Review: Broken Quote - Foreshadowing Sunlight EP

Music represents many things to many people. For some, it’s a source of fun and partying. For others, music serves to fill in the gaps, pushing back the silence. For rising artist Broken Quote, music has been a lifesaver.

The Houston, Texas native took to music early on, taking to songwriting even before he could read a note or play an instrument, offering him a way to relate to and process the world around him.

“Music opened up a part of me I didn’t even know was there,” the artist shares. “It taught me lessons, comforted me, scared me, challenged me and brought focus to my life, helping me grow as a person. Writing music is how I process my experience."

He soon took to taking up instrument after instrument, learning to play by ear but it was when the artist was diagnosed with a chronic pain condition that threatened to sideline his musical journey. Yet, the artist dug deep and persevered and continued to expand his horizons, learning guitar, piano, synthesizer, sampling, and even steel drums while taking in the influential sounds of artists like Eyedea, Bjork, Radiohead, and Parliament Funkadelic, setting the stage for a diverse musical platform.

That’s a platform that Broken Quote puts to good use on his latest EP, Foreshadowing Sunlight. Here the artist taps into his pain alongside his inspiration and the result is something very dramatic. Playing like an ambient film study soundtrack, Foreshadowing Sunlight presents five experimental tracks that showcase a dark, moody soundscape that seems to resonate from the artist’s daily pain.

“Ghost Train” leads the EP off, programmed beats and an ethereal electronic filter laying the groundwork for gently sung vocals, the occasional twinges of sound that appear providing a sense of mystery along the way. Ambient sounds open “Late Night Ocean,” the slight distortion lending itself to thoughts of being underwater before being joined by some ambling percussion and the surprise sound of steel drums which tap out a bright rhythm that is juxtaposed against the music’s darker landscape.

Broken Quote taps into his piano skills for “Glass Ceiling,” opening with a restless note that merges into a dissonant backbeat and a trippy explosion of sound. Restless and energetic, the song threatens to come into form as something more conventional but then blasts out again into an experimental vibe complete with distorted electric guitar trilling its way through the track. Those elements subside a bit and the steel drums return on “Sparks Water the Seeds,” the artist continuing to show a unique ability with the instrument as he coaxes some compelling rhythms from them while album closer “Mispronounce” is the album’s most conventional track. Here, Broken Quote revisits his earlier lyric, singing around a subtle acoustic guitar embellished by some simple electrical elements that lend it a dreamy quality while his voice, honest and weary, gives it grounding.

Broken Quote’s life has been one of perseverance and hardship and that reflects in his music, especially here on Foreshadowing Sunlight. Yet, despite the darker tones of the artist’s sounds, there is beauty to be found here in the truth and authenticity through which it is delivered. Not an easy listen and definitely not Top 40 material but for those willing to explore and experiment, much like the artist himself, there is plenty good to be found here.

Review: War Poets - American Police State EP

When we last encountered the Minneapolis, MN-based pop rock outfit, War Poets, they’d just released their two-disc opus, Dulce et Decorum Est. Boasting seventeen songs, that project saw the band staying true to their messages of social justice and equality and matching it with solid musicianship throughout. However, the sheer breadth of the record presented some problems, showcasing some chinks in the armor which resulted in a record that was certainly good, but not great.

With their latest release, the American Police State EP, War Poets seem to have really taken those early criticisms to heart and have really worked at filtering their vision into a much more accessible space, in this case five solid songs of pop-rock intensity. The powerful lyrics and messages are there, this time finding the band tackling issues like income inequality, Native American rights, and gun violence as is the strong musicianship, these arrangements continuing in line with their signature sound that’s earned them comparisons to Fleetwod Mac and Tom Petty and the Heartbreakers.

Things get off to a rocking start with “Better Place,” Rex Haberman taking lead vocals right off which he holds throughout the whole of the EP, as a thoughtful rhythm presses the song along while he sings, “I look to my left/I look to my right/I close my eyes and see a better place/Take me there, baby/To a better place/It doesn’t matter/I don’t know the way.” Rolls of rich electric guitar fills lend bonus emotion as do Jenny Case’s soulful backing vocals, leading into the staccato rock of “Closing In.” Haberman seems to chew off the lyrics, raging guitars roaring around him, even mimicking a siren of sorts as he tells a tale of forced insanity and of those forced to a place of self-medication in order to simply get through the day. The frenetic arrangement is rocking and serves the song’s lyric well.

“8:05 On a Saturday Night” is a surprising track, opening things up with a mid-tempo jam, fueled with a swelling horn section and a killer groove that eventually flows into a spoken word/hip hop flow that closes out the track, ending things on a note that carries the song to the next level. It also deals with the topic of gun violence, which Haberman and company are passionate about, sharing, “What is a gun really for? It’s for killing people. I realize I have strong opinions on gun violence, but we’re musicians, not politicians. We put our views out there by singing so people can think about this.”

The next track asks a poignant question, “Where Has Love Gone?,” bridging into multiple issues while a rocking arrangement carries things forth. It’s a solid message that is buoyed by a great guitar and saxophone solo, showing some strong musicianship that undergirds the lyric while “Red Lake” closes out the record with more simmering angst and rock although it’s the least successful of the bunch, the lyric a bit too wordy throughout, losing its overall punch.

With American Police State, War Poets continue to beat their drums of protest and outrage but do so in a way that is much more concentrated and controlled than with previous efforts. The result is a more consistent set of tracks that are much more accessible which serves both the listener and the message equally well and that leaves one wishing for just a bit more, which is a good thing.

Review: Cinco Santos - Duplicidad

There is one truly universal language in our world and that is music. It’s a force and power that transcends boundaries, whether they are political, national, social, or other. Music runs deeper than all of these, tapping into something primal and visceral within each and every one of us, and speaks to deep places, conjuring emotion and feeling. That’s why it’s so engaging to take on a review of a project like Cinco Santos and their debut release, Duplicidad. For even though this is a foreign language release, its heartbeat steps across the barriers of the spoken word and speaks instead to the soul.

The brainchild of guitarist, songwriter, and visionary Lorenzo Montero, Cinco Santos came together after a two-year-long search across Los Angeles as the artist sought out the perfect members of the team to create the band’s signature sound. And, with time, Montero found just the men he was looking for, bringing together lead singer Daniel Jimenez, Lorenzo Montero on  guitar and vocals, Jesse Stern on bass, Willard Lozano on guitar and shredder, and Emiliano Almeida on drums. With members boasting an eclectic citizenship that ranges from Colombia, Argentina, Mexico, the United States, and Canada, this was a musical collective bound to bring some excitement to the table.

That excitement grew in 2012 when the band opted to dive in and collectively develop original songs rather than seeking out demos from others.

“Sharing in the creative process solidified the band as an artistic entity and yielded our strongest material,” Montero shares. “The next stage of our evolution happened as we experimented with how to fuse our different stylistic elements together, and add electronic beats to give our music a unique groove and very contemporary feel.”

That fusion turned into a beautiful thing and helps to make Duplicidad a truly delightful listen.

The album’s sound draws broadly between borders, finding the multicultural group sample from obvious Latin elements and bridging them with healthy doses of pop, rock, and even electronica, creating a sound that is altogether Cinco Santos. “Candela” gets things off to a fiery start, rich, full guitar chops layered across tightly played percussion and accented perfectly with Jimenez’s pitch perfect vocals while “Azuca y Amor” shines with its bright Latin acoustic guitar and soulful rhythms.

Those same elements color tracks like “Caramelo,” organic percussion bringing extra life, and “Te Cantare Todos Los Dias,” which is solid bridge between the old and the new, traditional sounds leading into more contemporary pop flair. “Te Quiero Aqui” makes the transition complete as Cinco Santos deliver a stirring pop ballad with vibrant energy and musicianship but it’s the title track, “Duplicidad,” that really surprises. It’s a jam that finds the band infusing their roots alongside some powerful rock notes, chunky riffing guitars alongside acoustic fills that form a killer sound while Jimenez continues to deliver vocally. And the sheer energy of “No Me Digas,” complete with a raging string solo, really highlights the band’s great musicianship, allowing all the parts to shine.

There’s only one track that really doesn’t register strongly here, and that is “Loco.” It’s hampered by a musical soundscape that is one of the more uninteresting, although still masterfully played, as well as a chorus that is a bit too repetitive to really have any staying power. But its one small hiccup on what is otherwise an impressive output of spirit and sound.

Cinco Santos’ debut, Duplicidad, is truly an album that escapes borders and stereotypes, tapping into the simple emotion that music is. As tight knit a musical collective that you’ll find, this record showcases them at their best, delivering a compelling mix of traditional and modern rhythms, resulting in an album that will find you coming back for more.

Review: Joe Tripp and the Hops - 6 Songs

It’s been an uphill battle for Joe Tripp and the Hops. From having to change their name to avoid identify conflicts with a UK-based band to earning their stripes playing gig after gig in and around the windy city of Chicago, theirs has been a band in a constant battle for survival.

“We are a band of talented individuals, but maybe not talented enough,” Tripp humbly offers. “We have had many ups and downs. At some of our low points it seems like we have lost every contest we’ve entered but then something turns around like being named one of Chicago’s best local acts by the Illinois Entertainer.”

It’s those moments of success that Tripp and company continue to mine for inspiration and encouragement, continuing to work at their music and tirelessly promoting themselves. Their 2011 release Won’t It Be Fun was a big step in the right direction, garnering some solid praise as well as the opportunity to work with Doug McBride (Fall Out Boy, Veruca Salt.) And now the band is set to try to maintain that moment with their latest release, the aptly titled EP, 6 Songs.

The band’s been compared to acts like Weezer, Incubus, and The Gin Blossoms and those influences are definitely evident throughout these tracks, replete with plenty of pop accessibility, but there’s also something of an old school punk vibe that undergirds their overall sound, lending just the right amount of edge when needed. “Signs” leads things off with a jangly lead guitar and three-part vocal harmony that works well, giving added energy. That’s followed by “There’s Something” which draws from much of the same cloth, a set of bright keyboard fills and some vocal distortions providing contrast.

“Fantasma” ups the energy with a rocking intro and more harmonies in the chorus while “Heart Cries Out” slows the pace, Tripp showing off his vocal chops although this time around the harmonies don’t deliver quite as true, hindering an otherwise well-crafted jam. “Let Go” is another slow-jam, its effervescent feel hinting at a lazy day lying along the beach with solidly pop-flavored guitars and strong beats from drummer, TJ Walker. Lastly, the band closes things out with the gently rolling “Who Knows,” atmospheric guitars providing a launching point for Tripp’s impassioned vocals.

6 Songs does suffer from the occasional hiccup, less than stellar harmonies at one point and a production that feels somewhat muted at points, leaving vocals difficult to discern in some junctures and contributing to a boxed in feeling at others, but, those issues aside, there’s plenty to recommend here. Joe Tripp and the Hops showcase some strong chops on this EP and as they continue to develop their signature sound, there’s a good chance we’ll be hearing from these guys again down the road.

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: War Poets - Dulce et Est Decorum

Minnesota, MN-based rock outfit, War Poets, and on Dulce et Decorum Est, the collective uses their musical chops as weapons in the war.
Inspiration can come from any number of sources. A romantic relationship, a pivotal moment in time, or a baby’s birth, these have all been the fuel in which many a musician has found his or her Muse. Yet, perhaps there’s no greater motivation for an artist than witnessing an injustice that occurs. And social injustice is exactly what motivates

Even in the very structure of the group is the band’s emphasis on justice and equality seen as group founder and lead singer/guitarist Rex Haberman actively sought to give fellow vocalist and bassist Jenny Case a pivotal role.

 “I have a strong opinion about the status of women in music because I find it a really male-dominated world,” he reveals.

A conversation with longtime friend and collaborator Matt Kirkwold led to the suggestion of Case, who’d sharpened her skills fronting many a cover band as well as her own while serving as the Executive Director of the She Rock She Rock Foundation.

“We work together like we’re on a mission,” Haberman explains. “Jenny has high standards. She’s a perfectionist in the studio and really pushes the band’s performances. She’s super talented and highly professional.”

The rest of the band is made up of a revolving crew of talented Midwestern musicians but each brings their own flair and voice to the group, aiding in garnering War Poets some solid acclaim, even in 14 short months. In that time, the YouTube video for their first single, “Close Enough,” has garnered 250K+ views and they’ve garnered national airplay on AAA and college formats. Film and television licenses have come as well and the band has had the opportunity to play at the Red Gorilla Music Festival during SXSW, a perfect forum for their blend of Americana-flavored rock and lyrics of protest and change.

On Dulce et Decorum Est, War Poets engage a number of issues across two discs, seventeen songs in all which is a feat that not many seasoned artists would try, let alone a relatively new one. The band splits the tracks, filling one disc with their rock edge while offering up a more subdued collection of ballads on the other. The result is an expansive album that has both hits and misses.

Most of the hits come by way of the “Rock” disc, the band well earning their comparisons to acts like Tom Petty and the Heartbreakers, Bruce Springsteen, and Fleetwood Mac as they roar through tracks like “Don’t Look Back” with its muscled guitars and Haberman’s rich vocals or “Dominica’s Been Sent” and it’s rich tapestry of sound and Case’s stunning rock vocals. “Good Company” is a great jam, the old school honkytonk rock ‘n’ roll feel perfectly delivered with Jerry Lee Lewis-flavored keyboard work while “Another Lie” holds the most contemporarily accessible sound, Case’s bright delivery giving the song extra legs. And “Close Enough” is a track that captures the best of the band, highlighting both their solid musicianship which is almost jazz-like in the way they ebb and flow, allowing each part to sing, and their intentionally pointed lyricism as they offer a musical statement in support of same-sex marriage.

On the other hand, the band’s “Ballad” side doesn’t quite hold as much power, tracks like “Montserrat” and “Paint You the Sun” reading as pleasant but offering little to come back to. “Running Back to You” suffers a similar fate but the stark piano and Jenny Case’s plaintive vocals on “Partly Naked” make it a highly listenable track. Haberman makes use of a similar tactic on the album closer, “Be Like You,” and it works nearly as well, his delivery honest and heartfelt against the rich keyboard, ending on a high note.

War Poets are a gifted act with plenty to say. Dulce et Decorum Est is a record that is ambitious, perhaps in some ways a little too ambitious, but is one that showcases this band in many lights, most of them positive. Haberman and Case show themselves to be able songwriters and their stable of rotating musicians deliver solidly each time out. They’re a band that has all the pieces in place for success; the next step is up to them.

Review: Ashley Davis - Night Travels

Growing up, we were always taught the old adage that one could tell a lot about a person by the company they kept. And as we stick to that tried and true teaching as we take a glimpse at Ashley Davis’ latest, Night Travels, I think it’s safe to say that we’re in good hands as Davis is joined by a stirring list of guest stars like Sara Watkins and Celtic music legend Moya Brennan. Not only does it hint at what good lies in these tracks, it also hints at the work Davis has put in to get where she’s at.

The Kansas born and bred Davis began traveling around the Midwest, singing and performing at the age of 14 and soon headed off to Nashville’s Belmont University where she immersed herself not only in music culture but also in Irish, British, and Latin literature. Not long after she would pursue and earn her graduate degree from the Irish World Academy of Music and Dance, under the direction of Mícheál Ó Súilleabháin and would then head off to an Artist in Residence position on the Isle of Man. Then, interestingly enough, the artist found herself drawn to Sin City by Michael Flatley in 2010 as she was the featured soloist for “Lord of the Dance.”

Night Travels is the artist’s fourth release and marks a shift for the vocalist and songwriter, as she shares, “On my other albums I would have been more cerebral, more academic. This one I really let go and allowed myself to understand that sometimes simplicity is elegance."

The term “simplicity” here is misleading, however, as it’s a term that fails to capture the grace and beauty that Davis brings to the recording.

That beauty begins right from the start as Davis duets with Sara Watkins of Nickel Creek fame on “His Bride I’ll Be,” acoustic strings and emotive fiddle notes framing the stunning vocals as Davis delivers a tale of whimsy and love. “I’ll Follow You (Leanain Thu)” taps even deeper into the singer’s Irish love, lush guitar work providing the space for her soulful and ethereal vocal delivery to shine. She then joins with Irish guitar great John Doyle to deliver a painfully bittersweet version of the traditional classic, “Barbara Allen.”

The title track follows, laden with fiddle reels and more of Davis’s sensitive vocals while “The Blackest Crow” is reminiscent of work by Alison Krauss. Fiddler Eileen Ivers makes an appearance on the hauntingly beautiful “With You Love,” the ethereal elements recalling Loreena McKennitt as “In The Blue” samples from both Irish and Americana camps, the piano notes lovingly accented by accordion fills.

Moya Brenna is Davis’ guest on “Beside You Near,” a song the artist crafted specifically to highlight her friend and mentor’s voice and it does that and more, proving to be one of the definite highlights of the record. “Alone With Me” is another strong track, largely in that it’s a bit of a departure from the rest of the album, bridging into a touch of country yet still tinged with Celtic leanings. Davis then closes things out with “Horses” and the almost theatrical “Dreams Will Come.” It’s the type of track that feels as though it’d fit perfectly into a musical and that seemingly tells the story of Davis’ life, of a life that’s had her dreams come true.

Ashley Davis has worked hard to achieve the status that she’s achieved and it’s all well-deserved. Night Travels highlights an artist who continues to grow in her craft, writing compelling and heartfelt songs and delivering them with not only poise, but passion. Ashley Davis is the real deal and for fans of Celtic flavored sounds, this is one journey you’ll want to join up with.