I suppose the old adage “you can’t judge a book by its cover” holds true for CD’s as well.  Viewing the back cover with a pastoral photo of Michael Lee standing in a field with an acoustic guitar slung over his shoulder gave the impression of a laid-back singer-songwriter type offering.  However, I was quite taken by surprise upon first listening.  Although there is a bit of the aforementioned acoustic vibe, Michael’s music rocks.  At times classic progressive rockers such as Genesis, Yes and Rush came to mind although “Face Forward” has its own contemporary and melodic sound, featuring clever and intriguing chord changes and time signatures, and a lack of predictability in where it will go from one minute to the next.  These are all good things and add to the interest level, drawing the listener into its evolutionary arc.  There are also pop elements that would appeal to fans of artists like John Mayer or Sting, who Michael cites as a major influence.

Michael cites the first track, “Land Of Change” as being his favorite, and I would agree that it is probably my favorite as well.  I like the psychedelic sounds that set the stage at the beginning of the song before it breaks into a mid tempo groove, as well as the chiming rhythm guitars that help carry the tune along.  “Trust” is an excellent choice for a single and rocks a bit harder with catchy hooks and melodies.  Offering a bit of a change-up is “Mystery Of Life” which is a quiet ballad featuring just guitar and vocal and shows a more sensitive side of Michael’s musical spectrum.

The songs deal with a range of subject matter, much of it being personal and drawing from Michael’s own experience.  The lyrics, which are well written and often compelling, are enhanced by the lovely timbre of Michael’s voice, which can go from soft and sensitive to more assertive and soulful, sometimes slipping into a well-placed falsetto.

Besides vocals, he also proves himself to be a skilled multi-instrumentalist covering just about everything here including electric and acoustic guitars, bass, piano, synthesizers, mandolin, percussion, and even drums on two tracks.  The rest of the songs feature the stellar drum work of Will Gates.  As a guitarist myself, I am always attuned to other guitar players tone and technique, both of which impressed me greatly on this CD.  In addition to playing most of the instruments and writing the material, Michael arranged, mixed, and did a great job of producing the music, which is quite an accomplishment for someone at such a relatively early stage of his career.

The inspiration for the album’s title, Face Forward comes from the artist’s recent perceptual shift from previously focusing on life’s dark clouds to now searching for silver linings and accentuating the positive.  This is sage advice for all of us.  Interestingly, the title track is the only instrumental piece on the album.

Trying to find the highlights on this CD is difficult – but only because there are so many of them.  There is no filler – every song is excellent!  It’s just a matter of which elements of his artistry appeals to the individual listener.  While I was most drawn to the more adventurous arrangements and progressive side of Michael’s music, others may favor the introspective pop aspects.  But whatever dimension of his sound you resonate to there is no denying the incredible talent of this gifted UK-based musician.  I’m sure that Michael Lee is a name we’ll be hearing a lot more of in the future.

Review by Michael Diamond

Michael Diamond, Reviews Face Forward, Michael Lee

Rocking Chair is a four song EP, and a prelude to a full length CD by the band Hawk And Dove who record and perform in the New York City area.

Elijah Miller, a singer-songwriter who left his work as a Union Organizer to pursue his passion for music, fronts the group. The first to join him on this journey was guitarist John Kleber, who adds a bit of banjo as well.  Adding to the group is Stephanie Sanders, who although she has a degree in jazz and a background in piano, is playing bass here. Another interesting instrumental voice in the mix is the sweet and haunting violin work of Rachel Lyon, who also plays mandolin. Keeping time and rounding out the ensemble is veteran drummer Dave Butler. Although Elijah is the principle vocalist all the members of the group sing as well.

The music of Hawk And Dove has elements of alt-rock, folk, country, and a psychedelic flashback or two. Elijah’s deep, personal, and poetic lyrics are conveyed in a sometimes-laid back, sometimes-forceful style that shows him as a storyteller as much as a vocalist. There were moments where his music brought to mind that of another once young NYC songsmith – Bob Dylan. There is an enigmatic quality in the lyrics that invites repeated listening to get inside them and glean the meaning and depth of the stories they tell. The group perfectly supports these tales by providing texture and musical context with dynamics that range from rocking to melodic and melancholy.

Although slow in tempo, the rock influence is felt on the first tune, “Furious Armies” where an insistent beat and electric guitars drive the song along to its feedback-laden conclusion. The second piece, entitled “Stain”, provides an interesting juxtaposition in that it starts off musically as a folk-inflected waltz while painting lyrical pictures of urban imagery. Picking up steam in the middle section it evolves into a very nice instrumental interlude featuring interplay between violin and guitar, adding other instruments as it goes.  On the next song, “Boy On The Moon”, a sparse guitar and vocal introduce the song and carry it along for the first couple minutes as it slowly moves into a mid-tempo groove with the rest of the band joining in. The rock influence is very present again towards the end of the song with high-energy lead guitars and Elijah delivering his vocals with passion and conviction. The final tune, “Muscle Breaks”, shows the more acoustic folk-influenced side of the group. With a bit of a back porch Americana feel, guitar and violin open the front door for us to come and sit a spell. I especially liked the unusual counterpoint of banjo and bells later in the song.

This four song EP certainly piques my interest to hear what will follow from this talented group. Audiences in NYC can hear what they are up to in various venues around the city. The rest of us will have to wait for their next release – I hope it’s not too long.

Reviewed by Michael Diamond

Michael Diamond, Reviews Hawk and Dove, Rocking Chair

If ever there was an album that “defies categorization”, Tony Arnold’s “Ophidian Lullabies” is one. It is a virtual patchwork of diverse styles, genres, and influences, blended in unexpected ways. The CD’s first piece, appropriately titled “Precursor”, opens with an ambient synthesizer arpeggio, eventually adding a background of strings and the sound of running water. It’s an instrumental dreamscape leaning towards the minimalist style of Philip Glass. The second track switches gears dramatically into a prog rocker with symphonic overtones. By prog (short for progressive) I’m referring to a style first popularized in the 70’s by groups like Emerson, Lake, & Plamer, Genesis, King Crimson, etc. The song rocks hard till about half way through when it downshifts into a more sparse instrumental section featuring guitar and bells, and echoes the melodic theme of the first section, adding instruments as it evolves.

On a tune called “Robert Emmet” the music provides another stylistic departure with an instrumental that has somewhat of an Irish or Celtic feel. The next track, “That Still Small Voice” offers an interesting juxtaposition in that it’s got an upbeat pop-inflected melody in contrast to the somewhat darker lyrics. Perhaps a term like “pop noir” would be appropriate. Tony who has a deep voice and a vocal style, which is sometimes half sung and half spoken seems influenced by the likes of Leonard Cohen, Tom Waits, or maybe Frank Zappa. This song is followed by “Daddy’s Ballad” which offers another mix of musical ingredients. Heavy fuzz-drenched guitars lay the foundation for a spoken word vocal with a country feel, while a new wave-like synth melody line dances over the top of it.

From there, the next tune reflects back to the kind of ambient soundscape heard on the opening piece. Track eight, “Agendas” has a distant melancholy feel that reminded me somewhat of the style of Roger Waters from Pink Floyd, and features a lush orchestral background. Moving along, the ninth song kicks off with a rolling drum groove followed by spoken word vocals with some very trippy electronic effects. This piece in particular gave me the reference to Zappa. 

 “Progression” which makes a grand cinematic entrance for the first minute or so morphs into a country-tinged pop tune, eventually building back to an orchestral climax. The longest track on the CD at almost eleven minutes, “The Cottonmouth Crawl” is perhaps the most musically adventurous. It features a foreboding synth intro blending with an Eastern-sounding instrument giving way to a driving drum rhythm and heavy multi-tracked guitars that harken back to the afore-mentioned prog rock. This instrumental leaves psychedelic trails as it winds its way through a variety of thematic permutations.

As will be obvious by now, if one is looking for an album to put on that sets a mood and doesn’t stray, this is not it. On the contrary, it is truly a genre-blending exercise in musical diversity.

Reviewed By Michael Diamond

Michael Diamond, Reviews Ophidian Lullabies, Tony Arnold

Talk about “cross-cultural”: a musician from Nicaragua living in France and singing a fusion of Jamaican reggae and Latin salsa in English and Spanish. Born as Carlos Wiltshire, the name he goes by comes not only from his country of origin, but in honor of the great Indian chief Nicarao Cai, considered to be the founder of Nicaragua. Interestingly, the Atlantic coast of the country, where Carlos is originally from, is a mecca for reggae music. However, as mentioned, his sound transcends the traditional boundaries of the genre and incorporates elements of salsa and Latin music with rock. This is no surprise as he names Santana as one of his biggest influences, along with Jimi Hendrix, and of course, Bob Marley. These just happen to be three of my biggest influences as well, so this album piqued my interest, and certainly didn’t disappoint.

The title of the album, “Militante” is rallying cry for the power of music and the freedom it brings. According to Carlos, “Militante” is a feeling in his heart and soul that he pours out to his audience: “it expresses the pain and problems of the world, but in the most joyous form possible”. It is inspired by the struggle for justice, solidarity, peace, and love in the world, a theme that is prevalent in reggae and Rastafarian culture. He sees music as a common denominator: “music will make dance the dictator, the rich, the poor, the Pope included. It is the language we need to understand each other.”

Music is indeed a universal medium. Although I don’t speak Spanish well enough to understand all the lyrics on “Militante”, the groove communicates in ways that need no translation. Carlos’ voice, which is rich and resonant, conveys a soulful quality you can feel, and as Bob Marley said, “who feels it, knows it.”  But let us not forget, as reflected by the name of the group, that this is indeed a family affair. Fifteen musicians make up the “Familia”, including bass, drums, percussion, keyboards, guitar, flute, vocals, and a full horn section, which provides the spice so necessary for salsa and world flavors. Although they may not be a family genetically, they are a family nonetheless, with many of them having toured together extensively throughout Europe over the years.

I thoroughly enjoyed this music, with its’ melting pot of rich cultural influences.  One impressive aspect was Carlos’ use of a particular reggae style where the vocals are spoken in a way that is somewhat similar to rap, yet more melodic. There is such power and conviction in his voice that one cannot help be moved by it even if the language is unfamiliar. Carlos metaphorically compares his music to a volcano: “first it sleeps, then wakes up, and finally explodes.”  It’s hard to sit still while listening to the grooves on “Militante” and I can only imagine how much harder it would be while hearing at a live performance. It is gratifying to know that in a time where much music that is currently popular has so little depth or substance, that people like Carlos De Nicaragua y Famila are out there shining their musical light to illuminate powerful messages of world peace, unity, and justice for all.

Reviewed By Michael Diamond

Michael Diamond, Reviews Carlos de Nicaragua y Familia, Militante

If you heard the music of Cliff HInes without seeing his picture or knowing anything about him, you might envision a graying music veteran who had seen his share of late nights in smoky jazz clubs over the years. Yet at the tender age of 20, he is not even old enough to get into those clubs in some states.  There is, however, a maturity in his guitar playing and composing skills beyond his years.  At the same time, Cliff also displays an edge of inventiveness and sonic experimentation that is youthful and fresh.

Drawing inspiration from the world-class jazz mecca of New Orleans, Cliff Hines began his musical journey early in life and explored violin, piano, and drums, before making guitar his major focus at the age of 12. In high school he studied jazz at the New Orleans Center for the Creative Arts and immersed himself in bebop, big band, and modern. Now, not many years later he is an adjunct guitar teacher at that school, and continues his jazz studies at the University Of New Orleans.

While his musical talents encompass many sub-genres, including being the leader of an avant-rock band called Zosimus, the music he plays with his quintet on “Like Mystics of Old” is contemporary jazz that would appeal to fans of an artist like Pat Metheney, who not surprisingly, Cliff sites as one of his influences.  Joining him on this musical oddesey is an extremely talented group of fellow travelers including Sasha Masakowski on vocals, drummer Paul Thibodeaux, bassist Martin Masakowski, and Khris Royal on sax and EWI, which stands for electronic wind instrument and is like a flute or horn synthesizer.

The album opens with some softly strummed guitar and Sasha’s free-form wordless vocals – a style she reprises often on the recording, and which brings to mind the great Brazilian jazz singer Flora Purim. While some of the songs have lyrics, Sasha leans towards the aforementioned airy vocalizations, and her role in the group is sometimes more supportive than out front, although she definitely does provide a strong musical presence at many points on the album.  Not long after the intro, the rest of the band kicks in with a funky groove and they are off and running.

The second tune, “Pastels”, is one of my favorites and begins with the band showing a bit of their more experimental side, utilizing some cool electronic effects in a jazzy context. While Cliff is well schooled in traditional styles, he is also quite adept at using digital effects processors and throws some interesting guitar textures into the mix, as does Khris Royal who creates trippy synthesizer-like sounds on his instrument in addition to laying down some tasty and innovative solos. I also really enjoyed the next song, “Nova”, with its’ Brazilian influences, which make themselves felt a bit throughout the album.  Jazz-rock fusion elements are also present on songs like “Tippy Toes” and “Dance Of The Cleyrans,” that reminded me somewhat of classic Chick Corea and Return To Forever from the ‘70’s.  A song called “The Pacifier” kicks off with a drum lead-in by Paul Thibodeaux, whose outstanding playing continued to impress me on every song. Paul is soon joined by Martin Masakowski who shines on a smoking bass solo later in the tune.

The group as a whole is remarkably tight and I was often entranced by the melodic interweaving of Cliff and Khris’s playing and Sasha’s vocals, with the percolating rhythm section of Martin and Paul propelling everything along. This is not cocktail jazz meant to set a mood in the background. The Cliff Hines Quintet creates music that is engaging and draws the listener in to hear what will happen next. The fact that they are all so young makes it even more amazing. As a jazz lover, this album was a treat to listen to, full of stellar playing and unexpected little twists and surprises, all of which lead me to give this CD an enthusiastic recommendation.

 Reviewed By Michael Diamond

Michael Diamond, Reviews Cliff Hines, Like Mystics of Old

If you heard the music of Cliff HInes without seeing his picture or knowing anything about him, you might envision a graying music veteran who had seen his share of late nights in smoky jazz clubs over the years. Yet at the tender age of 20, he is not even old enough to get into those clubs in some states.  There is, however, a maturity in his guitar playing and composing skills beyond his years.  At the same time, Cliff also displays an edge of inventiveness and sonic experimentation that is youthful and fresh.

Drawing inspiration from the world-class jazz mecca of New Orleans, Cliff Hines began his musical journey early in life and explored violin, piano, and drums, before making guitar his major focus at the age of 12. In high school he studied jazz at the New Orleans Center for the Creative Arts and immersed himself in bebop, big band, and modern. Now, not many years later he is an adjunct guitar teacher at that school, and continues his jazz studies at the University Of New Orleans.

While his musical talents encompass many sub-genres, including being the leader of an avant-rock band called Zosimus, the music he plays with his quintet on “Like Mystics of Old” is contemporary jazz that would appeal to fans of an artist like Pat Metheney, who not surprisingly, Cliff sites as one of his influences.  Joining him on this musical oddesey is an extremely talented group of fellow travelers including Sasha Masakowski on vocals, drummer Paul Thibodeaux, bassist Martin Masakowski, and Khris Royal on sax and EWI, which stands for electronic wind instrument and is like a flute or horn synthesizer.

The album opens with some softly strummed guitar and Sasha’s free-form wordless vocals – a style she reprises often on the recording, and which brings to mind the great Brazilian jazz singer Flora Purim. While some of the songs have lyrics, Sasha leans towards the aforementioned airy vocalizations, and her role in the group is sometimes more supportive than out front, although she definitely does provide a strong musical presence at many points on the album.  Not long after the intro, the rest of the band kicks in with a funky groove and they are off and running.

The second tune, “Pastels”, is one of my favorites and begins with the band showing a bit of their more experimental side, utilizing some cool electronic effects in a jazzy context. While Cliff is well schooled in traditional styles, he is also quite adept at using digital effects processors and throws some interesting guitar textures into the mix, as does Khris Royal who creates trippy synthesizer-like sounds on his instrument in addition to laying down some tasty and innovative solos. I also really enjoyed the next song, “Nova”, with its’ Brazilian influences, which make themselves felt a bit throughout the album.  Jazz-rock fusion elements are also present on songs like “Tippy Toes” and “Dance Of The Cleyrans,” that reminded me somewhat of classic Chick Corea and Return To Forever from the ‘70’s.  A song called “The Pacifier” kicks off with a drum lead-in by Paul Thibodeaux, whose outstanding playing continued to impress me on every song. Paul is soon joined by Martin Masakowski who shines on a smoking bass solo later in the tune.

The group as a whole is remarkably tight and I was often entranced by the melodic interweaving of Cliff and Khris’s playing and Sasha’s vocals, with the percolating rhythm section of Martin and Paul propelling everything along. This is not cocktail jazz meant to set a mood in the background. The Cliff Hines Quintet creates music that is engaging and draws the listener in to hear what will happen next. The fact that they are all so young makes it even more amazing. As a jazz lover, this album was a treat to listen to, full of stellar playing and unexpected little twists and surprises, all of which lead me to give this CD an enthusiastic recommendation.

Reviewed By Michael Diamond

Michael Diamond, Reviews Cliff Hines Quintet, Mystics of Old

Arena rock lives! From Denver, Colorado comes the mile high rock and roll of Double Down.  Having once lived in that fine city, I remember the music scene there as being one of the best I’ve experienced anywhere, and this kick ass band certainly upholds the tradition.  “Polarity” is the second release from the group, which includes Jeff Browning and Darren Banach on guitars, bass, and vocals, with Paul Jarrett on drums, although the band has undergone some personnel changes since this recording.  While their first CD, “Still Motion”, had a bit more of a Southern rock flavor, this new one detours from the country and takes it straight downtown with a well-produced album they describe as “more refined and complex.” If by “refined” they mean: rock your socks off, then it’s an accurate description.

Double Down comes charging out of the gate with guitars blazing on the opening tune, “Icarus,” About half way through they dish out the first of many surprises as the songs slip into a quieter middle section of synthesizer, bass, and vocal, eventually leading into a tasty lead guitar solo that reminded me a bit of Slash from Guns and Roses, a band they cite as one of their influences. Even at this early point in the CD, it is evident that Double Down is very tight, with the two guitars working together like a well-oiled machine. Another example of this six-string synergy is on “The Life I Breathe,” with one guitar laying down thick slabs of molten metal while the other interweaves chiming arpeggiated notes on the chorus.

The song called “Black Tie” was also a highlight for me and kicks off with a cool Stones-style riff, jangly guitars, and mid tempo beat before dropping the hammer and heading into heavier territory about half way through. There is even an unexpected little interlude that called to mind The Police. This song shows off the band’s command of dynamics and their ability to take a song into different sections throughout the course of it, rather than just plodding along on one track like so many groups do. The album is full of these kinds of changes and is one of the standout features of Double Down.

The acoustic guitars come out on track 4, “Wrecking Ball,” which has a bit more of an alt. rock feel to it – that is until about two thirds of the way through when they kick it up a notch and feature a smoking twin guitar lead. This song reflects another band that they mention as a major influence: The Gin Blossoms, one of my favorites of the 90’s. Their inspiration is felt on a number of songs on “Polarity” and is an interesting contrast to some of their heavier rock influences. I was also reminded a bit of Tom Petty on songs like this one and “Long Vacation.”  The album yielded a final surprise for me on the last track, “Fallen”, with a dreamy guitar hook, reminiscent of Jimi Hendrix’s “Little Wing” that opens and closes the song.

Double Down has an abundance of all the elements necessary to take them to the next level: musicianship, vocals, songwriting, dynamics, and raw power with a touch of sensitivity. Check out their music to experience a real Rocky Mountain high.

Reviewed By Michael Diamond

Michael Diamond, Reviews Double Down, Polarity

The phrase “from a scream to a whisper” provides some insight into the range of the eclectic San Francisco band know as The Autonomous Region. Composed of five veteran musicians from diverse backgrounds, their music embraces influences of alternative rock, metal, punk, jazz, urban, R&B, and reggae.

Vocalist Caroline Cabading, who is the driving force behind a lot of the CD’s writing and production, fronts the group. The band also includes Chet Canlas on guitar, drummer Tyrone Davis, Phil Ergina on bass, and Ron Quesada who was added as a second guitarist after the making of this CD.

Forbidden City opens with a heavy rocker called “Don’t Tread On Me” which highlights the harder edge of the group’s musical spectrum. Aspects of Caroline’s singing style have been compared to 70’s punk era vocalist Patti Smith’s, and this song is a good example. The band puts the pedal to the metal and gets the album started with some serious attitude. This song as well as a number of others on the CD, reflect a high level of social awareness and political empowerment. From there, the band drops out of overdrive into a considerably more laid back ska-influenced tune called “Took My Breath Away that goes through some interesting changes as it evolves. The album’s third track “Sunset Beach” also follows the pattern of introducing some unexpected elements in the various parts of the song. Starting out as a jangly alt. rock ballad guitarist Chet Canlas kicks on the fuzz and wah pedals adding some razor’s edge tone that provides an interesting contrast to what we’ve been hearing up till then. At this point, one begins to get a sense that The Autonomous Region is a multi-faceted prism capable of reflecting light through it’s various surfaces.

The range of styles exhibited in just the first three songs is definitely expanded on as the album unfolds. From jazzy grooves to heavy rock, the band explores diverse musical terrain with intensity and spirit. On an album of all original music, one of the big surprises, for me was their interesting cover of the Jefferson Airplane’s psychedelic classic “White Rabbit.”  Starting out with a quasi-Eastern vibe, it soon ignites into a heavy metal-influenced rocker before evolving into yet other stylistic changes. One of the more unusual aspects of their version is that after going through all the lyrics of the song followed by a mystical sounding guitar solo, Caroline creates another verse, adding to the song with some of her own original lyrics.

The band sounds like they have been playing together for a while and in addition to some nice guitar work by Chet, who was also active in the album’s writing and arranging, I was impressed by the rhythm section of Tyrone Davis and Phil Ergina who provide a firm foundation for the group to groove on. But much of the spotlight here is focused on the powerful and expressive vocals of Caroline who brings a lot of the spice and above-mentioned “attitude” to the full range of material on the album.  Although they have been compared to PJ Harvey, The Red Hot Chilli Peppers, and others, The Autonomous Region has their own distinct sound which screams at one moment and whispers in the next yet maintains it’s own brand of musical autonomy throughout.

Reviewed By Michael Diamond

Michael Diamond, Reviews Forbidden City, The Autonomous Region

It’s hard to imagine that the intricate classical compositions that grace “Consolation” were created by someone with not much more than three or four year’s of experience as a composer. But it is true. Marc Beziat, a native of southern France, is partly self-taught. He also spent two years at Polyphonies, a school of musical composition, where he studied polyphonic music, the simultaneous sounding of two or more melodic lines, a musical style that dates back to the late Middle Ages and Renaissance. “Consolation” is the sequel, or as he calls it, the “soul mate” to his well-received first CD “Victory Of The Spirit”. His album titles, as well as the names of the songs, reflect the beauty and harmony that he seeks to express in his music.

If I had to choose one word to describe Marc Beziat’s music, it would be cinematic. When I first put on the CD, I kept waiting for an imaginary film to start any second. With eyes closed it was easy to visualize movie scenes that would go perfectly with this evocative music as the soundtrack. It’s not surprising that one of his biggest influences is Canadian composer Howard Shore, and in particular, his work on Lord Of The Rings. While also being influenced by contemporary composers such as Daniel Balavoine and David Nevue, Marc cites composers from the Baroque Classical era such as Beethoven, Bach, and Vivaldi as having made a deep impression on him.

However, unlike the classical composers of old who wrote out their music on parchment paper with a quill pen, Marc makes use of the wonders of modern technology such as computers, notation software, and synthesizers. While the term “synthesizers” may bring to mind other-worldly sounds and contemporary electronic music, Marc uses them for strictly realistic sounds such as piano, flute, woodwinds, strings, and choirs, as would be found in classical music. He pays particular attention to the creation of the choral sounds, which play a prominent role in his music. One of the most interesting things about modern music software is that it allows one to make adjustments in notes, dynamics, feel, etc., which in Marc’s words, “makes composing in this form more related to sculpting than to performance”.

Another aspect of the music that makes it more unique in the classical genre is the relatively short length of the compositions. Of the eleven tracks on the CD, the longest is just under four minutes. However, they often flow from one to another creating the impression of movements in a symphony. Although the song length may be condensed, there is a great deal of animation, dynamics, and thematic evolution within the structure of each piece, and the album overall evokes a wide range of feelings from serene and comforting to dramatic and powerful. It is precisely this yin/yang counterpoint that creates the magic of the music. According to Marc, “whether our experiences are sometimes painful or sometimes exhilarating, everything can be transformed into beauty, and in the process, we are ourselves transformed.”

Music is meant to be experienced, so a written description of it cannot adequately convey the nuance and impact. Writing about music is like dancing to architecture. Marc speaks eloquently about his music, but finally concludes: “what else could I say… eventually, music always speaks better than the words.” Indeed it does.

Reviewed By Michael Diamond

Michael Diamond, Reviews Consolation, Marc Beziat

Although Australia-based singer-songwriter Linda Wood has been compared to Kate Bush, Tori Amos, Rickie Lee Jones, and even a bit of Doris Day, she is a true original with her own style – described, perhaps tongue in cheek, but somewhat accurately, as “quirk pop.” In truth, her music is a melting pot of divergent spices and flavors that come together in one of the most unique sonic blends that I’ve heard in a long time. Threads of jazz, blues, Latin, hip-hop, techno, pop, and cabaret, create a musical tapestry on which her diverse vocal stylings are embroidered. On the title track an ambient synthesizer sound and slide guitar open the album, providing a brief intro reminiscent of Pink Floyd, which soon dissipates into a groove of bongo drums and a funky hip-hop beat, with subtle flourishes on accordion providing a surrealistic touch. At this point, you know you are in for something out of the ordinary.

The rest of the album doesn’t disappoint. Besides being an extraordinary vocalist, Linda Woods is a talented and imaginative songwriter and storyteller, with her compositions and arrangements enticing the listener through unexpected twists and turns. Choosing a few highlights on the album is difficult, because there are so many worthy choices, and I genuinely loved everything on it. From the Santana-like vibe of “Goodbye Perfectionist”, to the jazzy Stray Cat Strut jive of “Get Out Of My Life” with it’s Andrew Sisters style harmonies, to the driving techno tribal beat and middle Eastern-inflected vocals of “Peter Pan”, there is so much to like. There’s also an unlisted bonus song at the end – a poignant ballad about loss and healing.

One of the most quirky, yet endearing songs is “Bittersweet,” a psychedelic carnival ride of a tune, complete with yodeling, triangle, and tuba that would not have been out of place on an early Frank Zappa record or Fellini soundtrack.  While there are some offbeat combinations of instruments and elements on the album, they are artfully integrated and add textures that put a stamp of originality on the music. But it is clearly the vocal talent of Linda Wood that is the shining star here and illuminates an emotional gamut from sassy and sultry to longing and vulnerable. She is seemingly capable of handling any style with ease and grace, as well as having done an outstanding job of multi-tracking background vocals and harmonies in interesting ways.

“Duel” is a very professional sounding and extremely well produced CD with a lot of obvious attention to detail in the musical production as well as in the album’s artwork, which has a bit of a Stevie Nicks ambience.  Some of the arrangements are intricate yet accessible. The deeply expressive and artistic nature of “Duel” is no surprise considering Linda’s extensive background in musical theatre, having been involved in productions in Australia, England, and New York. This album reveals an impressive talent with great potential, and one that will, I’m sure, develop a loyal following as listeners discover the genre blending alchemy of Linda Wood’s music.

Reviewed By Michael Diamond

Michael Diamond, Reviews Duel, Linda Wood