Review: Andy Palmer - Hazard of the Die

It’s always interesting to chart the path of an artist, to see where they came from. In the case of up and coming alt folk rock artist, Andy Palmer, that story is that much more true.

Palmer seems to have always been a wandering soul, searching for peace and contentment in the highways and the byways. A shy individual by nature, Palmer took to writing songs in his early twenties as a way to express himself, admittedly writing tracks that “were introverted and filled with angst.” His searching brought him to a spiritual retreat in Maine where he lived for six months in near solitude, meditating for up to four hours a day in search of an inner peace.

 “I believed I had become too attached to myself and to the physical things around me. So I challenged myself to live without a strong sense of identity or creature comforts.” Among those creature comforts was listening to music; however, he supplemented listening to music with playing his own as he sought out his own voice.

After that intense journey, Palmer took on an even bigger challenge as he pursued the path of law and eventually served as a public defender in New York City. The gritty and harsh realities he faced there color in the lines of the eight tracks that compose Hazard of the Die.

In addition to his experiences, perhaps the most interesting element of Palmer is his voice, which he uses to full extent here. A gravelly and worn hybrid reminiscent of artists like Tom Waits, Nick Cave, and Leonard Cohen, Palmer uses his voice as an instrument, his vocal intonations simply giving more pop and power to his eclectically dark compositions.

“The Monk” opens things up, an autobiographical tale of the artist passing a Franciscan monk walking twice while on a road trip and ebbs and flows into existential thoughts, buoyed ahead by a mid-tempo mélange of guitar, percussion and strings before opening up into the spoken word poetry of “Heart of Colfax,” which finds the artist really working his voice powerfully as he tells of an urban dark side.

Smooth blues notes accentuate “Broke Down in Bellevue,” Palmer using some of his instrumental fills to almost push the listener to a point of discomfort that works wonderfully well with the slightly haunting lyric. Those blues vibes continue with the more upbeat and rocky “Good Son” while “Moreya” is a more subdued affair that subtly builds and is easily one of the more accessible tracks found here.

That accessibility doesn’t last long, however, as Palmer delivers “Muy Algo Muy Mal”, translated, “There is something very wrong.” This is an area where Palmer’s vocals grate as oppose to intrigue and the repetition within the chorus of the Spanish title are jarringly frustrating. Thankfully, “The Defendant” and its dark tale of injustice, fueled with moody tones does a lot to right those wrongs. Birthed out of an experience Palmer had in court as a public defender, it’s one of the album’s standouts, complete with its wailing harmonica before the funkified flavors of “Fancy That” step in to close things out.

Palmer’s an artist that won’t garner Top 40 airplay anytime soon but that shouldn’t deter him in the least. A lyricist who writes openly and honestly and delivers those words couched in colorful and creative blankets of sound, all hinged upon his unique vocals, Palmer has plenty of promise. Fans of Waits and Cave should find plenty to enjoy here as will those willing to expose their ears to something new and out of the proverbial box.

Review: Matthew Heller - Invitation

Protest music has a long history throughout the world of music. Yet, while it has considerable roots, most only think of its earlier incarnations when it’s mentioned. Artists like Woody Guthrie and Bob Dylan tend to enter folks mind, their acoustic-driven, folk sounds being that which people so often identify with the genre. Yet, while those artists are for sure among the figureheads, protest music has reached much farther than that, seeing it enter into genres as diverse as punk, rock ‘n roll, blues, and even country.

And those are the places that anti-establishment musician, Matthew Heller, goes in order to get his message across.

The Portland-based artist has plenty to rail against, largely due to his life experiences. The son of a heroin addicted mother, who would eventually fall prey to her addiction, Heller has seen a lot of dark times and his music reflects that. Adding to those experiences, he shares, “I’ve lived in the Mission district in San Francisco, in the Puerto Rican parts of Brooklyn, and in the South Side of Chicago. In Chicago I saw a man freeze to death outside.” Those are the kinds of experiences that color in a life and, in Heller’s case, provide the angst to his passionate artistry.

That artistry comes forth in a plethora of forms on Heller’s latest outing, Invitation. One form finds the artist channeling the muse of indie and alt-flavored garage rock as he does on tracks like the energetic “Shake It” and the percussion-heavy “Another Dose.” And with his vocals playing back between references to Jack White and Billy Corgan, Heller continues to deliver his personal brand of vitriol on “Drone Strike,” passionately and loudly calling out the government for the use of drones.

The alt-rock elements come forward on tracks like “Father’s Son,” opening with warm acoustic notes before bursting into an electric chorus, complementing the song’s heartfelt lyric, while “Space Girl” is a plethora of sound and experimentation. Album closer “Dismay King” is a surprisingly approachable track and is one that should be considered as a radio single if opportunity arises, complete with choral vocals and insistent piano chops, while “Sink or Swim” is simplicity personified, seeing the artist settle in quietly and allow things to rest for a moment.

The other form that Heller’s musical persona seems most comfortable in is that of a rousing blues musician. Emerging from the poignant and powerful instrumentation of “Interlude,” Heller lets his inner bluesman slowly emerge through the tale of a drug addicted girl on “Howdy From Hades” and “Mercy” before “Man’s Prayer” finds his true blues emerging in a raging, acoustic storm. “Jaclyn of Spades” keeps this same vibe rolling, with help from guest artist Nathan Trueb, of Alpha Tango Alpha fame, providing slide guitar work. And further listens find that blues element running through many of the other tracks, something it’d be exciting to see Heller pursue further in the future.

But, as his current direction holds, Matthew Heller is doing things right. Eclectic and artistic as he is, these things don’t always add up to a listenable product. Yet, Heller manages to combine a flow of compelling meaning lyrically into tracks that ooze with enough creativity to stay interesting but not so much to alienate. It’s a fine line to walk and the better part of Invitation manages it well. Heller’s music has legs; it’ll be interesting to see where this collection of tracks takes this compelling artist.

Review: Jamie Block - Whitecaps on the Hudson

The music business is notoriously fickle. It seems as though in today’s music market it’s really not all about the music anymore. If that were the case, artists like Leonard Cohen, Bob Dylan, and more would be blowing up the Top 40 airwaves instead of pop stars like One Direction, Justin Bieber, and more. And while there are a good number of artists who fall in between, managing quality hooks alongside compelling lyricism, there are even more who fall between the cracks, their artistry either too far ahead of the times or their luck just that poor.

Jamie Block is such an artist. The New York-based singer-songwriter rose to indie prominence in the mid 90’s with his album, Lead Me Not Into Penn Station, which lead to some solid opening gigs, performing on the same stage as artists like The Brian Setzer Orchestra, Bob Mould, and They Might Be Giants. Soon, Glen Ballard came calling and signed Block to his Capitol imprint, Java Records, and released Timing is Everything, a record that scored solid critical acclaim and landed several tracks on assorted film soundtracks.

Yet, whether it was music that came before its appointed time or perhaps Block had simply run out and Capitol Records dropped the artist and he headed to Wall Street. However, when WFUV deejay Claudia Marshall began to play Block’s music once again and put out the plea for Block to return to recording, the artist simply couldn’t say no, releasing The Last Single Guy in 2006.

Now, Block’s back yet again with his latest collection of tracks, Whitecaps on the Hudson, and it’s a doozy.

And Block didn't come alone. With the help of producer and engineer, Dean Sharenow, Block benefits from a sound stable of accomplished musicians backing his quirky and compelling compositions. Featuring the talents of musicians like

Erik Della Penna (Natalie Merchant, Joan Baez) on guitars, Mick Rossi (Paul Simon, Phillip Glass) on keyboards, and Byron Isaacs (Olabelle) and Jeff Hill (Rufus Wainwright) sharing the bass duties, Block recorded the album in two Brooklyn sessions in order to capture the magic live.

And what magic it is.

Block presents himself in essentially two ways. The first incarnation is that of the Americana-flavored singer-songwriter found on tracks like "Black Eyed Susan," "Henry," "Can't Sleep," and "I'll Keep It With Mine." It's on these songs that the artist adopts a typically more acoustic approach, with lots of organic tones and a vocal delivery that hints at influences as diverse as Willie Nelson and Neil Diamond while still lending its own originality as well. These tracks are all warm in tone and tend to provide subtle canvases for Block's solid lyrics, as is the case with album closer, “Far Away.” If the artist were content to rest here and filled out the rest of the album with similar tracks, listeners would still have little to complain about.

However, Block's no one-trick pony and his second persona is perhaps the more interesting, if less accessible, side of his music. This side resonates with healthy influences of Tom Waits while maintaining a decidedly "Block"-centric flair and offers up musically-tinged spoken word deliveries that both baffle and delight, all in the same moment. From the rootsy rock and hooting horn section, complete with its playful pop culture references of "B.A. Man" to the percussion and piano-heavy "Somebody Beat the Wiz," Block drops lyrics that puzzle while bringing a smile to one's face at the same time.

The title track comes close to bridging the gap, with the artist's spoken word coming elegantly close to being sung, buoyed by persistent shaker sounds and a slightly demented guitar lead that weaves its way through the track here as the song builds more and more, the lyric recalling the heroics of the Revolutionary War. More free-form guitar meets piano notes of the same on Block's "Sam Patch," a track told with a sneer in his voice while "1993" jumps from moody to lighthearted with spoken and sung lyrics throughout as “My Head” is a short, if cerebral, walk through the artist’s creativity.

And while Block's style cannot be for all, there's something compelling here, something that lends itself to a second listen and perhaps even a third. Whether you get it or not, you can't deny Block's artistry and Whitecaps on the Hudson delivers a smorgasbord of word and sound that you truly won't hear anywhere else. If you're an adventurous listener, give this one a shot. It's well worth your time.

Review: Meredith O'Connor - Meredith O'Connor EP

So many artists gracing the radio waves these days are simply content to craft a catchy hook and ride the wave. For so many, it’s about getting folks moving on the dance floor and setting a mood, all while they race to the world of fame and fortune. And while there’s nothing exactly wrong with that, some music simply is just that, it’s fairly refreshing to run across an artist, and a young one at that, who has something positive to say.

Meet Meredith O’Connor.

O’Connor is a seventeen year-old singer/songwriter hailing from the hallowed streets of New York. While studying the arts, working on classical, Broadway, and pop voice training as well as theatrical work, performing in local and professional productions of shows like “Annie” and “Little Shop of Horrors,” the artist found her life in school rocky. Bullied throughout middle and high school, O’Connor’s fortunes changed when discovered by a Miss Teen USA scout and she soon found herself starting out on a successful and multifaceted career as a model, singer, and actress.

Now the artist is set to harness her passion and drive for music alongside her desire to offer encouragement and hope to those facing bullying as she did through the release of her debut EP.

Four songs in length, O’Connor presents a pretty diverse package, both lyrically and musically. Through “14 Miles” the artist combines edgy guitars and slick production that allows her to emotively growl through lyrics that speak hope to a young person in a relationship being taken advantage of. Its rock-edge works nicely and provides the artist’s solid vocals a nice template to shine.

“Celebrity” is a track that takes things in an entirely different direction, finding the young artist channeling another hit-maker in Taylor Swift. A playful pop-country vibe infects this song with its message of growing stronger through adversity holding strong throughout. The production is solid and again O’Connor’s vocals manage effectively here.

“Face That’s Perfect” is a more middle of the road release, offering up a pop-friendly soundscape and jangling guitars and something of a whimsical, retro arrangement. It also finds O’Connor shifting lyrical tones as she allows herself to step into the role of a teenager, pledging love and devotion to a lover on this sun-kissed track.

“The Game” is the artist’s lyrical opus, truly encapsulating her anti-bullying message and offering encouragement and hope, as well as challenging others to stand up against such injustices. She frames it within a keyboard and synth-laden frame, some insistent percussion keeping things moving forward. And we’re not the only ones that think so as this track has been tapped to be featured in the upcoming indie film, Red-Headed Randy, which will also star O’Connor in a leading role.

Meredith O’Connor is a great upcoming talent, showcasing an ability to write and perform. And the fact that she does so in a way that also allows her to bring hope and encouragement to others just solidifies the impression that this young woman makes. While there’s always room for growth, O’Connor is an artist who shows great promise. Stay tuned; you’re bound to hear more from her very soon.

Review: The 71's "We Are The 71's"

The musical genre of rock n’ roll is defined by Dictionary.com as: “A style of popular music that derives in part from blues and folk music and is marked by a heavily accented beat and a simple, repetitive phrase structure.” But let’s be honest with ourselves and agree, that definition captures nothing of the spirit of what rock n’ roll truly is.  For, rock music is music that is of the people, for the people, and, yes, by the people.  Its music of protest, music of love, music of passion that carries with it the hopes and dreams and emotions of the common man.  It is the genre of excess, an overabundance of passion spilling out and benefiting all who hear it and standing in stark, unfettered opposition to those who don’t appreciate it.

Texas-based rock outfit The 71’s embody this spirit and take it to the next level.  Owning this passion for the music, front man Keeton Coffman shares, “Music is not a quest for fame or a means to an end, it is the end itself.  We’re just four guys in search of rock and roll heaven … here on Earth.” The band's success began with 2009’s We Are Locomotive, which opened the doors to rising fame, seeing the band garner tons of airplay, having songs played by MTV, VH-1, BRAVO and more.  Additionally, they’ve been able to take their live show to huge audiences, playing shows with artists as diverse as Kris Allen, Sister Hazel, and The Robbie Seay Band.

And that fame is well deserved as is evidenced by the music found on this latest release, We are The 71’s. Originally intended as the final installment in their Rock and Roll Reaction Trilogy, a collection of EPs, the band instead chose to honor the blood, sweat, and tears with a full-length release.  The 71’s brand of rock n’ roll is visceral, vibrating out with an emotion that seeps radiates forth straight from the gut.  Its music that packs a punch yet manages to do so with poise and precision as well.  In fact, one of the most interesting elements found on this record is that, by and large, there are no extraneous elements to be found.  Every one of Coffman’s vocals and offerings are there for a reason alongside Ryan Cecil’s guitars, Jacob Lisenbe’s throbbing bass notes, and Tank Lisenbe’s pounding percussion.  Each note stands there with a purpose and offers nothing more than that.  It’s a strange element to be found in a genre known for excess but is one that elevates this music overall.

And elevate it is does.  From the raw, raging power of opener “Blue Blood,” the distorted vibe of “Confession,” or the garage rock of “Waves,” this album begins strong.  Coffman’s vocal delivery is particularly influential, rising from sonorous low notes to a full, raspy scream that is just what the doctor ordered.  The band provides some more able jams with the White Stripes feeling “Adeline,” accented with some nice percussion from Tank and solid backing vocals.

“10,000 Miles” finds the group offering up a lower key love song that builds from subtle beginnings to a rousing rocker while “Taken” is moody and big, with huge guitars, carefully placed feedback, and is simply one of the album’s greatest fist-pumping tracks.  “Victimology” keeps that same formula, opening with great moody notes before bursting out into full-on rock glory, rhythm guitars wailing and Coffman screeching into the rafters.  “Much Too Much” brings some contrast with falsetto backing vocals and a stop-and-start arrangement that’s solid.

“Prince” finds Coffman taking to that same falsetto with some “wah wah” guitar notes and pumping bass while “Lucky to Lose” is musically all over the place, dipping and diving here and there.  “Heaven” is an appropriately muted track, at least for this band, before building and allowing for a crescendo at the end as “Monsters” is an impressively expansive track, finding the band offer up elements of classic and contemporary rock, all stamped with The 71’s signature over ten minutes time.

We Are The 71’s is more than just an album for this band; it’s a declaration.  This is this quartet’s shout out to the world that they are here and they are going to make great music whether you like it or not.  With a sound that captures elements of the Foo Fighters, Muse, Jet, The White Stripes, and more, this is a band to keep on the radar.  The 71’s are here to stay.

Review: Peter Link "Goin' Home: On Heaven and Beyond"

The genre of gospel music has changed quite a bit in the past hundred years.  Traditionally, gospel music was typified by the great choirs, men and women singing in unison and creating ethereal tones that transported people with their simple, soulful eloquence and vertical lyrics.  Gradually, however, as the face of music itself changed and new genres were birthed, groups like the Blind Boys of Alabama would rise up and gather together the sounds of rhythm and blues until Andrae Crouch came along and brought even more change.  In more recent days, artists like Kirk Franklin and Tye Tribbett, among others, have marched onto the scene, merging the contemporary pop and hip hop sounds with those traditional notes into a new brand of gospel.

Peter Link is yet another artist set to add his fingerprint to the soul of gospel music.  Link’s resume is varied, boasting experience as an award-winning composer, lyricist, record producer, and performer, among other things.  He’s written scores for film and television as well as for large-scale Broadway productions and it’s that theatrical element which plays heavily into his arrangements on his latest work, Goin’ Home: On Heaven and Beyond.  In his own words, the recording was written as a “gospel cantata,” as a composition of music written and based around a spiritual text.

In this case, that text, or subject matter as it may be, is the subject of Heaven or of passing from this life to the next.  Link shares that after a spiritual reading regarding those who had not prepared for their transition from life to death, “I thought to myself, “I’d like to go through that experience, when it comes, fully aware and alert, expectant joyful, and filled with spiritual curiosity. When it comes to that transition, we Americans tend to look the other way and pretend that it doesn’t exist. I don’t want to be like that."  Thus, Link’s recording carries a sense of straightforwardness and offers a head on look into the face of death and what he believes lies beyond.

The recording opens up with a classic choral feel, mining the traditions of the gospel genre with “Goin’ Home (Opening)” but quickly opens up into something more modern with the funky bass guitar and blowing horns of “To My Father’s House,” strengthened by powerful lead vocals and a much more contemporary feel.  Things slow down a bit with the entry of “Heaven” which again boasts great vocals alongside a building arrangement.  The theology of the song takes the road less traveled from more traditional sects and offers a unique perspective here as well.

More funk in the intro and a touch of an island feel color “I Ain’t Gonna Grieve My Lord No More/I Got a Robe,” which, sadly, is one of the album’s least powerful tracks.  The arrangement and delivery, with a male and female vocalist trading duties, just falls short, the song seeming trite and childish in the midst of these heavier topics.  Perhaps that sense of new childhood is what is implied but, sadly, it fails.

Thankfully, there’s more to be heard and songs like “There’s a Mountain in My Way,” with its rousing piano work and big horns that stand out alongside a Latin-fueled bridge jam, “In Dat Great Gettin’ Up Mornin’,” and the traditional that segues into the modern take of “When the Saints Go Marchin’ In” that keep the train rolling.  The latter in particular fares rather well, particularly as it builds, adding in a solid and successful infusion of hip hop into the arrangement and bridging the gap.

Without context, the rest of Link’s album falters however, as pieces like “Embrace the Rainbow,” “I Can’t Go Home,” and “What Could Have Been” tap far more into that theatrical bent and feel as though they don’t fit the overall template.  Taken in context, though, the tracks make far more sense, seen as pieces of Link’s “gospel cantata” vision and holding their own.

In an overall sense, Peter Link’s Goin’ Home: On Heaven and Beyond is a work that reflects very much the heartbeat and experience of its composer.  From the high profile performers heard to the varied arrangements that tackle multiple genre choices, Link’s passion and heart is heard here.  And as an album it works pretty well.  But one can only imagine that the artist envisions this recording as a live performance and that is something that would be well worth seeing.

 

Movie Quote of the Day!

Obviously, this is from The Shawshank Redemption, a great, great film!

While not all of my movie/lyric quotes will have a pefect reason, today's comes due to the fact that these words have been bouncing around my head for some time now.  I mean, I'm a thirty-six year old guy who's actually like I'm a grandfather!  There is no excuse for my not really getting out there and living life save for my choosing not to do so.

So today I made some choices to do just that.

Stay tuned for what's to come!