Feist - Metals

Feist - Metals
2011, Cherrytree/Interscope

Leslie Feist has never been aboutbeing cool. Her quirky voice and off-beat musical style has always allowed herto stand apart from the crowd, and her willingness to try almost anything hashelped her to be innovative both as a songwriter and interpreter of music. Feist'sfirst forays into performance were with a Calgary punk outfit called Placebo(not THE Placebo); this led, years later, to Feist joining Toronto alt-starsBroken Social Scene. Feist has also toured or recorded with Noah's Arkweld, ByDivine Right, Peaches and Kings Of Convenience. The placement of her song"1234" in an Apple commercial in 2007 turned the plucky songstressinto an international sensation. The song, an Indie release, rose to #8 on theBillboard Pop chart on the strength of downloads alone, and resulted innumerous awards.

This sort of success can either be acatalyst to greater things or the downfall of an artist. Many a songwriter hastripped on their own attempts to re-create such success. With Metals,Feist tries a novel approach, seemingly pretending it never happened. Ratherthan change course based on commercial pressures, Feist does what she's alwaysdone - follow the currents of her own muse wherever they might take her.Consequently, Metals is perhaps even quirkier than her previous works.Feist's salty, breathy voice bends itself through sounds that seem almostimpossible to create at times, opening a window on her worldviews song by song.

"The Bad In Each Other" isa stripped down and primitive blend of Electro-folk and rock; an intriguingtake on the phenomenon that happens when two good people with the best ofintentions simply do not work together. Feist's insight is subtle yet distinct,highlighting the accident rather than the aftermath. "Graveyard" is ahaunting, disjointed pop venture that's dark in aspect and incredibly varied insound. Even within the bounds of standard pop song construction, the achingurgency of Leslie Feist's vocal line is the sort that stops people in theirtracks. "Caught A Long Wind" struggles a bit, getting lost in its ownesoteric arrangement, but the vocal is stunning.

Feist digs in with a soulful soundon "How Come You Never Go There", giving herself over to an edgy,string-based arrangement on "A Commotion". The quiet urgency in thisnumber is compelling, perhaps even highlighted by the simple two-tone verse incontrast to the full-bodied, angular chorus. Feist settles in with fineperformances on "The Circle Married The Line", "BittersweetMelodies" and "Anti-Pioneer", lulling the listener into awell-satisfied and comfortable musical slumber. Taking everything down a notchfurther, she swoons into the fuzzy and effect-filled "UndiscoveredFirst", transforming the experience into a power, anti-pop realization.The quiet genius of this song may not appear to you the first few timesthrough, but will grow on you over time.

Feist strips the arrangement bear on"Cicadas And Gulls", a lovely folk ballad featuring guitar and voice.This quiet moment shines bright amidst its peers. "Comfort Me" is anacknowledgment that all is not as it appears. The urgency of this discoverygrows in the energy and power of the song, a musical and emotional slowcrescendo that breaks over the listeners like a rush of slow-moving emotionjust before the song concludes. Feist wraps up with "Get It Wrong Get ItWright", a contemplative, dreamy number illuminated by a gorgeous melodyand a matching vocal performance.

Feist does the only thing a trueartist can do on Metals; she ignores the previous accolades and justkeeps creating along the lines that please her most. Metals warmsslowly, taking a few listens to really find a comfortable place in thelistener's head, but those extra listens are very much worth the effort. Thereare many acts out there that talk this sort of unbending dedication to theirart, but few live it as completely as Leslie Feist. Metals is neitherthe best nor worst work of Feist's career. Such distinctions mean little here.It is another set of musical children, born of a tremendous talent that seesthe world in bright, illuminating colors, rather than the subtle shades of greythat dominate an increasingly cynical pop world.

Rating: 4 Stars (Out of 5)

Learn more about Feist at www.listentofeist.com or www.myspace.com/feist.

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For now, enjoy a clip of Feist from Sesame Street...

Hannah Miller - O Black River

Hannah Miller – O BlackRiver
2011, Hannah Miller Music

Alabama –born Nashville transplant (by way of Columbia, SouthCarolina), Hannah Miller sings the soul of the Deep South.  Compared to artists such as Neko Case, Feist,Liz Phair and Basia Bulat, Miller sings with a deep-rooted authenticity thatsimply can’t be bought.  Her songwritingis as organic as her voice.  Miller’slatest effort, O Black River¸ is a six-song set due out onSeptember 27, 2011.  It is among her mostaccomplished works to date.

O Black Riveropens with the title track, a melancholy revivalist hymn to the water.  Miller brings out the dark beauty of humansuffering with a voice that is smoky and lush; this is a great start.  “To The Swift” is a slinky, bluesy turn; asong of self-searching with an entrancing vocal line.  “Bleed Out” is a low-key diary-style numberthat shows off Miller’s impressive voice. On “Foolish Pride” is a darkly private affair, showing off a distinctivevulnerability, followed by a surprising and somehow not contradictory core ofstrength.  “Elijah” is the star of theEP, a wonderfully written number with an unforgettable chorus.  Miller shows off a sparkling pop sensibilitywoven into the seams of the supple folk/Americana arrangement.  This is a Wow moment.  Miller closes with “Refuge”, a gorgeous lovesong that blends the elements of folk with the soul and groove of classicR&B.

Hannah Miller is an absolute breath of fresh air.  A one-of-a-kind voice; songwriting sprungfrom the roots of the Deep South, and a subtle pop sensibility running throughit all that keeps everything fresh.  O Black River is going to get Millersome serious attention.

Rating: 4.5 Stars(Out of 5)

Learn more about Hannah Miller at www.hannahmillermusic.com or www.myspace.com/hannahmiller.  O BlackRiver is available digitally from Amazon.com.

The Krista Parrish Trio - Playing With Pendulums

Krista Parrish Trio - Playing With Pendulums

2010,

Krista Parrish comes across as two distinct artists on her debut album, Playing With Pendulums:  The fingerstyle guitarist who impresses with both her finger- and fretwork on a series of instrumentals that show both technical skill and an advance lyric and melodic sensibility; and the singer/songwriter with an untrained and pleasant, though occasionally pitchy voice.  The two roles alternate throughout the album, which features six instrumentals out of the twelve tracks presented.

Playing With Pendulums opens with "Happy Guitar", with Parrish showing an intriguing mix of melodicism and drive on what sounds like a souped-up Windham Hill recording from the late 1980's.  It's a nice start, letting you know that an hour spent with Krista Parrish won't be like your typical Indie Folk/Rock album.  Parrish shows mild-to-moderate pitch issues on both "Hola Nino Hemoso" and "Skywatching".  The latter is a dreamy folk number that's quite a pleasant listen in spite of the occasional vocal misstep.  "The Mind's I" is a circular instrumental that relies on repetitive passages and heavy drum and bass influence to drive it.  Parrish's guitar work is technically proficient, but this track gets stuck in a rut. 

"When The Day Is Done" is solid, built in a simplistic arrangement with some sweet vocal harmonies blown into the mix.  "The Ground We Lay On" is the star composition on the album, with Parrish pulling out all the stops on a chorus that would sound about right from a heavy metal band.  The acoustic presentation here is intriguing, but Parrish positively rocks out in a complex turn with progressive rock tendencies.  "Playing With Pendulums" shows Parrish's softer side, a pastoral and dreamy guitar-led number that's pretty and contemplative.

"When" is a song of heartbreak from the deliverer's perspective.  Painted in barre chords, the melancholy air here is substantive.  Parrish's unvarnished voice is the perfect complement.  "Mexico" starts on a mix of fingerstyle and hammer-on techniques, quickly evolving into a fast-paced rock instrumental.  Fun and fast-paced, it's a positive mood-shifter at just the right time.  Parrish says farewell with "Head First Heart Last", a melodically laconic and meandering instrumental full of pretty atmosphere.  It's a mellow lullaby that puts the entire project to bed quite nicely.

The Krista Parrish Trio mostly delivers the goods on Playing With Pendulums.  Parrish is impressive on guitar, laying down complex and interesting compositions in fingerstyle while maintaining a pop/rock sensibility most of the time.  As a vocalist, Parrish is solid, although she does run into pitch issues from time to time.  It's actually refreshing to hear someone brave enough to say, "here's my voice, take it or leave it", rather than give in to the temptation of pitch correction software.  To the left, the maintenance of pitch issues on a finished album does give the affair a less professional feel.  All in all, Playing With Pendulums is a positive experience.  There's certainly some room for growth here, but Parrish is off on the right foot.

Rating: 3 Stars (Out of 5)

 Learn more at www.kristaparrish.com or www.myspace.com/kristaparrish.  Playing With Pendulums is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Jeneen Terrana - See The Light

Jeneen Terrana – See The Light
2011, Bitesized Records

Jeneen Terrana is an integral part of the Long Island City, NY music scene.  A distinctive songwriter with flair, Terrana has been comfortable with her local status but has the talent to play much larger stages.  Terrana debuted in 2002 with Just Me, a highly personal collection of originals that showed a raw talent just beginning to come into its own.  Terrana’s 2008 follow-up effort, My Creation, featured the inspired instrumental work of The Howl Brothers, and won critical acclaim from multiple outlets, including being branded a Wildy’s World Certified Desert Island Disc.  Terrana returns in 2011 with See The Light, a more mature and airy effort than her previous two albums.

See The Light opens with “Benny’s In My Head”, a folk ballad with a soulful slant.  This is Terrana’s internal dialogue over the battle between heart and mind when finding herself suddenly in the midst of love.  This is a great piece of songwriting; Terrana has crafted a great arrangement that stays enough in the background to allow the story of the song to play out unfettered.  “I Laid It On Him” is a foxy bit of urban gospel blending jazz with a folk/storyteller pastiche.  The song is incredibly catchy with an almost swing feel to it at times.  “Raise Your Voice” encourages children to speak up from their well of idealism about the world; encouraging them to not be borne down by the cynicism of the world around them.  The song is well-written, and Terrana performs it with heart.  There is one moment, on the highest note of the song, where the vocals come off a bit shrill, but otherwise the performance is flawless.

“All Of You” is written from the midst of true, deep and abiding love; it’s an invitation to join her and be immersed in its waters.  Terrana calls on her heritage, infusing shades of an Italian folk style here.  “I’ll Always Be With You” brings a sort of Baroque musical theater feel to the table.  While the song itself is a love song in a fairly common style, Terrana breathes pleasant life into the genre.  “See The Light” and “At School” are solid album tracks that lead into the splendid songwriting that makes up “God, I Need Comfort”.  Terrana’s representation of one side of a dialogue or prayer is intriguing; full of dark, Mediterranean influences.  Terrana explores the darker side of self and the constant battle to be better than we really are.  The composition is gorgeous, with amazing harmony vocals.  “Never Go” is another meditation on love; on her desire for love to stay as it is forever.  See The Light closes out with “Time”, a gentle plea to time itself to slow down for her.  Terrana keeps things simple, allowing the simple beauty of the melody and the unbridled angst of the lyrics to shine.  It’s a stunning closer.

Jeneen Terrana shows a lot of musical maturity on See The Light while exploring the happier countenance of love.  She doesn’t get entirely way from the darker aspects of humanity, and often her best songwriting comes from those darker places, but See The Light is a strong transitional album.  It doesn’t have quite the urgent energy of her previous work, but shows an artist struggling to come to terms with her deeper self.  Terrana is a top-notch songwriting, and her voice is enthralling.  And while there are a couple of slow spots here, this is the album Terrana had to make next to continue to grow creatively and as a performer.  See The Light is highly recommended listening.

Rating: 4 Stars (Out of 5)

Learn more about Jeneen Terrana at www.jeneenterrana.com or www.myspace.com/jeneenterrana.   See The Light is available from Amazon.com as a CD or Download.  Digital copies are also available from iTunes.

Over The Rhine – The Long Surrender

Over The Rhine – The Long Surrender
2011, Great Speckled Dog/Over The Rhine

It’s been twenty years since Over The Rhine took their first steps toward becoming darling of the alt-folk scene.  What started out as a quarter has been whittled down to husband and wife team Linford Detweiler (piano/guitar/bass) and Karin Berqquist (vocals/guitar).  While the sense of ambience present on albums such as Till We Have Faces (1991), Good Dog, Bad Dog (2000) and Ohio (2003) may have faded some with the passage of time, Over The Rhine’s new album The Long Surrender  displays an intimate and integral sound that is compelling.  The Long Surrender will be available of February 8, 2011.

The Long Surrender opens with “The Sharpest Blade”, a slowly meandering folk/rock recitative with mid torch qualities.  Gorgeous, sorrowful and heartfelt, Berqquist makes the most of the vocal line.  It’s a stunning beginning.  “Rave On” has a quiet, impassioned urgency.  Berqquist is at her most emotive in a song with a timeless feel.  There’s a sense of a universal theme here that’s perhaps just beyond the listener’s reach; unchangeable in form but vibrant in force.  “Soon” is deeply melancholy, perhaps even morbidly blue.  The darkness of the arrangement and Berqquist’s voice is fascinating.  “Undamned” is a gorgeous oil painting in music pondering the saving grace of love.  Written from the perspective of a lost, broken soul suddenly wrapped in, and saved by love, the realization dawns on her that she is worth saving.  The unmistakable mark of humanity here is vibrant and tangible.

“Infamous Love Song” is pure torch; a love song of broken souls.  Detweiler and Berqquist have composed a mini masterpiece here; you nearly see the speakeasy coalesce around you as Over The Rhine begin to play, and sense the waves of sorrow and desperation wafting forth from the patrons therein.  The song is amazing: needful and powerful and full of a lonely grace that will refuse to let you go.  “Oh Yeah By The Way” explores the words left unsaid after heartbreak sets in.  This one’s a vocal duet, and captures the love, pain and regret in a stellar bit of songwriting that is likewise unforgettable.  “The King Knows How” is a stylish, bluesy number with a sultry feel that drops references to Elvis Presley and Hank Williams.  The song is a bit opaque perhaps, but is entertaining with a sense of surreal sensuality. 

“There’s A Bluebird In My Heart goes back to the bluesy torch sound, perhaps not quite as successfully as before.  Berqquist continues to excel on the vocal lines, but something about this one doesn’t quite click.  “Days Like This” is more ambient in nature, a dreamy folk/pop number that’s ethereally pretty.  “All My Favorite People” opens with what might be the best opening line to a pop song ever.  “All my favorite people are broken…” launches an exploration of the beauty of the shades of grey that envelope our lives over time.  The depth and maturity of the songwriting here is nothing less than stunning, and Berqquist shows a depth and presence the likes of which are generally the mark of a consummate performer.  Detweiler also shows off with a healthy dose of Ray Charles-style piano licks.  The Long Surrender closes with “Unspoken” is a brief piano-based instrumental epilogue with country accoutrements.    Saxophone takes the lead on the melody line in a pretty closer that sounds like the end credits to a film.

Over The Rhine just keeps getting better with time, and The Long Surrender is their most intimate and compelling work to date.  Karin Berqquist could sing the Cleveland phone book in the middle of Times Square and draw an audience, and Linford Detweiler shows an almost preternatural ability to build arrangements that fit her voice perfectly.  There are a couple of slow moments on The Long Surrender, but on balance it’s hard to imagine The Long Surrender not ending up on a number of year-end lists for 2011.

Rating: 4.5 Stars (Out of 5)

Learn more about Over The Rhine at www.overtherhine.com or www.myspace.com/overtherhine.  The Long Surrender drops on February 8, 2011.  The album can be pre-ordered from Amazon as a CD, on Vinyl or as a Download.

Kim Taylor - Little Miracle

Kim Taylor - Little Miracle
2010, Kim Taylor

Cincinnati-based singer/songwriter Kim Taylor returned recently with her fourth album, Little Miracle. A stark, stripped down set of folk rock songs, Little Miracle represents Taylor’s most powerful songwriting to date. The album was written and recorded in The Maid’s Room in New York City (a favorite place of Rufus Wainwright) over several days, and has the urgent emotional feel that only that sort of milieu can bring.

Taylor opens with the title track; "Little Miracle" is repetitive and catchy, about as bubblegum as Taylor will allow herself to get. The song has mild commercial appeal but isn't groundbreaking. "Lost And Found" sticks with the repetitive style but does so in a pretty melody and shows off Taylor's unusual voice. "American Child" is intriguing, exploring the dreams of parents affected by war and difficult times. The song might also be interpreted through the eyes of an immigrant family, a theme that's not lost on Taylor later in the album. Taylor delves into the depths of loss and grief on "Anchor Down", casting herself into a sea of emotion for a stark and moving vignette.

"Do You Ever Feel Lonely" intertwines a catchy melody and arrangement with a melancholy mood; an interesting juxtaposition that sounds like something that might come out of a jam session between Sheryl Crow and Bonnie Raitt. Fatalism rules the day in "If I Am Wrong"; where effort is ultimate object but the outcome doesn't seem to matter. Taylor's shining moment comes on "Fruit Of My Labor", a brilliant look at life and dreams through the eyes of a migrant worker. Taylor shows distinct depth as a songwriter here; bring the subject alive in the vibrant color of her words and her presence as a performer. Little Miracle closes with a low key but powerful love song in "Sharp Cutting Wings (Song To A Poet)", showing off more of the impressive songwriting depth that Taylor kept somehow muted through much of the album.

Little Miracle leaves the impression of an artist who is getting better as she continues to write. Taylor starts out on solid footing, but the final two tracks on Little Miracle are the sort of songs songwriters aspire to a handful of times in their careers, much less consecutively on one album. You won't be likely to leave Little Miracle behind anytime soon, but when you do it will be in open anticipation of whatever Taylor graces us with next.

Rating: 3.5 Stars (Out of 5)

Learn more about Kim Taylor at http://www.kim-taylor.net/ or on Facebook.  Little Miracle is available on CD from Amazon.com.  Digitial copies are available from iTunes.