocking chorus…”She’s just too good, she’s just too good for you now.”  Well, no doubt about that.  Did I need a cd to tell me?  Man, I should really take her out to a movie this weekend… oh sorry, back to the review.  This is really great.  Music is such good audible therapy sometimes.  So now it’s time for the closing track, Bigger than life, and this ends the album nicely as the perfect closer.  I have always considered the first and last songs to be the most important… I like to listen to an album like I read a story, and a story missing its beginning or end is not really a story at all is it?  Both the opening and closing songs on this album meet the challenge, and overall Trompe L’oiel Girl is a very satisfying album. It would be great to listen to over Morning coffee (which I’m doing right now), during long drives through the wilderness of Pennsylvania, or anytime and all places in between. 

Reviewed By Kenn Deaton

Kenn Deaton, Reviews James Fisher, The Beloved Infidels, Trompe L' oiel Girl