Revenge of the Platypus “Dreams”

Posted on April 14, 2011 by Phil

Revenge of the Platypus’ Dreams is not short on psychedelic feel and prophetic and ambient noise.  It is however, short of melodic resonance and vocal appeal.

“Bitch of a Papercut” combines 90’s style mellow-grunge guitars and a raw percussive backing beat with a belly-throbbing bass. The song’s melody is lead by the slowly-sliding guitars. About halfway through, the guitars briefly retreat and the melody is lead by whiny synth sirens.  The orchestrations of brass and synths create a cinematic experience that delicately wraps around the entire song.

There were a few songs on Dreams that have instrumental arrangements that outperform their dissonant vocal counterparts.  “March of the Trees,” a jazzy contemporary progression with swooshy synths mixed in a bossanova tempo, has off-pitch vocals upstaging the crystalline instrumental sequence.  “Pearl,” with its dreamy liquid synth mashup and flute-like synth layers, have vocals that act as dissonant transitional portions of the song.  ”Arcane Monkey,” a quiet sleepy song with a faint low tempo beat and an almost Gregorian chant, contains ringing synths that paint the song’s main portions, giving it a psychedelic glow. If the listener can get over the dissonant vocals, the mellow track could be worth another listen.

When the vocals are not just dissonant, they are also inaudible. “Fear 11,” which starts off in a slow-motion tempo accompanied by quiet synth percussion, pairs a deep baritone vocal with the ambient lining of the song. The inaudible lyrics create a spooky psychedelic air along with the backing instruments.  The psychedelic vocals on “Majesty” are inaudible, while the beats simmer with the deep-notes of the piano. The bridge of the song contains electronic surges that sound like video game samples and cleverly emulate the song’s melodic theme.  The song comes full circle at the end with the lonely bellows of the piano leering.

While the vocals are not an easy pill to swallow, the arrangements and atmospherics are at times highly effective.  “Amb Boom” starts off with a lovely piano line as if it’s ready to soar into the pop stratosphere. The piano is accompanied by a mid-tempo beat and a series of subtle violins and celestial synths. The classic piano is the centerpiece of “Amb Boom.” The recurring piano progression are sonic doors into each new section of the song.  ”Lucky Sweatshirt” is reminiscent of the laid back body-noise synth sounds of Frank Zappa’s psychedelic world of noise and freakishness. Behind the facade is a great arrangement filled with seamless transitions of violin flourishes and harpsichord-like dings. The song sounds like a soundtrack to a lost 70s TV show. It ends oddly with an optimistic country slide guitar melody.

“Spring,” probably the best track of the bunch, starts off slow then builds up with piano, electric guitar and subtle background nature sounds. The lone melody is also goaded on by the developing plot of the metallic and flat synths. “Spring” could be background music for a love story because of its vibrant and fleeting energy.  “Dream Plain” is another mid-tempo mashup of synths guitars and noise rolled up into a psychedelic nugget. The shimmering mandolin and the playfulness of the snares along with the climbing electric guitar licks make for a psychedelic party song.  The vocal incantations work well with the ambient dream-like atmospheric collages.

For lovers of guitar-driven psychedelic music in the same vein as Pink Floyd who don’t mind a muttered and dissonant vocal every now and then, Dreams is a good fit.

Review by Michael Morgan
Rating: 2 stars (out of 5)

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Revenge of the Platypus “Dreams”

Posted on April 14, 2011 by Phil

It takes a lot for a trip hop record to catch my attention. Not because I’m not a fan of the genre, but because it takes a lot of work, effort and perfection to pull it off. Meet Revenge of the Platypus, created by one Malachi Bazan, who draws inspiration from sources such as RJD2 to Leonard Cohen. If that didn’t grab your attention I’m not sure what will. Releasing his newest album, Dreams, this ambient piece of labor means serious business.

Kickin off the record is “Bitch of a Papercut,” which starts the listener off on a true musical journey. Though I am unsure if it is intentional, it strikes me with the feel of old school video game music from the 1980’s. This is intended as a compliment, because they just don’t make creative tracks like anymore. “March of the Trees” resembles the electronic duo Ratatat with smooth yet often subtle beats and tones that take you away to another state of mind. This is the ultimate music to chill out to. It is also the first time vocals are introduced into the record, which come as a bit of a surprise. Bazan’s vocals are striking, yet not overpowering. They fit in well with what he is trying to do, and that is creating peaceful music.

“Pearl” and “Fear 11” flow into each other nicely and compliment each other as back-to-back pieces. The piano on “Pearl,” is unforgettable and very well orchestrated. This track has easily become a favorite on the record. “Amb Boom” is first orchestrated with carefully placed synthesizers before heading into a basic piano and brilliant drum machine beats.  “Majesty” features Bazan’s vocals, which are a rare occasion on the record so far, the rarity of which adds an element of mystery to Revenge of the Platypus. The voice is so in tune with the music that any lyrics become almost non important. It creates a spacey atmosphere that sends the listener into another dimension.

“Lucky Sweatshirt” and “Arcane Monkey” are nothing to write home about, but they fit in well with the rest of the record. The latter of the two can put you to sleep, but not in a boring way. It will ease the listener into a state of brief unconsciousness. “Spring” picks up the album a little bit again as it is an interesting track with a perfectly performed guitar ensemble. The gentle yet noticeable drums in the background are accompanied by a piano that ties the whole song together. This is definitely a standout piece.

“From the Inside” features Bazan’s vocals, again remaining quiet.  Slight harpsichord sounds on a keyboard enhance “From the Inside” without making it cheesy. It is obvious that Bazan thought these songs through very carefully. “Dream Plain” is a bit uncanny at first, with haunting keyboards reminiscent of Brooklyn duo Javelin. This is one of the most perfect songs on the album, simple and complex at the same time. The elements that form the track make it seem like a breeze when indeed it is a very intense effort.

Revenge of the Platypus’s Dreams is a creative and technically brilliant piece of work that will not only appeal to trip hop fans but to electronic, chill wave and indie fans alike. Kudos to Malachi Bazan for a job well done.

Review by Melissa Nastasi
Rating: 4 Stars (out of 5)

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Endless Interstate “Endless Interstate”

Posted on April 14, 2011 by Phil

Although Endless Interstate is a relatively new project for Matthias Sampson and Christian Muccino, the pair has been collaborating together for two decades, most notably as part of the band Liquid Daydream, who had five releases between 1991 and 2003.  The self-titled album Endless Interstate is the duo’s sixth release, though it is the debut album for this project.  Complimenting each other perfectly, Matt and Chris, who each enjoy a plethora of responsibilities within Endless Interstate, have created an elegant spectrum of music with deeply thought-provoking lyrics that will touch places deep within the human heart.

Graceful guitar work is prominent throughout and there is excellent vocal harmonizing in nearly every track.  Bongos, congas and other assorted instruments give this album a refreshing and invigorating feel.  Matt’s vocals can be likened to Aaron Lewis of Staind at times, and fans of Toad the Wet Sprocket may find similarities in the rhythm and tone of some pieces.  “Keep It Right” is the opening track and the lyrics are inspiring and delivered with confidence.  With a slight country feel and plentiful dashes of bongos and congas, this song is softly beautiful.  The vocal harmonizing is wonderful and the overall sound quality is pleasing as well.  This is a great introduction to Endless Interstate.

“Place Called Home” carries a rhythm that is vaguely reminiscent of R.E.M. towards the beginning and Matt’s vocals are delivered in a deep and more drawn out style than in the preceding track.  Chris’s guitar playing is graceful, both the acoustic and the electric, and this piece rolls smoothly.  The lyrics carry a haunting sense of despair as Matt gently croons about the plight of the homeless.  “Quiet Room (As the Crow Flies)” contains some of the most beautifully written lyrics, not just on this album, but within the music world in general.  With touching honesty, Matt delivers these lyrics in a voice that is reminiscent of Zack Maloy of the Nixons.  Brimming with emotion, creativity and purity, this track is exceptional and will affect listeners in ways that are profound, meaningful and lasting.

Endless Interstate shifts gears slightly with “Rise Above,” which takes on a slightly tribal essence with occasionally incongruent melodies and exceptional musicianship.  Using the best of their varied talents, Matt and Chris utilize a variety of instruments in this piece, and the overall effect is one of experimentation.  Listeners will either love or hate this offering, but whichever way they swing, the musical talent made evident in this piece cannot be denied.  “Speak To Me” continues in this vein, but with a more conventional and upbeat rhythm.  Perhaps the lightest track on the album with regards to tempo and lyrics, this track is like watching the sunshine break through the clouds.

The closing track, “Turn Around,” is a wonderfully elegant piece that showcases everything these two gentlemen have in their repertoire; outstanding musicianship, intelligent lyrics, and a beauty that cannot be replicated.  Occasionally dark and sometimes depressing, the music of Endless Interstate can also be bright and uplifting, depending on how listeners let the music affect them.  When music can be dark and light, depressing and uplifting at the same time, it is truly artful.  This talented pair of musicians has tapped into an endless well of creativity, aptly titled Endless Interstate.

Review by Rhonda Readence
Rating: 4 stars (out of 5)

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Fereshta “Global Citizen”

Posted on April 14, 2011 by Phil

When a singer/songwriter is born in Afghanistan, has an album titled Global Citizen and describes herself as “the voice of humanity,” one could easily assume that she is providing some type of new age/world music blend (perhaps something along the lines of Enya, but with more of an eastern or Middle Eastern influence).  Someone who hasn’t read Fereshta’s publicity bio in its entirety and hasn’t actually listened to Global Citizen might jump to that conclusion, but in fact, this 2011 release is far from new age.  Fereshta, an Afghan native who has spent most of her life in the United States, is very much an alternative rocker.  Some of her lyrics have a spiritual outlook, but musically, Fereshta is by no means an Afghan version of Enya.  Global Citizen is much edgier and more aggressive, sometimes venturing into alternative hard rock territory.

Fereshta’s bio compares her to Heather Nova, Alanis Morissette and Nico Vega, which are valid comparisons to a degree, as is Tracy Bonham.  But it would be a mistake to think that all of Fereshta’s influences are female.  She has male influences as well, including Jimi Hendrix and Cream.  Global Citizen is relevant to post-1980s alternative rock, but there is an awareness of classic rock as well on this 2011 release.

Global Citizen gets off to an aggressive and hard-rocking but melodic start with “Amends,” which contains a guitar riff that is somewhere between grunge and old-school hard rock.  Although the riff on doesn’t sound like something one would find on a Morissette release, the song’s lyrics are comparable to the angry-young-woman feeling of Morissette’s 1995 breakthrough album, Jagged Little Pill.   But most of the time, Global Citizen isn’t an angry album, and takes a spiritual, mystical turn on “Motherland,” “Free My Heart” and the somewhat funky title track.  Fereshta also brings some funk to the infectious “Body Heat,” which is relevant to both alternative hard rock and funk-rock.  “Body Heat” contains elements of Nirvana and Seattle grunge as well as sounds of Kravitz’ more hard-rocking songs ( “Are You Gonna Go My Way”).

Fereshta brings a great deal of blues feeling to this album.  None of the songs have a traditional 12-bar blues structure, but Fereshta is certainly bluesy on “Wonderlust,” “Real Man,” “Dance the Dance” and the moody, somewhat psychedelic “Tombstones.”  All of those songs are examples of how an artist can be bluesy without actually playing the blues.  Although she doesn’t inundate listeners with world music elements, the world influence is definitely there at times.  The haunting “Untie My Hands,” for example, has been influenced by Indian music.  Tthe tune is alternative rock, has a definite Indian influence.   Similarly, “Human Frailty” has both alterna-rock appeal and Middle Eastern appeal.

The most adult alternative-sounding track is clearly the laid-back “Warm, Gentle Breeze,” which wouldn’t be out of place on an album by Jewel, Sarah McLachlan or Natalie Imbruglia.  Most of Global Citizen rocks harder than “Warm, Gentle Breeze,” but that track is very much in the adult alternative/Triple-A vein, and Fereshta sings as convincingly on “Warm, Gentle Breeze” as she does on the more aggressive offerings.

Global Citizen is a promising debut from Fereshta, who is well worth watching out for.

Review by Alex Henderson
Rating: 4 stars (out of 5)

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Derek Patton “Bright Grey”

Posted on April 14, 2011 by Phil

There is something special about the sounds of acoustic finger-style guitar.  Derek Patton has put together an album of 16 original songs written specifically for this style of playing.  On Bright Grey, you get Mr. Patton and his guitar; no electronic assistance from drum machines or synthesizers, no attempts at vocals.  Just pure guitar. The songs also feel complete.  No fading out because the artist was unsure of the melody or how to complete their musical thoughts.  Patton has chosen to not overlay multiple guitars to fill out the sound.  No, that is done by his mastery of the guitars he is playing (he uses 6 different models of guitar on the album).  No matter which guitar he uses the combination of finger-picking, strumming and even wrapping the guitar with his knuckles for emphasis, Patton’s music explodes from the speakers filling the room and your head with vivid images.

The songs are emotionally charged one second, soft and breezy the next.  There is inspiration behind each of the songs and Patton lets the listener in.  As he writes in the liner notes, “I share the following descriptions, not as moral sermons, but simply as explanations, and in some cases to connect the drama in the music to the pictured scene running through my mind when writing and playing them.”  A nice inclusion, as normally the lyrics of a song will allow you to see the picture.  “Eleventh Hour” rises and falls as Patton composes to the events surrounding the arrest and betrayal of Jesus and it is one of the standouts on Bright Grey.  At times, his fingers are frenetic on the strings while there is a second line of calm notes.   Every listener will interpret these quiet passages differently.

His deep faith is experienced throughout the album and latent in the inspiration of his songs. Nowhere is this more evident than the three pieces listed on the album jacket under the heading “These Three Remain.”  Taken from 1 Corinthians 13:13, the famous quotation reads “And now these three remain: Faith, hope and love. But the greatest of these is love.”  Patton offers up his artistic interpretation of these three virtues. “Faith” is uptempo and bright, whereas “Hope” features a melody played in the lower registers.  It begins slowly and darker, but opens to a more glorious tone.  Finally, “Love” begins with a flurry of notes the sound building.  Each stanza punctuated by the snapping of the lower strings.  The bible verse reads “…God is Love.”  Patton plays the flurry of strings at the same time as he picks out the melody, and it continues to burst forth into another transition of notes until finally it all fades on one final note.

“El Amor De Mi Vida,” written for his wife, is plated in the classical style, using all of the strings in a constant wash of sound and images.  “Apes In The Rotunda” is a swipe at politicians and “the age old battle between brilliance and idiocy.” The song begins at a fast tempo and only gets faster as it continues.  The notes crisp and clean, the sound on the album is superb.  The guitar is mic’d to let you hear and feel each note being played.

It is safe to say that Derek Patton has mastered his art form.  On Bright Grey, he shares his musical brushstrokes with the listener, painting pictures with the tones, transitions, fingering and strumming techniques he uses to bring forth the music from his brain to his fingers to the strings to your ears.  Enjoy this work of art.  It is well worth the money and time spent.

Review by Vinny “Bond” Marini
Rating:  4 Stars (out of 5)

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Sierra Echo Charlie “American Dioramas”

Posted on April 14, 2011 by Phil

Sierra Echo Charlie’s American Dioramas is probably one of the most appropriately titled albums on the scene, as the album is an audio diorama of American life. Sierra Echo Charlie has perfectly captured so many parts of day-to-day life with the songs on American Dioramas. These songs are short, sweet and to the point, the longest tune clocking in at just over three and a half minutes.  Even so, what these songs accomplish in their short time is far more entertaining than anything that may last longer these days.

These songs are quirky brilliance. There is no other artist quite like Sierra Echo Charlie, but when you listen to American Dioramas you will think that they sound like a myriad of other artists. Some songs have a touch of Woody Guthrie’s Americana, some the power pop brilliance of Fountains of Wayne, while others have the witty intelligence of They Might Be Giants and the super quirky strangeness of Mystic Knights Of The Oingo Boingo.  The end result is an album that is a fun listen.  Each song is an introduction to another character, a musical snapshot of the diversity of America. It is more than an album; it’s like an introduction to a whole new set of friends.  The songs really display personality. “Secretaries On Diets” is one of the most laugh-out-loud funny songs.  The secretaries talking about what they are eating really adds that little extra something to the song.  It is more than a cute power pop song, sung à la Morrissey.  It is a piece that anyone who works in an office can relate to.

If that wasn’t enough, “Malibu Barbie” is a beach tune that would even make the Beach Boys proud, apart from the extremely snarky lyrics.  The south is another part of the country represented here in the song “Chrome Women.” This is pure country, or maybe a pure country parody. However you look at it, it is a twangy acoustic tune that is just as good as any song on country radio today.  “Commuter Train” feels like something straight from The Great White Way, complete with a chorus.  The melody is so lush and the vocals are perfect. The song is beautiful, even though the subject of the song is far from serious.  The unnamed female sharing vocals with Sierra Echo Charlie really brings the feel of Broadway to the song. In the world of theater, it is ok to sing about the train that takes you home!  Switching things up with has an old-fashioned vaudeville sound is “Dating Gothic.”  The melody is dark and perfectly suited to the song that doesn’t even make a full minute.

Some would argue that songs this short can’t possibly get a message across, but Sierra Echo Charlie have mastered the art of the short song.  The short songs allow for more stories to be told and Sierra Echo Charlie have a lot of stories to tell.  It’s hard to believe that one vocalist handles all the styles that are represented on this record.  This album has a little bit of something for everyone.  It is more enjoyable if you have a good sense of humor. Sierra Echo Charlie write songs that are observant and witty.

American Dioramas does something that very few albums do. It combines songwriting that is witty and intelligent with melodies that draw the listener in. This is an album you want to listen to, because you want to know what the next character is going to be singing about and because the music is just good and it makes you feel good. Not many albums can accomplish that from start to finish.

Review by Andrea Guy
Rating:  4 stars (out of 5)

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Sierra Echo Charlie “American Dioramas”

Posted on April 14, 2011 by Phil

Growing up in the San Francisco Bay Area in the 1970′s, Sierra Echo Charlie enveloped his psyche in the music of the day.  Describing the inside of his head as plastered with songs like concert posters on a bedroom wall, he creates music born of thirty years of inspiration from the AM/FM dial.  In an era where music was the greatest form of cultural communication, he made that communication a part of his life’s blood.  Years later, Sierra Echo Charlie finds himself trying to create music that will touch others as indelibly as songs such as “Roundabout” (Yes), “Bohemian Rhapsody” (Queen) and “Do It Again” (Steely Dan) once touched him.  The end result, American Dioramas, features eighteen songs that delve into personal convictions from a fresh and unusual perspective.

American Dioramas opens with “Chrome Women,” a country/folk number about the lonely life on the road.  Vocally, Sierra Echo Charlie is a tough sell here, but there’s an innate humanity sewn into the song, in the form of a long haul driver kept company by the ladies on his mud flaps, that is compelling.  “Commuter Train” features Sierra Echo Charlie and female vocalist in a mismatched and disjointed duet.  The unnamed vocalist outshines her host, and the song itself has the stilted feel of a song sewn together from disparate parts rather than an organic composition born from one idea.  “Company Man” is a tongue-in-cheek look at the advantages of being under the umbrella (and thumb) of a corporation.  You can imagine how this might have seemed funny when first born, but the wit fails to transfer to recorded media.

“Cultural Amnesia” takes on the dumbing down of American culture amidst a wave of cultural references and minutiae.  The blues-like arrangement fits to the message, but the irony and wit are so obvious they lose their value.    “Dating Gothic” is a Socratic dialogue on romance for the socially incompatible.  The simplistic, angular arrangement echoes They Might Be Giants.  “Individuality” finds Sierra Echo Charlie skewering our pre-occupation with mass-produced objects as symbols of our individuality.  Even the pro-forma arrangement seems to echo the theme.  “Instant Total Gratification” is simplistic folk/rock number that could be re-titled “Gimme Gimme.”  Sierra Echo Charlie’s idiosyncratic voice works well in this number, reflecting the incessant need and greed of consumer culturalism.

Another icon of American excess gets skewered on “Malibu Barbie,” a piano-driven number that shows Barbie at the start at where she might be today.  Sierra Echo Charlie’s vision finds Barbie gone crunchy-granola feminist and Ken living with his “close friend” Paul.  The potential for humor here is undercut by a complete lack of subtlety.  “Me And My PC” is a love song to modern technology full of mild innuendo and rhyme.  Full of cliché jokes, you can almost sing along on the first listen.  As the album progresses, Sierra Echo Charlie seems to rely more on gimmick and theme to keep going.  “Movie Star Marriage” gets by on name-dropping and half-baked humor drawn from tabloid face sheets.

Sierra Echo Charlie finds a bit more traction with “Pizza Delivery,” a mindless song about a lack of priorities and setting the bar low.  The garage-style recording fits with the low expectations of this mildly catchy rock tune with an R&B backbeat.  “Secretaries On Diets” tries to be funny again, in the vein of the Beautiful South or Corky & The Juice Pigs, but once again a lack of subtlety obliterates any real humorous sense involved.  Sierra Echo Charlie closes with the mildly catchy but information-intense “Used Cars R Us.”  Opening with a melody drawn from “America The Beautiful,” the song quickly devolves into a list-style invocation of terms relating to cars, car parts and care sales.

Sierra Echo Charlie’s American Dioramas is aptly named.  At best, the songs are pinpoint views of some aspect of American culture from the perspective of the artist.  He often gets caught up in his own perspective, failing to give either a clear picture of his subject or a humorous or thought-provoking angle on an idea.  The arrangements are solid, low-tech folk/rock numbers that get the job done and occasionally even enhance the spirit of the songs, but there’s a surprising lack of imagination in Sierra Echo Charlie’s illumination of modern culture.  Sierra Echo Charlie hits all of the right targets, and his heart is in the right place, but his pen isn’t sharp enough to cut.

Review by Wildy Haskell
Rating: 2 Stars (Out of 5)

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Bill Edwards “That’s What I’m Talkin’ About”

Posted on April 14, 2011 by Phil

Singer/songwriter Bill Edwards has certainly paid his dues working on studio sessions for other artists as well as performing with various groups on the live circuit.  That’s What I’m Talkin’ About represents his first album of original music and it is a staggeringly good one.  Quite often, the company that a songwriter keeps will determine whether or not they can make their work sound good.   Thankfully Edwards has put together a sensational group of musicians that know how to bring his compositions to life.  Right from the album’s opening selection, the band comes out fired up and ready to go, displaying a robust horn section and the trusted accompaniment of the Hammond organ.  Amazingly enough, Joe Mennonna masterfully handles both the horn and organ parts throughout the album, proving to be an invaluable member of this ensemble.

Immersed in the blues, Bill and his band effortlessly get the album started with “Twelve Step Program.”  Singing of a hopelessly addicted love, Edwards commands the listener’s attention as a lead vocalist with passion and personality to spare.  “Your Presence Is Requested” finds a longtime player contemplating settling down with one woman, and the blues takes a slow yet hard rocking turn on this one.  Nicky Moroch chimes in with a blistering guitar solo after the bridge that echoes the bewildered sentiments of Edwards, signaling the end of playing the field.  As Bill sings “Your love’s got me in lockdown,” a deep-toned saxophone riff punctuates the finality of his decision.  He sings with such conviction that the listener inevitably feels exactly what he was conveying at the time these sessions were recorded.

The blues man offers up a taste of honky-tonk on “Oh No No,” featuring some phenomenal harmonica playing from Corrin Huddleston.  The fanfare of the horns is noticeably absent on this song, replaced with Donald Benjamin’s slide guitar.  The result of this stripped-down arrangement is a refreshing change of pace and easily one of the finest moments on the album.  “Powered By Patron” injects some soul along with some liquid courage as Bill relays a tale about high-powered tequila changing its imbiber from shy to slick.  Pete Generous is in a zone and in the pocket on the drums, laying the foundation for the horns to build upon.  “Steppin’ Out” takes hold of the 12-bar blues structure and never lets go.  Edwards is in top form on this cautionary tale; there’s just enough of a bittersweet texture in his voice to suggest that regret remains on his tongue.  As the song fades out, vocalist Eve Soto steps up from the background to trade riffs with Edwards.  It’s a wonderful moment that is far too brief and leaves one to wonder what a duet between those two would sound like.

Turning up the tempo several notches, “Rocket ‘88” blasts off into the stratosphere with some rock and roll to close out the album.  Moroch’s guitar style feels right at home on this track and the punchy approach of the horn section adds the right amount of emphasis.  The musicianship on That’s What I’m Talkin’ About is so tight and professional that you forget that this is Bill’s debut album.  As a songwriter and a lead vocalist, he more than holds his own and this release proves beyond doubt that he was born to be the front man.  Staying truthful to the blues aesthetic while adding his own soulful touches, Bill Edwards has made an album with true staying power.  Blues and soul aficionados will find themselves giving this release repeat spins on their CD player.

Review by Jason Randall Smith
Rating:  4 stars (out of 5)

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Bounding Main “Kraken Up”

Posted on April 12, 2011 by Phil

Bounding Main is a particularly different monster to review. Covering solely ancient nautical tunes, and doing it a cappella, Bounding Main combines the emotional tug of the Irish and Scottish tunes with some extremely talented a cappella singers. With a cappella (no instruments, for those new to this style), it’s very hard to sustain interest unless there is strong emotion behind the songs. Bounding Main meets the challenges head-on and overcomes them with flying colors on their fourth release, bringing an album that is unique, fun, catchy, and many times, quite wonderful.

“Dogger Bank” is an excellent display of Bounding Main’s vocal talent and incredible sense of harmony and dynamic.  It has a great backup rhythm, and the singers behind the female vocalist add energy to the track.  “Heilan Laddie” is another solid track, with some very creative vocal arrangement making up for the other repetitive verses.

The solo at the beginning of “Call of the Sea” struggles a bit, but is soon swept away by the harmonies of the group into a wonderful, adventurous narrative.  It’s easy to listen to this music and get carried away to the places these songs talk about, and especially with this song.  You really feel like you’re on the journey with this sailor, cresting the waves and stopping in ports, all for the love of a lady at home.  “Time and tide do not affect me/until I come home to thee.” Once it takes off, this is one of the best tracks on the album.  It is absolutely breathtaking.

“Saltpeter Shanty” is fun, but it comes and goes without jumping out as memorable or catchy.  “Sloop John B” begins with an amazing solo, and the energy of this track is palpable.  Once again, the background vocals and harmonies carry the song swimmingly. This is another memorable track, one of this album’s best.  “Day of the Clipper” has a guitar track carrying it along performed by the Kansas City-based band The Jolly Rogers.  The lyrics warn ladies not to fall in love with a sailor because of his romance with the sea.  “All your loving mothers keep your eyes upon your daughters/for the sails will mend their tatters and the mast will rise again.” “Night Watchmen’s Lament” is a chance for the women in Bounding Main to show their talents, and they do quite well, allowing the harmonies to soar and swell with amazing dynamic talent.

The album sails through its tracks smoothly and pleasantly.  Other memorable tracks are “My Bonnie,” one of the few tracks on this album that a listener may have heard before, featuring a verse that they wrote themselves.  “Barbershop Shanty” features an entertaining introduction, and actually tells a great story of what makes Bounding Main so great.  A shantyman starts out on a ship with a discovery that his voice alone wasn’t getting the attention he needed to do his job, but when another sailor joins him, and another, and then a fourth, all of a sudden a beautiful sound occurs.  This song is, in fact, a great way to summarize the album.  Although neither vocalist has a powerful impact by himself, together they make a force be reckoned with.

“Rolling Up, Rolling Down” is another wonderful track, featuring Queen’s “We Will Rock You” rhythm driving the song. “Rolling up, rolling down/we all get drunk in Tilbury town.”  Queen might very well have stolen the rhythm from this older tune, as it seems to suit this song perfectly.

Bounding Main’s album isn’t perfect, but that doesn’t make it any less amazing.  The feat of creating a fun, exciting, entertaining full-length album containing nothing but sailor songs is a true accomplishment.  Bounding Main illustrates their talent, has a great time doing it, and takes you on a seafaring voyage that you’re not going to forget. In fact, you’re probably going to want to set sail again and again.

Review by Bobby Jo Valentine
Rating: 4 stars (out of 5)

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Alain Rozan “Histoires D’Amour”

Posted on April 12, 2011 by Phil

Born in France and having made his home in the United States for the past 30 years, singer/songwriter and actor Alain Rozan is strongly influenced by the culture of both countries.  Counting influences as varied as Bob Dylan, Tom Waits, Steve Forbert, Edith Piaf, Jacques Brel and Serge Gainsbourg, Rozan is a genuine troubadour who has performed at many New York venues over the years.  As part of a Bastille Day celebration in 1995 in New York City (where he currently lives), along with friend and accordion master Walter Kuehr, Rozan actually did a one day mini tour, going from place to place, performing 3 songs at 23 different locations! In addition to his musical talents, Rozan is also an actor who has appeared in a number of French plays, including the works of Jean-Paul Sartre and Jean Anhouil, directed by the likes of Marcel Lidj and his Studio Dramatique.  Although he sings in both his native language as well as English, the songs on his new recording Histoires D’Amour (Love Stories) are all sung in French.
Histoires D’Amour is an acoustic-based album with a decidedly European flair, enhanced by Rozan’s exquisite voice as well as accordion, acoustic bass and understated percussion.  Melodically, each of the eight songs hold up so well that they can be enjoyed whether or not one understands the language, though it might not be a bad idea for Rozan to include English translations of the lyrics in the CD booklet if he hasn’t already done so.

Histoires D’Amour (Love Story) begins with some nicely played hand drum and percussion rhythms before settling into a warm and mellow groove.  Rozan’s voice carries the melody beautifully, with the ample yet understated support of bass, percussion and accordion.  Likewise, the guitar work from Erik Della Penna is tasteful and heartfelt; a combination of rhythmic strumming and Spanish-influenced picking.  With similar musical backing, “Une Femme (A Woman)” is a yearning ballad, augmented by the addition of some gorgeous cello accompaniment.  Characterized by yearning and passion, Rozan’s vocals are fervent and raspy, perhaps evoking a bit of Oh Mercy-era Dylan.  Here and throughout Histoires D’Amour, his voice is at the forefront, allowing the story to be told with clarity while the music provides the ideal framework and embellishment.
With its brisk tempo, “Y’a Pas Qu’Les Pauvres Qui Chantent Le Blues” is yet another strong selection, set apart by Rozan’s husky vocals and a wonderfully played accordion solo.  Rather than employ a standard blues progression, the song puts a creative twist on the tradition by tweaking things in terms of structure, providing a jazzy folk flavor.  The result is equal parts exuberant and pensive, with the weightiness of Rozan’s lyrical expression lifted by inspired musical reinforcement.  The wistful “Tu M’Avais Dit (You Said)” is sparse in its arrangement, made more evident by its slow waltz-like rhythm.  Singing in hush, almost whispered tones, Rozan again shows his ability to embrace a song, providing the delivery needed to let a tale be told effectively.  The sympathetic touches of fretless bass, cello, accordion, guitar and percussion offer suitable support.

“Pas Reussi (Not Succeeded)” is tinged with melancholy, yet tempered by the brightness of a pulsing rhythm, accordion flourishes and vocal harmonies.  Rather than employ sharp accents, tempo changes and the like, the songs on Histoires D’Amour are noted for their fluidity, and “Pas Reussi” is no exception in this regard.  With its haunting ska-influenced rhythm, “Tarentella” finds Rozan exploring previously uncharted creative territory on the album.  The musical accompaniment is characteristically understated, while the rare use of accents here provides fitting depth.  On “Tarantella,” his singing ranges from light and airy to guttural, adapting a sing-speak style at times.

At just over two minutes in length, “Feministe (Feminist)” is a song sketch featuring Rozan’s sweet vocals, sometimes brought to a whisper.  Despite its short length, the melody is memorable, enhanced restrained accompaniment, highlighted by a lovely accordion solo.  In reference to one of his influences, “La Chanson De Gainsbourg” is evidently Rozan’s tribute to the late French singer/songwriter and director.  Though the song lacks the appeal of most of Histoires D’Amour, the coronet of Lawrence “Butch” Morris does add unexpected dimension to the somber piece which otherwise includes only the Rozan’s voice and Della Penna’s guitar.

Overall, Alain Rozan succeeds with Histoires D’Amour by rendering an artful yet accessible body of natural-sounding songs, encompassing folk, jazz and world beat elements.  This is the sort of music conducive to coffeehouses and bistros, as well as the confines of one’s living room.  Though some may be disappointed by the brief length (8 songs), Histoires D’Amour offers an impressive and rewarding listening for French and non-French-speaking music lovers alike.

Review by Mike Roots
Rating: 4 Stars (out of 5)

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