Review: War Poets - Hot & Cold: American Relationships

Minneapolis, MN-based War Poets are on a mission and they’re not taking any prisoners. Ever since the release of their expansive, two-disc revelation Dulce Et Decorum Est, the band has continued to churn out new music, wrapping their passion for social justice and equality together with an equal passion for great music. Further supporting that sense of mission is their new label home, Rock the Cause Records, whose efforts go toward creating community involvement through concerts, workshops and releases, a perfect fit for the mission minded band.

For the uninitiated, that band is composed primarily of lead singer, guitarist, and songwriter, Rex Haberman, and bassist/vocalist, Jenny Case, who also serves as musical director. Both artists have had their histories with other bands and recording opportunities but combined have proved to be a force to be reckoned with, their musical talents forming a cohesive unit, cemented with their shared sense of justice as well. The result thus far has been a growing collection of albums that echo with sentiments of protest and a need for change, framed over sounds reminiscent of bands and artists like Bruce Springsteen, Tom Petty and the Heartbreakers, and Fleetwood Mac, supported by some of the Midwest’s finest session players.

Hot & Cold: American Relationships is the second installment in the duo’s “American Trilogy,” following hot on the trail of American Police State which explored the ideas of gun violence, Native American rights, and the plague of income inequality. This record takes a slightly more personal view, looking into the ups and downs of modern relationships, exploring everything from finding the right person to the unique joys and difficulties shared with love and relationships, something that evolves far beyond an American label.

Tracks like the Case fronted “Bits and Pieces” provides that classic sense of longing, that “sense of mystery waiting for me,” that so many folks find themselves wanting, Haberman’s rich guitar chops cutting a friendly swath through the track, letting Case’s warm and soulful vocals take hold. Haberman carries the rest of the lead vocal load throughout the rest of the record, with “Know the Way” offering up a rambling rhythm and a lyric of promises and commitment, a touch of horn providing some added texture.

“Ones Who Love” is a better fit for Haberman all the way around, letting his vocals express their rich grittiness and his guitars to blast out with some solid crunchiness while “Perfect One” taps into some old school vibes, a strong percussion section laying the foundation for bright guitars and a hopeful lyric. Rich 80s rock gets a solid nod on “Say No More,” Haberman and Case trading vocal duties and harmonizing beautifully while singing of difficult relationship elements before giving way to the rousing questions of “Upside Down,” smooth B-3 fills and churning guitars hammering home the lyric.

On Hot & Cold: American Relationships, War Poets continue to march their multiple messages ahead. This time that message is more of a picture, shining the light on the multiple facets found within relationships, pointing to the hopes, the fears, the pain, and the joy found by all. In those themes, War Poets appeals to a large audience and their solid musicianship just makes the listening all that much easier.

Review: Leslie DiNicola - Some Greener Yard EP

“I want to share my experiences in song so that others can see their lives mirrored and pass through the door of whatever is troubling them or holding them back,” shares NYC-based singer-songwriter, Leslie DiNicola, and on her latest EP, Some Greener Yard, the artist does just that.

DiNicola’s spent the past couple of years rising through the ranks, earning the chance to work with some great music professionals like Ron Allaire (Keith Richards, Madonna, David Bowie, Shakira), Julian Coryell (Aimee Mann, Leonard Cohen, Jewel, Alanis Morisette), Erich Gobel (John Mayer, Ray Charles), Mark Schulman (P!nk, Cher, Foreigner), and Ellis Traver (Diane Birch, Fischerspooner, Sean Lennon, and Mark Ronson) while releasing some celebrated work like 2011’s Draw Back Your Bow EP which found the artist offering up a playful and imaginative set of cover songs. It was time well spent as the artist just basked in those classic songs and drew inspiration and knowledge from the experience.

That experiences colors the five tracks of Some Greener Yard and lends a depth and emotional quality throughout as things kick off with the rock-tinged country of “Shaky Wire,” whirring organ fills providing color over against thudding drums and a chunky guitar part as the artist shows off her talented and obviously well-trained voice as she plunges headlong through the passionate track. “Give Me Away” lets the artist flow into even more country-feeling fare, her vocals rich and resonant as she is supported by an arrangement sporting brushed drums and moody keyboards which mirror the darkly painful lyric.

“Stay” is step back in the direction of the fun and playful, the tone bright and cheery with a Motown feel and peppy backbeat as DiNicola sings of love and the euphoric joy of a new relationship. It’s one of the better tracks here as the artist lets her hair down and seems to have a blast, lending the song an unseen smile throughout.

That smile becomes bittersweet with the entry of “Weight” onto the scene, DiNicola opting for a subdued piano and acoustic strings to carry home her ode of love to a lost friend, her voice aching with pain and loss, tears brimming as she sings, “No one here can get me through the night/Even God Himself could never make this right.” Producer Julian Coryell manages the tone just right and helps to deliver another killer song before DiNicola offers her swan song with “It’s Alright,” a gentle closer featuring folksy guitars and another painful yet hope-filled lyric to one who’s lost someone.

Leslie DiNicola is an artist who is all about painting pictures in sound and word and Some Greener Yard does that through and through. Bridging from sounds that draw from country, folk, pop, and more, DiNicola has crafted five powerful songs that evoke mental and emotional pictures, drawing you in and refusing to let you go.

Review: Carry Illinois - Siren EP

The best kind of artist is one that performs from a creative space that is altogether his or hers, tapping into experiences honest and personal. Up and coming artist Lizzy Lehman is such an artist.

“I write about my life, and my perspective of the world surrounding me. My songs are more local than global, but the themes are universal,” the Austin-based artist shares.

Lehman’s musical experiences began like most, singing and performing in school but it was when she hit college that she really took to the craft, meeting a gifted guitar teacher, engaging in songwriting head on, and finding a community of singer-songwriters that she could connect with and learn from, drawing her deep into the folk music scene.

And those experiences, combined with her keen talent for both songwriting and singing, have led the artist to some of the highest thrones of the Austin music world, seeing her perform on such legendary stages as Antone's, The Cactus Cafe, The Parish, Cheer Up Charlies, and the Mohawk while also having the opportunity to travel and open for Gregory Alan Isakov at George's Majestic Lounge in Fayetteville, Arkansas. She’s already recorded a solo EP, performed with The Blackwells, and now finds herself fronting her own collective, Carry Illinois.

The band draws from a different palette than Lehman’s more traditional folk leanings, opting for a more indie rock vibe that leans heavily on Americana flavors. Joined by fellow musicians Nick Droz on bass, Rudy Villarreal on drums, and Darwin Smith on guitar, Lehman and company invoke the inspirations of singer-songwriters like Carole King, Brandi Carlisle, and Joni Mitchell while putting their own unique spin to things, delivering five stirring tracks on their debut EP, Siren.

“Weakest Limb” gets things off to a strong start, an ominous and dark tone coloring the track, and the better part of the EP, with solid, thudding drumbeats and a moody guitar line running throughout as Lehman’s voice is haunting, contrasting uniquely with the surprisingly hope-filled lyric at its conclusion. The title track follows hard after, a beat pulsing like a heartbeat opening things up with Lehman’s electronically distorted vocals carrying the track forward. An industrial meets folk arrangement unfolds, distorted elements melding with smooth and soulful strings in an instrumental jam that is at once unsettling and engaging.

Lehman’s folk leaning make themselves known on the lighter feeling “Jackson Square,” her vocal soaring above a plucky banjo line and brooding guitar while “Nothing to Despise” brings together the best of both worlds. More banjo fills provide texture throughout the track while Lehman employs more vocal distortion, giving her voice even more texture, as the track layers itself with atmospheric guitar work. “Good Farewell” provides the EP a perfect ending, acoustic guitar and Lehman’s stark voice leading forward, accented by just the right touches from her band. It’s a track that reminds one of the darker tracks brought forward by the Man in Black and that is high praise indeed.

And Carry Illinois’ Siren EP is a collection of songs that more than earns its praise in spades. Lehman and company deliver nuanced, layered textures of sound that honor the traditions of folk, Americana, and rock while combining them all at the same time into a musical gumbo that is good for the soul. Dark, brooding, yet also uplifting, Carry Illinois’ Siren EP is one you won’t want to miss.

Review - Arlon Bennett : World of Possibility

We’re all drawn to honesty in music. No matter the genre, whether it is hip-hop or heavy metal, we long for our musical muses to reach out and touch us with sounds and lyrics that carry themselves with an air of authenticity, relevance, and connection. And it’s those best artists, those that have stood the test of time, that manage to continue to captivate audiences with their ability to, time and again, deliver honest music.

If he keeps on pace, Arlon Bennett is a name that will bandied about with those artists who have, and are, making music that connects in that way. Calling Long Island, New York, home, the artist is set on making music that carries his simple philosophy, “Shoot for the moon and ask questions later,” capturing elements of folk and singer-songwriter stars like Harry Chapin and James Taylor. Since the release of his debut album in 1998, Fountain of Dreams, the artist has seen solid success, scoring opening acts for Americana stars Glenn Tilbrook, Jill Sobule, and Tom Paxton while as being honored by being “twice selected by Noel ‘Paul’ Stookey (Peter, Paul & Mary) to perform in his Music-to-Life showcase at the Kerrville Folk Festival featuring America's best songs of social consciousness.”

Now, the artist continues his mission to bring his dreams to life, while igniting those of others, on his heartfelt new release, World of Possibility. Coaxing classic folk sounds from his guitar and writing lyrics about real life, Bennett captures and captivates the heart here. It’s not fancy and sports no frills, much like a meal at the county diner, but its “stick-to-your-ribs” good, leaving you full and satisfied at the end.

Bennett’s key to providing this satisfaction to his listeners is in large part due to his prowess as a storyteller. Through a simple, homespun tale of an elementary school janitor, “Sal,” Bennett manages to grab the heartstrings and teach a lesson. Likewise, the snow-laden sadness of “The Christmas Tree on Salem Street” weaves a tale of holidays left sad by the loss of loved ones in the military, daring one to not wipe away the inevitable tear. And the artist’s heartland-fueled personification of the U.S., “I America,” complete with its soulful harmonica fills, has the potential of adding itself to many a listener’s Independence Day playlist.

Inspired by an invitation to perform at an international Parkinson’s conference, Bennett wrote the title track, conveying an acoustic-driven melody that brims with hope and confidence while “Nothing Like a Song” captures some old school country vibes, telling of the power of music. It’s simple and, some might say, hokey, but there’s an inherent honesty to it all.

The highlight track here, however, is Bennett’s playful and unique song, “Question for Einstein.” Celebrating the joy and mystery of love, Bennett ponders questions to the great physicist, asking in the chorus, “Dr. Einstein/The question I would ask/If you were alive and I was sitting in your class/Of all the beauty in your mind/Of all you know of space and time/What is love?” Bennett plays with asking these questions of Einstein, adding in some soulful strings, and ultimately concluding in the end, “Well you ran out of time/Before you could find/The answer to all that is/But I will keep on searching/To find the inertia/Behind a single kiss.” It’s sweet, poignant, and from the heart.

And those are the elements that truly make up Arlon Bennett’s work on World of Possibility. Clearly working as a glass half-full sort of guy, Bennett presents warmhearted, honest songs of real life and real people, continually seeming to find the silver lining in each situation. He frames these tales in musical compositions that mirror their lyrical counterparts, coming across as accessible and inviting. So, come on in and sit a spell and let Bennett tell you a tale.