The Music Critic

Empirical: Elements Of Truth

noreply@blogger.com (The Music Critic) — Mon, 21 Nov 2011 14:23:00 +0000

The wonderful Naim label releases some great artists, Phantom Limb and Stuart McCallum to name but two. They have a diverse and eclectic roster of artists with Empirical being one of their most experimental. Empirical play jazz. Some of it is improvisational, some structured, some of it uncomfortable and some inspirational.

There is nothing traditional here as the guys take their cue from the likes of Charlie Parker and Courtney Pine. Indeed, their first album was produced by Pine. I'll be the first to admit that I like my jazz more Jelly Roll Morton and Bix Beiderbecke than the musings of Dizzy Gillespie and co, so at time I did find this record hard work. There is no doubting the skill that these guys possess, both as musicians and composers but the unstructured nature of the music was hard to listen to. I know that this is meant to be that way and as a musician myself I have great admiration for the dexterity and skill required to make such music but... I just can't relate to it.

It would be unfair for me to review this record as I just can't be objective about it. I simply don't get it.

www.empiricalmusic.com

no rating given

Spirits Of The Dead: The Good God Pan

noreply@blogger.com (The Music Critic) — Mon, 21 Nov 2011 13:39:00 +0000

Norwegian Psych rockers Spirits Of The Dead have adopted a different take on their sound for this their second album. The folksy edge is still there but it has been blended with jazz to take it into territory inhabited by Santana, Frank Zappa, Allan Holdsworth and King Crimson.

This mini album opens with the dream like Mighty Mountain, all chiming guitars and breathy vocals before morphing into a 60's inspired prog beast. The wonderful Leaves Of Last Year's Fall inevitably draws comparison with Dave Brubeck's classic Take Five as it uses the same 5/4 time signature. This is a fantastic jazz psych crossover with a great guitar sound from Ole Ostedal and the manic drumming of Geir Thorstensen.

Pure As The Lotus, as strange as it may sound, reminds me of Ronnie James Dio era Black Sabbath where the band experimented with synths and softened their metal sound with folk influences brought to the band by Dio. The records title track is a magical and ethereal piece of folk with front man Ragnar Vikse's breathy vocals cutting through the harmonies and is the stand out on an album that delivers throughout. Casting The Runes organ driven intro is powered along with bassist Deadly Nightshade plucking like a man possessed and giving a backbone to this instrumental noise fest. The record closes with the epic Goldberry. At nearly 8 minutes long, the band work it from gentle folk to fully grown rock anthem that carries the listener along, setting the pulse racing faster in the process.

Spirit Of The Dead are a band that really belong in a different decade but I for one am thankful that they make the music they do. In a world of Coldplay, Kings Of Leon and Snowpatrol who deliver us overproduced commercial pop masquerading as indie cool, Spirits Of The Dead are a breath of fresh air.

www.thespiritsofthedead.com

[][][][][ (4.5/5)

Kutosis: Shadows (single)

noreply@blogger.com (The Music Critic) — Mon, 21 Nov 2011 13:19:00 +0000

With the Darkness making a comeback and proving that the public still have an appetite for their balls to the wall brand of cock rock, Welsh rockers Kutosis may well find themselves well placed to join the bandwagon. Now, I am sure they wont like being compared to The Darkness or even being labelled metal as you get the feeling they take their influences from the likes of The Buzzcocks and The Clash but vocalist Ian has more than a touch of the Justin Hawkins about his delivery.

Shadows is a slice of punky metal that would have the mosh pit heaving with its straightforward rocking power chord workout. B side Skin feels more grounded in the punk ethos than the A side with some great drumming and guitar dischord. Definitely a band to keep an eye on.

www.kotosis.co.uk

Download the single for free from here

Sonny: Illuminant (ep)

noreply@blogger.com (The Music Critic) — Mon, 21 Nov 2011 13:00:00 +0000

Sonny is a bedroom knob twiddler with what would appear to be a fixation with the Cocteau Twins and Sigur Ros. There is little to get excited about here as his perfect diction delivery sound like he is auditioning for an Lloyd Webber musical while the music itself feels soulless, directionless and unimaginative.

Opener Shine Like Silver has the dreamy guitars nailed but the production, percussion and vocals drain any spark of life it has within the first few bars. We are firmly in musical theatre territory with the other 3 tracks, Dew Bright Earth, Everything Was Golden and Wonder Of Snow. These songs, I use the word songs in the loosest term, reek of self indulgence with half baked lyrics and little songwriting skills.

It is not often that I can't find any redeemable qualities in someone's music but Sonny has succeeded here.

www.sonnyminimal.com

Jon Gomm: Message In A Bottle (single)

noreply@blogger.com (The Music Critic) — Fri, 18 Nov 2011 15:53:00 +0000

This is the second in a series of singles being releases by the Leeds based guitarist and songwriter. The only indication that this is a cover of The Police classic are the lyrics, as the musical makeover it is given by Gomm's incredible guitar playing pushes the melody to its very boundaries.

There is no doubt that Gomm is one of the most exciting, innovative and original musicians we have came across and he deserves a far bigger platform for his talents. With every release his following grows and it is no wonder when he is producing music of this quality. If there was any justice this would be all over radio 2 and Later with Jools would be begging Mr Gomm to grace their show.

www.jongomm.com

watch the video

Maeve O'Boyle: Intermission (ep)

noreply@blogger.com (The Music Critic) — Fri, 18 Nov 2011 15:25:00 +0000

We loved O'Boyle's debut album here at The Music Critic hq, so we were quite excited when this mini album arrived. Intermission is a stripped bare acoustic and vocal affair with re-recordings of tracks from her debut along with some choice covers.

The record kicks of with a cover of Tom Wait's Ol'55 and straight away you are struck by the sheer purity and warmth of O'Boyle's voice. This lady has the ability to raise the hairs on the back of the neck with effortless ease. This is a fine interpretation of a great song that manages to top Waits himself. She also cover Springsteen's No Surrender and, somewhat bizarrely, Resist by Canadian rockers Rush. Both are good but fall short of the magic she showed on Ol'55.

On her debut album there was one track that producer Calum Malcolm just got completely wrong and this has been redressed here. Facing Home is arguably O'Boyle's finest song and a firm live favourite but when it appeared on her debut album it had been over produced and its simplicity destroyed. Here, in its stripped bare form, the vulnerability of the lyrics are matched by the haunting lit of O'Boyle's voice and it is just simply beautiful.

For me though, it is the brilliant Taxi that steals the show. Written when O'Boyle was only 13, it is a masterful slice of pop that paints pictures of late night Glasgow and lingers in the head long after the closing bar. I would go as far as to say that Maeve O'Boyle is the best female singer songwriter that Scotland has produced in the last 30 years. Seriously.... this girl is that good.

www.maeveoboyle.com

Stuart McCallum: Distilled - Album of the Month - November 2011

noreply@blogger.com (The Music Critic) — Wed, 16 Nov 2011 17:11:00 +0000

McCallum is the guitarist with the wonderful Cinematic Orchestra and with Distilled he has produced a beautiful record that sounds sublime. There is no doubt that some may find the experimental nature of the record and lack of vocals challenging but this is a record of layers and depth that reveals something new with each listen.

Album opener dR Doctor is a blissful mix of percussion and guitar in perfect harmony that could just as easily fill a dance floor as it could captivate an audience. McCallum's use of samples and effects gives a 'trip hop' feel while his guitar playing has shades of Pat Metheny and Allan Holdsworth. Both Hillcrest parts I and II are perfect examples of this as he slips into avant garde jazz mode. The acoustic La Cigale and Fokey Dokey are both dream like, with the former giving way to disjointed jazz leanings and the latter unfolding into a summers walk in a meadow of tall grass swaying in the breeze as the sun shimmers in the late evening haze.

Vital Space takes orchestral elements and bends the rules with erratic drum patterns and delayed guitar harmonics for a sensory treat for your ears and brain but it is the mesmerising Inflight that steals the show for me. The repetitive blend of electronica with acoustics and its changing time signatures are trance like while the guitar work is both complementary and disjointed. Bloody genius.

The album closed on the title track which wouldn't seem out of place on a Laurent Garnier dj set or on the terrace of Cafe Del Mar as the sun sets with its driving beats and synth riff layered with string samples. I like this record a lot. This is emotive music that many people will label as 'jazz' while the jazzers will dismiss it as to left field but to me it is beautiful, challenging, mesmerising and original. A record to cherish.

www.stuartmccallum.com

[][][][][] (5/5)

Transfer: Future Selves

noreply@blogger.com (The Music Critic) — Wed, 16 Nov 2011 16:16:00 +0000

San Deigo's Transfer have a sound which is familiar. This album is like a magpies nest, with little trinkets lifted from all around and used to beautify their nest, or in this case record. There is no getting away from the comparisons with Athlete, The Killers, Elbow and Arcade Fire, and we all know that originality is the long road to fame, so why not take a few short cuts and nod your hat to those who have paved the way before you.

Transfer have stardom written all over them. They have the grandiose sound that is made for reverberating around a stadium. They have the quirky look that says 'we are coooool'. They also thankfully possess a drummer of Keith Moon proportions in Andy Ridley who rattles around that kit of his like a man on a mission. For all this I'm just not that into it. We have seen it all before and conviction, musicianship and a big sound can't distract from the lack of quality songs.

From the off front man Matthew Molarius does his best Brandon Flowers impersonation, which if he had the voice for it would work, but he just lacks the power and depth. Opener Losing Composure is only memorable for the brilliant drumming while Take Your Medicine (may we suggest Prozac) is middle of the road pop with a few bells and whistles and a whole lot of smoke and mirrors. We almost had our lighters in the air half way through My Suspicions. Yep, these guys can do cheese with the best of them, just check out Get Some Rest if you need further proof.

The San Diego Symphony add some much needed texture to this record and certainly contributes to the albums big sound. In amongst the mire of mediocrity there are a few gems like the Joy Divisionesque Enojado, again the drumming is the star but the reverb laden vocals are an inspired inclusion. The best track by a mile is the wonderful White Horse (which is a bonus track) with a great guitar riff that Ritchie Blackmore would be proud of and you know what, Matthew Molarius sound right at home as he nails it and shows he actually has a great voice, far better than the rest of this album suggests.

I have no doubt that this album will break these guys here in the UK and Europe. It has hit written all over it. I may not like it but I can see why millions will. One for fans of The Killers, Snow Patrol and Kings Of Leon for sure.

www.transferband.com

[][][ (2.5/5)

Annette Berlin: Lady At The Window (single)

noreply@blogger.com (The Music Critic) — Wed, 16 Nov 2011 16:01:00 +0000

Lady At The Window is a departure from Berlin's normal output. Gone is the 'Garage' sound and in its place is synthetic pop that tries to be a little bit R'n'B, a little bit Trip Hop and a little bit to clever for its own good. Some might say it is laid back but then again there is also the point of view that it is just plain boring. I'd go for the latter

If night nurse came in a musical form then this would be it. zzzzzzzzzzzzzzzzzzzzzzzzz.

www.annetteberlin.bandcamp.com

Madison Violet: The Good In Goodbye

noreply@blogger.com (The Music Critic) — Thu, 10 Nov 2011 12:51:00 +0000

Canadian duo Madison Violet have been building a reputation since their first album back in 2004 with their winsome Americana inspired folk, with 2009's No Fool For Trying establishing them as serious contenders.

The Good In Goodbye is one of those records that you turn to on a lazy Sunday afternoon and that is both the charm and the problem with this album. In many ways this is background music, very well written, played and recorded but hard to get excited about. Having listened to this album several times over the past week I could not tell you a single lyric, hum you a melody from it or name any of the songs other than the title track. There is nothing really to dislike about this album, it is just that I can't get excited about it.

The tone for the record is set with the opener If I Could Love You. A perfectly pleasant, non offensive piece of non de-script folk pop that you hear in a thousand coffee house stereos the world over. This formula is repeated throughout. Home, Stuck In Love, Fallen By The Wayside, Colour In Grey etc all pass gently by without leaving the slightest mark on my memory or emotions. It is only Come As You Are, with its ever-so-slightly rockier edge, Emily, resplendent banjo and lovely vocal harmonies, and Cindy Cindy, is that Bluegrass... surely not, that departs from the monophonic sound that makes up this record.

This is a record that left no impression with me. I neither like or dislike it, care if I heard it again or be bothered if I did. I find it rare that music can leave me with no reaction of any kind but this record has. I dare say that if I owned a coffee shop it would be top of my play list. Nothing like playing it safe.

www.madisonviolet.com

[][][ (2.5/5)

Mississippi Live & The Dirty Dirty: Way Down Here

noreply@blogger.com (The Music Critic) — Thu, 10 Nov 2011 11:55:00 +0000

Mississippi Live & The Dirty Dirty is Vancouver based singer songwriter Connely Farr and an assortment of friends and session players. The name seems appropriate as the sound is certainly 'dirty', with a straightforward rocking energy that brings to mind bands like Crazy Horse, Gin Blossoms and Wilco. This is rock 'n' roll, with hints of country and blues played with an undeniable enthusiasm that is as infectious as the music.

The live feel of the record is something I really like. It is produced but not over polished. Producer Jon Wood and engineer Brian Barr have done a fantastic job here. The album opens with the Americanaesque Rain Keeper with a great drum sound driving Farr's tuneful vocal drawl, all underpinned with a 'bar room' piano. As if by total contrast, the title track is tuneless and instantly forgettable with Farr mumbling his way through with no conviction of any kind. You normally expect the title track to be the shining star of any album but this really is turgid stuff. Thankfully this is the only real moment of musical suicide and we get back on track with the bluesy Had To Leave Her with some great guitar histrionics from Ben Yardley. The beautiful starkness of Battle Song is a real highlight. This is a song that benefits from the sheer simplicity of the arrangement and is one song that has certainly stuck in my head.

Stranger and Butterfly bare comparison to Bruce Springsteen and Bob Dylan with the former being a particularly fine song. The short but sweet Banjo Song is certainly an oddball track but it is perhaps my favourite of the 11 track on this album. It is in no way representative of anything else on the album and as such just catches you unaware. The album closes on Wooden Nickles, a building wannabee rock monster that begs to be at least another 3 minutes longer as just as it bursts into life it ends.

Farr certainly has it in him to write brilliant dirty bluesy alt-countryish rock songs, as this album shows... but he also appears to be guilty of being too self indulgent at times. When this album works, it is as good as early Springsteen or pre stadium pomp Kings of Leon and you can't argue with that.

www.mississippilive.net

[][][][] (4/5)

Don Lee: Fool To Even Care

noreply@blogger.com (The Music Critic) — Tue, 01 Nov 2011 15:50:00 +0000

When we reviewed Lee's last album, we compared his sound to that of Squeeze and Glenn Tilbrook. The emails from outraged fans poured in, who wished to point out that Don is his own man and should not be compared to anyone. Well guys, sorry to disappoint you all again but Fool To Even Care has Lee's love affair with Tilbrook all over it. Now, this is not a bad thing. Lee knows how to craft a song and he is blessed with a powerful and sweet voice. The dynamics he uses in the structure of his songs gives his music a quirky edge that means that he is always going to draw comparisons with Tilbrook.

Fool To Even Care marks a leap in the quality of production from his previous work. This is a beautiful sounding record with depth, warmth and clarity present on every track. The album springs into life with the bouncy How Do You Play? with some great bass playing and killer guitar hooks. Given that Lee plays all the instruments, except drums, it is remarkable how he has managed to make it sound 'live'.

The funky vibe of Pay Your Love In Full is made all the more appealing given the dual vocal approach with Alina Zimmerman's throaty vocals proving a contrast to Lee's poppier tones. Stand out track for me is the sublime Never That Far which twists chords and beats in a triumphant pop masterpiece. The bittersweet Starlight is no less beguiling with the simplicity of just guitar and vocal showing Lee's mellower side. He also shows he is no slouch in the guitar department with some blistering solos scattered throughout this record, and he gets to rock and show his dirtier side (guitar speaking of course) on both Get Out My Way & Rub It In.

The album closes on the quirky Nowhere To Go with Jack Mariachi & Ken Masson whipping up a storm on drums and percussion. Mariachi's drumming throughout this record is superb and really binds it together. There is no argument from me that Lee is his own man, and a very talented one at that, but his sound is such a distinctive one that it is impossible not to draw comparisons to the songs of Glenn Tilbrook. For me that is no bad thing.

www.donleesounds.com

[][][][][ (4.5/5)

The Soulphonics: The Dynamic Sounds Of The Soulphonics

noreply@blogger.com (The Music Critic) — Tue, 01 Nov 2011 15:06:00 +0000

The Austin 3 piece that is the Soulphonics have a psychedelic heart. Their 'garage rock' sound has much in common with bands like Moby Grape and Quick Silver Messenger Service while Glen Worley's naive vocals add a twee twist to proceedings.

The guys are not trying to reinvent the wheel here but instead put a bit more air in the tyres. The album opens with the driving beat of Time Has Changed, complete with chopping guitars that Wilco Johnson would be proud of. The production has a kind of endearing diy feel to it which only adds to the whole punk ethos. Most of the 16 tracks on here are originals but they do tackle a couple of covers and their version of The Brogues 1965 hit I Ain't No Miracle Worker, with Reid Watson taking on vocal duties and outshining Worley, captures the spirit the original as does their version of The Squires Going All The Way. There is no doubt that these guys wear their musical hearts on their sleeves.

Worley proves himself to be pretty nifty in the writing department with brilliant Can't See Love being a stand out, as is the instrumental El Caribe but it is downright dirty Don't Bring 'Er!' that nudges it for best track.

There is much to like about The Soulphonics, especially if your record collection includes The Turtles, The Ramones or Ten Years After. Their sound is naive, as are the lyrics, production and musicianship but that is why I like it. This record wasn't made for me or you. It was made because the band want to and I for one am glad that I get to share it.

www.the-soulphonics.com

[][][][] (4/5)

J. Harbourne: Hills Of Home (ep)

noreply@blogger.com (The Music Critic) — Tue, 01 Nov 2011 14:34:00 +0000

When the word charity appears on a press release my expectations of the music on offer is always low. Hills Of Home is proof that sometimes you need to put your preconceptions aside. This ep was inspired by the death of Harbourne's friend Lance Bombardier Matthew Hatton who was killed at the age of 23 while serving in Afghanistan and is being released as a tribute to his friend with all profits from the sale of the ep going to Help For Heroes.

The title track is a folk song at heart but it is infused with lush pop melodies and heartfelt lyrics that are touching without being sycophantic. Request doesn't quite have the instant appeal of the opener but track 3, Actress, most certainly does. Its off kilter guitar and Jacques Brel inspired vocals make it a weirdly wonderful song.

The ep closes with the upbeat Sand, backed with a bossanova beat and jangling guitars that is completely different from the other 3 tracks. Harbourne's background is in musical theatre but thankfully this ep shows no hint of that. This ep shows Harbourne to be a fine songwriter and I'm sure that his friend would approve, both of the heartfelt music and the charity that will benefit from its.

www.borrowedtimeproductions.co.uk
www.helpforheroes.org.uk

The Bloogs: The Bloogs (ep)

noreply@blogger.com (The Music Critic) — Thu, 06 Oct 2011 15:52:00 +0000

London based indie kids The Bloogs are a bit of a grower. On the first few listens to their self titled 4 track ep, it was hard to get excited about their generic jangly 'Brit Pop' sound but they kind of whittled me down. They have shades of The Kinks, Squeeze and The Bluetones about their sound with front man Ross Brown having more than a passing resemblance vocally to the Bluetones Mark Morriss.

Opener Sideways is let down, as is the whole ep, by the poor production which is lifeless and flat. The band describe this song as 'Oasis without the attitude'. Don't do yourself down guys, it sounds nothing like the Beatles. Species Apart reminds me of Ian Dury & The Blockheads while Run It By The River is a pretty forgettable piece of pub rock. The ep closes on its strongest track. Revelling is twisting battle between chiming acoustic guitar, killer hooks and a memorable chorus.

It is a bit hit and miss for the guys but shows enough promise that with a good engineer and producer on board, they may just be able to do something special.

www.thebloogs.com

Red Sky July: Red Sky July - Album of the Month - October 2011

noreply@blogger.com (The Music Critic) — Thu, 06 Oct 2011 15:01:00 +0000

Red Sky July come with impressive credentials. The trio of Shelly Poole (Alisha's Attic), Charity Hair (The Alice Band) and Ally McErlaine (Texas) have all achieved considerable success in music, so what does the trios self titled debut album bring to the table. The original concept for the album came from McErlaine and Poole, who are husband and wife, before bringing in their long time friend Hair. It is amazing that this album ever got made at all as McErlaine suffered a life threatening brain aneurysm which left him in a serious condition for over a year.

This is an atmospheric record with an expansive Americana sound where Poole and Hair share vocal duties interwoven over McErlaine's reflective melodies. The subtle introduction to the album comes in the form of the short instrumental Hynek before giving way to beguiling Morning Song which is layered with muffled slide guitar and bright acoustic finger picking. Slide guitar is a recurring feature of this record but not in a 'in your face' kind of way. The dual vocal approach from the girls is sublime throughout and lifts tracks like Already Gone, The Gold Hour and Rivers Wild to exquisite highs that are just wonderful.

This is a self assured and uplifting album that is made all the more engaging given the struggles they had to overcome to finish it. On an album of such beauty, it is hard to pick an individual track that seems to sum up this record but White Feather captures everything that this album is about for me. Mesmerising vocals, touching lyrics, beautiful melodies and a sense of self belief make this an album that has never been far from my cd player since it arrived.

The record closes on the hymn like The Happiest Girl In The Whole USA and proves to be the perfect ending to a wonderful record of hope, inspiration and love. I like this record a lot. I have always believed that music should elicit an emotion from the listener, whether that be joy, sadness or rage, and Red Sky July has certainly touched me more than I was expecting.

www.redskyjuly.com

[][][][][] (5/5)

Sweet Sweet Lies: Capital of Iceland (single)

noreply@blogger.com (The Music Critic) — Thu, 06 Oct 2011 14:43:00 +0000

Sweet Sweet Lies have adopted a punk folk mix that will be familiar to fans of the glorious Gogol Bordello for this single. Capital of Iceland is perhaps not representative of the Brighton sextet overall sound, which has more in common with Leonard Cohen and Nick Cave than this single suggests, but never the less, this single is as characterful as the band themselves.

Packed with humour and self deprecation, Capital of Iceland is a love song of sorts bristling with energy, fantastic lyrics and enough quirkiness to make it stand out from the crowd. These guys are definitely a band to keep an eye on and If they ever make it up to my neck of the woods, I'll be at the head of the queue for tickets.

www.facebook.com/sweetsweetlies

Brett Martini: Lovers Lane (single)

noreply@blogger.com (The Music Critic) — Thu, 06 Oct 2011 14:27:00 +0000

Brett Martini's name has popped up a few times before here at Music Critic HQ. Martini is part of the madcap band I, Ludicrous and formerly played bass with the glorious Voice Of The Beehive.

Lovers Lane, a downbeat ballad from the seedy side of life and love, is his first solo release. There is a simplicity to this record that is strangely alluring. While it doesn't have the sense of humour of I, Ludicrous or the irresistible pop sensibilities of the Beehives, the downright honesty of his performance is refreshing.

www.myspace.com/martinbrett

The Zombies: A Moment In Time (single)

noreply@blogger.com (The Music Critic) — Thu, 06 Oct 2011 14:10:00 +0000

The Zombies were one of the biggest 60's bands that were at the forefront of the British Psych scene for more than two decades, so what to expect with this new single. The reformed band features original members Colin Blunstone and Rod Argent as they undertake a grueling world tour to celebrate the bands 50th year.

A Moment In Time is a cringingly painful slice of middle of the road pop that you may expect to find on an Aled Jones b-side. It is hard to believe that this is the band who gave us classics like She's Not There and Time Of The Season.

You can't help but feel that this is just diluting the wonderful legacy that the band have left behind them.

www.thezombies.net

Peanut Butter Lovesicle: Heavy Daze Wildcat Craze (ep)

noreply@blogger.com (The Music Critic) — Thu, 06 Oct 2011 13:46:00 +0000

Is it just me are are we having a bit of a Psych revival. Peanut Butter Lovesicle have went for a 'live' sound with this 5 track ep where they stray into Dinosaur Jnr territory rather than the 60's and 70's psych sound of bands like Moby Grape or 10 Years After.

As hard as PBL try they fail miserable to capture any of the spirit of bands they aspire to be. At times the vocals are deeply unpleasant while the guitar sounds like an out of tune chainsaw. The only track that offers some hope is the Black Sabbathesque Sicamore Trees which appears to have lifted huge chunks from Sabbath's Iron Man.

There are so many bands doing this so much better that it is hard to find anything positive to say about this pretentious pile of shi*e. Save your money and your ears folks and go buy some Zappa, Moby Grape, Grateful Dead, ZZ Top or Hendrix instead.

www.peanutbutterlovesicle.com

The Zenon Band: Falling (single)

noreply@blogger.com (The Music Critic) — Thu, 06 Oct 2011 13:28:00 +0000

The Zenon Band come along without the musical hang ups that most British bands have. Their sound is a mix of pop and rock which hasn't been popular here since the likes of John Parr, John Waite and REO Speedwagon were all the rage.

Now, it would be easy to dismiss this as terribly unhip but here in the UK we are fed a diet of commercial radio generic play lists where music has to fit nicely into whatever box the industry wants us to buy but head to countries like Germany, Poland, France etc and the radio, press and tv if full of brilliant music that just wouldn't be heard over here.

The Zenon Band are not breaking any new ground but Falling is catchy and well crafted with some excellent musicianship and production. I wouldn't buy it but I would turn the radio up if it came on and allow my inner poodle perm to flow free.

www.zenon-music.com

Betty Soo and Doug Cox: Across The Borderline - Lie To Me

noreply@blogger.com (The Music Critic) — Thu, 29 Sep 2011 12:17:00 +0000

When my colleague, the esteemed Mr Brown, reviewed Betty Soo's Heat Sin Water Skin album, he berated the music industry for letting a talent like Soo's go un-noticed but seven months later and her star is in the ascendancy and the music world is paying attention. The pairing of Soo and Doug Cox may seem like an unlikely one. Not because the are musically that different but because they live 2500 miles apart. Music has a way of bringing people together and this record is testament to that.

The 10 tracks here are all covers. The duos interpretations of some of the writers that inspired them to make music their careers. Names like Guy Clark, Louden Wainwright III and Butch Hancock are familiar to many but Jeff Talmadge and Betty Elders will be names that are new to most. Apart from the songs, the main focus is Soo's wonderful voice and Cox's superb dobro playing.

The album opens with Lie To Me by Austin songwriter Jeff Talmadge but it is only Soo's voice that makes this rather ordinary song shine. The duos version of Jane Siberry's You Don't Need is much better than the original. Personally, Siberry's voice has a nails on black board quality to me, so Soo's voice is so welcome. Listening to this record I keep finding myself asking why two such accomplished songwriters and musicians felt the need to record other peoples songs, especially when most of them don't match up to the quality of their own material.

Cox's vocals on Be Careful There's A Baby In The House are bordering on painful. I don't think Loudon would approve. Of all the songs tackled it is the final track, Guy Clark's Dublin Blues that fairs the best with for the first time the playing and singing having real conviction and feeling. This record is a huge disappointment that does little to boost the reputation of either of the duo. I wanted to like this record so much but with every listen I find something new to dislike. For me this is an idea that should never have made it to record.

www.acrosstheborderline.org

[][] (2/5)

Sarah Lee Guthrie & Johnny Irion: Bright Examples

noreply@blogger.com (The Music Critic) — Thu, 29 Sep 2011 11:15:00 +0000

The husband and wife duo of Irion and Guthrie seems to be as blissful a musical union as well as a personal one. Bright Examples could easily have been a self indulgent exercise but it is far from it. Both are outstanding artists in their own right and it could have been easy for Guthrie to trade on the family name made so legendary by Woody and Arlo but this is an album that will remove any silent whispers. Bright Examples has a well honed sound, and as strange as this may sound, that comes across like a meeting of Neil Young and The Carpenters.

The duo have not been short of some famous friends to call upon in the making of this album. The Jayhawks Gary Louris and Mark Olson pop up along with the irrepressible Radoslav Lorkovic. There is an organic feel to this record with the production adding a wide and lush aspect to its overall sound. The album opens with the downbeat and beguiling Ahead Of Myself with Irion's falsetto voice sounding fantastic. Never Far From My Heart teases you in with its wonderful dual vocal intro and unfold into a classic slice of Americana before the 60's inspired Speed Of Light transports you to a summers day in San Fransisco with Jerry Garcia caressing your ears.

A real stand out is the shimmering First Snow, co-written with Gary Louris, where the ghost of Gram Parsons hangs on every note. This is music that seems to emanate from the past. There can be no doubt that their influences come from 60's and 70's as the winsome folk of Cry Quieter and the sheer towering majesty of the title track Bright Examples confirms.

As fantastic an album this is, the pair do mis-fire on the twee Dupont Circle but we can forgive them this blip as the other eleven tracks prove a breath of fresh air. This is a wonderfully written, played and produced record that doesn't disappoint given the expectations the duo come with. A true gem.

www.sarahleeandjohnny.com

[][][][][ (4.5/5)

Jon Gomm: Passionflower (single)

noreply@blogger.com (The Music Critic) — Thu, 29 Sep 2011 10:42:00 +0000

If you have never seen Jon Gomm live it is hard to comprehend exactly what it is he does. Listening to this single, the first in a series of releases under the banner of 'The Domestic Science Singles Series', you would be forgiven for believing that you are listening to a band but no... it is just the one guy with an acoustic guitar. No overdubs or studio trickery.

Passionflower is a beautiful ballad with Gomm's voice sounding better than it ever has. The playing is stunning and goes far beyond what most people would thing an acoustic guitar would be capable of and it is this understanding of pushing boundaries and ignoring limitations that makes Gomm so special. The single is available to download for 'pay what you want' from Gomm's website and check out the video while you are there and have your mind blown.

10% of the proceeds will go to The Happy House children's home in Watamu, Kenya.

www.jongomm.com

The Water Tower Bucket Boys: Where The Crow Don't Fly (ep)

noreply@blogger.com (The Music Critic) — Mon, 26 Sep 2011 22:34:00 +0000

The Portland quartet caught our attention last year with their superb album Sole Kitchen which was packed full of high octane bluegrass, so we were delighted to see this 5 track ep pop into the Music Critic HQ mailbox.

Where The Crow Don't Fly sees the guys in a mellower place with the tempo brought right down. The title track kicks things off and the chilled vibes are set in motion. This is quality music, played beautifully and genuinely affecting. Pilgrim Song features some great harmonica playing from Carlton Gill-Blyth that interweaves with the intricate mandolin playing of Kenny Feinstein. This is a great song that has touches of Crosby, Stills and Nash about it with the wonderful vocal harmonies.

The tempo is raised slightly on the infectious Easy Way Out with the unmistakable drone of a Hammond B3 underpinning the whole song. The ep closes on the beguiling R Song which is a bit of a departure from the guys normal output and sounds uncannily like Elbow at their full flowing best. While this is a departure from what we know the band for, it is a welcome one all the same.
Having caught the band live earlier this year, they certainly capture the energy of their live shows on record and this ep shows the band at their chilled best.

www.watertowerbucketboys.com