Aurical - Something To Say

Aurical - Something To Say
2011, Gallant Music

Aurical is a folk/pop duo born of two coasts.  Singer/songwriter/producer Rachel Rossos has spent time in both New York City and San Francisco, working with musicians such as Edgar Meyer, William Bolcolm and Nadja Salerno-Sonnenberg.  Michael Gallant is the senior editor of Keyboard Magazine, and serves as singer/songwriter/pianist and co-vocalist for Aurical.  Together, the two have crafted a vibrant and original sound, on full display on Aurical’s debut album, Something To Say.

Something To Say opens with the title track, an edgy, piano-driven rocker.  Vocalist Michael Gallant sounds a bit like James Young of Styx, delivering a high-octane performance that's a smash as an opener.  "Brahms Of Philosophy" has a bit of a Ben Folds feel, and Rachel Rosses does a nice job with the vocal line.  The song is catchy although perhaps a bit rushed at times; ultimately very entertaining.  "Mom's Favorite" is a bit reserved and straightforward in style.  "Julianna" is wonderfully dark, with distinctive harmonies that grab you.  It's a solid piece of songwriting that's worth revisiting. 

"Leave It All behind" is lyrically awkward at times, but impresses on the musical side.  Jethro Tull, Genesis and Supertramp stirred up in a room together might have created something that sounded like this.  The bass steals the show with a funk-driven style of play that enlivens the song with an ambitious progressive rock sensibility.  "Work Song" is a slow and meandering number that works on the music side but again shows a lyrical clumsiness that stands out.  Things get really interesting on "Redhead Girl", with a piano style that sounds like a cross between Ben Folds and Tori Amos.  The most original and intriguing work on the album, "Redhead Girl" shows Aurical's ability to push the envelope and do it well.  "I've Never Known" is the best overall contribution on the album.  Rachel Rossos is fantastic here, crafting an early female-vocal group sound.  Things get a bit more mundane as Something To Say rumbles to a close with three solid if unremarkable tracks.

Aurical dances between magic and the mundane throughout Something To Say, creating moments that build anticipation in the listener, but often falling back before finding that perfect musical strike.  There's some very good stylistic songwriting on the album, but the lyrical composition of the album has its awkward moments.  Something To Say has enough to offer to make it worth spending some time with, but there are some definite kinks and wrinkles in the band's creative process to be smoothed out next time around.

Rating: 3 Stars (Out of 5)

Learn more about Aurical at www.auricalmusic.com or on Facebook.  Something To Say is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Gattis - E.P.

Gattis - E.P.
2010, Breaking New Records

Will Gattis has been acknowledged to be Maine’s Best Singer/Songwriter (2007), but his talents have been acknowledged all up and down the Eastern Seaboard.  As front man for the band Gattis, Will Gattis mixes his distinctive songwriting style, which is part Paul McCartney and part Ben Folds, with a unique charisma that charms an audience immediately.  On Gattis’ latest effort, the accurately entitled E.P., listeners get a full dose of Will Gattis’ distinctive sense of melody and his eminently listenable voice.

E.P. opens with wonderfully catchy "You And Me".  The song has a timeless melody and a chorus you can't help but sing along to.  Catchy but not overpowering, the song evokes thoughts of The Beatles meets Ben Folds.  You won't be able to get this song out of your head.  "Metropolis" is a gorgeous Ben Folds-style epic ballad about the death of Superman that simultaneously explores society's need for heroes from a quasi-sociological perspective.  This is geek-pop sublime, drenched in a melody so sweet you'll dream about it.  "Lily" is a low-key pop ballad that has the silly sweetness of a McCartney number but the energy and style of a Ben Folds tune.  The chorus, once again, will refuse to vacate your brain.  Gattis closes with "Christopher", a caricature in song about the speed of life and the feeling of getting passed by.  It's a simple, piano-driven arrangement that can't escape comparisons to Folds but is distinctly original nonetheless. 

One thing is abundantly clear; Gattis has a distinctive talent for infectious pop music that both breaks and proves the rules about what a pop song should be.  Names like the Paul McCartney and Ben Folds can't help but come up in a conversation about Gattis, or if you're more Indie rock oriented, think bands such as Woodward and Tally Hall.  Either way, Gattis' E.P. is utterly brilliant pop with quirk and style.  It certainly deserves recognition as a  Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Gattis at www.willgattis.com or www.myspace.com/gattistheband.  E.P. is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

The Yale Whiffenpoofs - The Best Whiffenpoofs Ever

The Yale Whiffenpoofs - The Best Whiffenpoofs Ever

2010, The Whiffenpoofs Of Yale University, Inc.

When you think of college acapella groups, The Yale Whiffenpoofs should be the first group that jumps to mind.  Intellectual arguments turn to fisticuffs in the Ivy League when debating who get there first, but there's no argument that the Whiffenpoofs have been the most enduring of the bunch.  Still clad in the tux and tales outfits that have been their trademark since the dawn of the 20th century, The Whiffenpoofs are as much a part of Yale culture as beanies and secret societies.  The group raised their national stature a few notches higher this past December with their appearances on NBC's The Sing Off!, but The Whiffenpoofs were known around the world long before Ben Folds ever dreamt up his TV show.  In 2010, The Whiffenpoofs released their latest album, The Best Whiffenpoofs Ever, a 17-song collection that mixes tradition and imagination in equal measure.

The Best Whiffenpoofs Ever opens with "Nature Boy", in a great arrangement that's a bit more upbeat than you might be used to hearing.  The reading offered here gives the classic tune a dramatic, spy-thriller flare that's amusing.  "Haven't Met You Yet" features a nice, easy-going vocal line that fits nicely into the harmonic basked of the arrangement.  "Rainbow Connection" is sweet and lyric, with a rolling, wave-like feel in the harmonies.  "Midnight Train To Georgia" has the 'IT' factor in the lead vocal line, contrasted with exceedingly smooth backing vocals.

"Down By The Salley Gardens" dips deep into the Whiffenpoofs repertoire a William Butler Yeats derivative of the song "The Rambling Boys Of Pleasure".  The lead vocal is solid, but the vocal arrangement is painted in ethereal pastels in a quasi-baroque setting.  "Too Darn Hot" is done as a snappy jazz number that's highly entertaining, and probably more so when seen live.  The Whiffenpoofs take on Marvin Gaye and Tammi Terrell on "If I Could Build My Whole World Around You".  The lead vocal here is a refreshingly clear tenor and resonates in the clean, open arrangement.  "Leavin' On A Jet Plane" is well constructed, building up vocal ladders into a pyramid of angelic harmonies.  The mellow lead vocal line here is a nice touch that simply adds to the magic.  Next up, Kurt Weill gets the Whiffenpoof treatment in "September Song", a reverential reading that's striking in its beauty.

The absolute highlight of the album, however, is a tune written by former Whiffenpoof Jonathan Coulton (Yale '93).  "Re: Your Brains" is brilliantly constructed and full of wicked humor as it deconstructs a classic movie zombie tale in eight part harmony.  You need to hear this tune even if you've never heard Coulton's original.  Don't be surprised if some savvy Broadway producer doesn't latch onto this tune and build a musical around it.  "When The Saints Go Marchin' In" shows real moxie.  Opening with a bass solo is unusual and appealing, but the vocalist, who really isn't bad, just doesn't have the presence to carry this.  The arrangement is solid and the overall performance excellent.  The scat breakdown after the first verse is entertaining.  The Whiffenpoofs even pull some Gospel sounds out of the process, evolving into a Take-6 like coda.  The whole enterprise eventually resolves into an MGM-end theme style at the close.

The Whiffenpoofs step back in time with their proverbial theme "The Whiffenpoof Song".  The arrangement is beautiful, but there is the power and force of a charismatic history behind the song that is palpable.  It's a compelling listen.  The album closes with a spirited rendition of the classic gospel tune "Operator".  The Take-6 sound comes back here in small measure, but there's also a showy aspect of the rendition that reminds one of old-time radio.  The song is tight, well-arrangement and perfectly executed.

The Whiffenpoofs as a historical organization have probably forgotten more about acapella singing than many of the newer groups today even know.  The Best Whiffenpoofs Ever is probably a subject open for debate amongst alumni of the group, but there's no doubt that the current crop of The Yale Whiffenpoofs live up to the name measure for measure.

Rating: 4 Stars (Out of 5)

Learn more about the Yale Whiffenpoofs at www.whiffenpoofs.com.  The Best Whiffenpoofs Ever is available on CD from the Whiffenpoofs Store.  Digital versions of the album are available from Amazon.com and iTunes.

Seth Glier - The Next Right Thing

Seth Glier – The Next Right Thing
2010, MPress Records

Boston-based singer/songwriter Seth Glier is all of twenty-one years old and is already preparing to release his second album on MPress Records.  Twenty-two in years alone, Glier shows a depth and maturity of songwriting that seems antithetical to his youth.  Glier’s next album, The Next Right Thing is due on January 11, 2011 and features a guest appearance from Edwin McCain.  Glier writes from a deep well of experiences both personal and observed, and certainly appears to have taken things to the next level with The Next Right Thing.  Seth Glier has appeared on the main stage at the Falcon Ridge Folk and Kerrville Folk Festivals, and has shared stages with the likes of McCain, Mark Knopfler, James Taylor and The Verve Pipe.

The Next Right Thing marks Glier as a rising star.  The title track is a dynamic soul/gospel tune with a beating heart of urgency.  “Walk Katie Home” is a song of devotion about the lengths we’ll go for love.  The song is beautiful in its unadorned love and purity of thought.   On “Lauralee” Glier provides us with a literate and mature view of love using wondrous imagery; sounding more than a bit like a young Billy Joel in the process.  “First” is poetic and romantic; capturing the moments or experiences that can make love feel like new again.  “Down With This Ship” makes ethical and sociological observations about the point of impact between faith and deceit.  It’s a dynamic bit of songwriting that is certain to capture younger and older fans, as Glier seems to phrase the sort of problems that hit many in midlife in terms that are universal and accessible.

“I Don’t Need You” takes a look inside the life of someone who sees all of her friends passing her by while she stands still.  The song expresses the mix of frustration and need in muted tones of resignation and is amazingly well written.  “What Others Have Done” follows a soul who seeks himself in the whims and fancies of others; through the brief highs and the lengths of emptiness that ensue.  The piano ballad style here is reminiscent of a cross of Billy Joel and Elton John.  “Beauty In the Breakdown”  seeks the silver lining in human pain.  Glier displays a quietly dramatic sense here, and the arrangement is among the most complete and beautiful on the album. 

“Book Of Matches” is simply brilliant.  Glier turns the tragedy of losing a home into opportunity, finding the sense of freedom of no longer being encumbered with possessions, burdens or expectations.  The imagery here is deep, and could have multiple interpretations (fire, divorce, death, etc.), but this proves the genius in the songwriting.  “No Place To Land” captures the loneliness and displacement of someone who has been on the road so long it’s become the only home he knows.  The extrapolation from what are Glier’s experiences playing 200 shows per year to a way of life is a logical leap that goes beyond your typical pop song.  Glier closes with “Soul, Skin & Bones”; an incredibly poetic memorial in song that’s stark in its imagery but ultimately deeply loving.  The palindrome simile Glier uses here is eye opening.  This is how you close an album with an utter “Wow” moment.

Seth Glier is the sort of singer/songwriter that allows you to throw in a CD and get lost for an hour.  Musically, he writes in subtle tones, crafting near-perfect settings for the stories he tells in song.  Lyrically, Glier is an old soul, writing well beyond his twenty-two years in both poetics and depth of human understanding.  The Next Right Thing is beautiful; brilliant; breathtaking.  Glier sets the bar high for 2011.  The Next Right Thing is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Seth Glier at www.sethglier.com or www.myspace.com/sethglier.  The Next Right Thing drops on January 11, 2011.  You can pre-order the CD and Download from Amazon.com.

Adam Sullivan - The Room Is Spinning Faster

Adam Sullivan - The Room Is Spinning Faster

2010, Dweeb Records

Adam Sullivan gets compared to Billy Joel and Ben Folds a lot, but his musical roots are in the darker melancholy of Randy Newman and REM.  With eleven albums/EPs under his belt and ambitious international touring schedule, Sullivan has paid his dues and developed a solid fan base the world over.  His latest album, The Room Is Spinning Faster, shows the polished artistry of a songwriter who knows his craft combined with the restless rambling urge of someone who needs the road even if he's started to question his place on it.  The Room Is Spinning Faster is due out in October 2010 on Dweeb Records, but is already available in digital formats.

Adam Sullivan starts out strong with "Nothing Like Being Alone", rumination on his place in the world, sanity, perspective and understanding.  It's a Ben Folds-style ballad that's highly introspective, a soaring melancholy ode to self-contemplation.  "But The Dinosaurs Were Dead" is edgy, smooth pop, once again reminiscent of Folds.  The instrumentation here is unique, making use of piano and string to create an off-balance sound that somehow stands on its own.  "Please Don't Fall In Love With Me" is great songwriting, a melancholy and thoughtful love song written from the depths of fear and confusion. 

Up to this point Adam Sullivan is setting the stage.  With "Rainy Morning In Amsterdam" he sets the tone for the rest of the album.  It's a song of morning and regret, a pool Sullivan wallows in the rest of the way utilizing a Hemmingway-styled symbolism for tragedy and defeat while singing in measured tones.  Sullivan is searching for he knows not what.  "Something To Lose" is rambling and melancholic but lacks real energy.  The melody and harmonic construction here are gorgeous, but the song teeters on the brink of an emotional vacuum that is disconcerting.  "These Are The Thoughts" is a long-winded, emotionally grinding experience built in this same dearth of emotional energy.  It's the thoughts that keep him awake at night, told from the perspective of one so numb it's more of a recitative than an experience.  "Let Go" shows a flash of life; pretty and dark with a modality reminiscent of Alan Parsons, "Let Go" reflects a sort of determined, reticent hope about what is to come.  The rest of the way is back to the flat, emotionally bereft energy that haunts the middle of the album, as Sullivan walks the listener back to the sleep from which he first emerged.

Adam Sullivan constructs some beautiful musical landscapes on The Room Is Spinning Faster, but against those landscapes he casts a character so lost in his own melancholy and emotional distance that the songs take on a sort of fractured personality.  Artistically challenging, but the combination can make The Room Is Spinning Faster a challenge to get through.  If the navel-gazing melancholy and passive anger of The Cure or The Smiths or even REM you find appealing, then Adam Sullivan will fit nicely in your music collection.  Sullivan may be a bit too distant for the mass market, but the talent here is unmistakable. 

Rating: 3 Stars (Out of 5)

Learn more about Adam Sullivan at www.adamsullivan.com or www.myspace.com/adamsullivan.  The Room Is Spinning Faster is due out in October 2010 on CD, but can be purchased now in digital formats through Amazon.com and iTunes.