Lori Lieberman - Bend Like Steel

Lori Lieberman - Bend Like Steel
2011, Drive On Records

Lori Lieberman has been killing them softly with songs full of poise and grace since her debut album with Capitol Records in 1972.  Her poem “Killing Me Softly (With His Song)”, written after seeing a performance by Don McLean, was developed into a song by composers Charles Fox and Norman Gimbel.  The song was a moderate hit for Lieberman, but went on to become the signature song of Roberta Flack.  Lieberman went on to provide music for Schoolhouse Rock in the late ‘70’s and early 80’s.  Taking off the rest of the latter decade to have a family, Lieberman returned in the mid-90’s, recording a series of albums with Indie labels.  Lieberman’s latest, Bend Like Steel, shows the sort of subtle story-telling and gentle song craft that has made Lieberman highly respected by fans and peers alike.

Bend Like Steel opens with the pensive soliloquy of "If Not Now", a song about taking action to shape your own future.  It's a stark opening that grows into a lovely missive that is both lonely and full of hope.  "Mr. And Mrs. Make Believe" explores the tragedy of a couple who are trapped in the inertia of a relationship that doesn't exist anymore but neither has the will to talk away from.  Lieberman's melody is a thing of pure beauty, and Monty Byrom (Big House) sits in ably on the duet.  "Cup Of Girl" is an intriguing number that describes personal growth in distinctive imagery that mixes allegory and fact.  Lieberman transcends the moment and the story here, creating an aura of magic as she unrolls a tale of mistreatment, survival and the blooming of an accomplished confident woman from the same little girl.

"Bend Like Steel" plays like a meditation on "Cup Of Girl", exploring the qualities needed to be the confident women born of her past experiences.  The stripped down, minimalist arrangement is the perfect complement to a song of strength and conviction.  Lieberman's cover of Simon & Garfunkel's "Cecilia" is contemplative and full of sadness, beautiful in interpretation and in sharp contrast to the incredulous feel of the original.  "For More" is a sweet, mid-tempo love song, a slight change of pace that will sit well with listeners serious and casual.

"My Sister's Boyfriend" is a highly personal ode to a young man who lost his life in Vietnam.  The song reflects on memories of childhood, and the impact of war even while living in a place known for peace (Switzerland).  The song is beautiful, and will hit home for anyone who has lost a love one at war.  "Steady Heart" and "These Things" are solid album tracks, steeped in Lieberman's fine story-telling and melodies.  "Netherlands" is a love song, born of deep memories stirred up by a visit to a place that will always feel like home.  Lieberman's conviction here is true, pouring from every word and note like a spring.  Bend Like Steel closes with "There's A Harbor" is a dreamy and pensive closer, looking forward to a time when the travels can stop and the singer can be at peace.  The spiritual element of the song is deep-seated and subtle, but very much there.

Lori Lieberman delivers on her reputation as a story-teller on Bend Like Steel, charting the waters of human emotion in her songs.  Lieberman's approach is generally very low key, choosing to allow the power of her lyrics and the simple beauty of her melodies speak clearly.  Bend Like Steel won't blow you away.  Rather, it wraps its arms around you, whispering all will be well even as it delves into love lost, death and the struggle to grow and live.  Bend Like Steel is among Lori Lieberman's best work to date.

Rating: 4 Stars (Out of 5)

Learn more about Lori Lieberman at www.lorilieberman.com or www.myspace.com/lorilieberman.  Bend Like Steel is available digitally from Amazon.com and iTunes.  If it's a CD you're after, you can score one directly from Lori Lieberman's web store.

Sheri Miller - Winning Hand

Sheri Miller - Winning Hand
2011, Sheri Miller

Sheri Miller made an impact quickly.  Her 2008 debut album, Mantra, spawned an underground hit in "Right Here, Right Now", and earned her recognition as one of Music Connection's 'Hot 100 Unsigned Artists'.  An invitation to join a group called The Delilahs resulted in a major label contract and opportunities to write songs with the likes of J.D. Souther, Jill Sobule, Shawn Mullins and Al Anderson (NRBQ).  Unfortunately the band fell apart, and Miller found herself on her own again.  She did the only thing a songwriter could do; she kept writing and performing.  The result is Miller's sophomore EP, Winning Hand, featuring a top-notch band with members who have played with the likes of Paul Simon, Neil Young, Johnny Cash, David Bowie and Suzanne Vega.  Winning Hand was produced by Kevin Killern (U2, Peter Gabriel), and represents significant growth on the excellent start Miller got off to with Mantra. 

Winning Hand sets sails with an Americana/pop love song in the form of "Spoons".  It's a brilliant low-key pop tune featuring gorgeous harmonies and a memorable chorus.  This could be a bonafide hit for Miller, and will likely be a winner in the licensing world as well.  "Winning Hand" is a languorous Americana ballad about taking the chance to fall in love.  Miller's melody is winsome, but the overall effect is a touch bland.  "Satellite" has an acoustic southern rock feel that's appealing.  A quiet anthem screaming to have big guitar sound pumped in, the song remains an enjoyable listen even in this stripped down form.  "Everybody Feels This Way Sometimes" seems a bit out of place here.  It's a decent enough tune, but doesn't have the same energy or sense of personality as the other tracks presented here.  Winning Hand winds up with "Hungry For The Truth", a dark rocker about figuring out the meaning of life, no matter the cost.  The song is quietly impressive, sneaking up on you and growing in estimation with each successive listen.  It's probably the most impressive piece of songwriting Sheri Miller has unveiled thus far; showing a much more complex and intricate side to her songwriting psyche than one might expect.

Sheri Miller continues to impress, showing more levels and layers to her lyrics and composition than on the formidable Mantra EP.  The best way to describe Sheri Miller is to say she's a star in waiting.  In the days of major label dominance, Sheri Miller would already have a major record deal, and would be in demand as both a songwriter and performer.  Life is both easier and harder in the post-label era, but Miller's progression as a songwriter in the last three years speaks of wonderful things to come down the road.  Winning Hand has its rough spots, but when Miller is on her game there are few better.

Rating: 3.5 Stars (Out of 5)

Learn more about Sheri Miller at www.sherimiller.com or www.myspace.com/sherimiller. 

Dan Fisk - Bruises From The Backseat

Dan Fisk – Bruises From The Backseat
2011, Daniel Fisk

Virginia native Dan Fisk is a versatile singer/songwriter who has been rising to the top of the Washington, DC market over the past few years.  Voted one of D.C.’s “Hottest 5” musicians in 2010, Fisk’s chunky guitar style, voice and songwriting mesmerize artists.  Comparisons to Dave Matthews and Pat McGee abound, and seem justified.  Fisk recently released his debut solo EP, Bruises From The Backseat, featuring appearances from the cream of the Washington D.C. music scene’s crop, including Katie Chambers and Ted Garber.

Bruises From The Backseat opens with "A Thousand Love Songs", an awkward newborn of a song that quickly finds its step.  This is an acoustic ballad with oomph, and you can almost hear the soaring strains of a classic power ballad beneath the unadorned acoustic arrangement.  "Part Of You" is an intriguing number about the transition of a relationship from lovers to friends.  Fisk creates interest with small musical touches woven into the edges of the arrangement, accentuating a melody worth paying attention to.  "Little Things" is a silly little love song that focuses of romantic minutiae.  Done up in a catchy folk/pop arrangement, "Little Things" is ripe for licensing for prime-time television drama. 

Fisk creates some musical waves with a brilliant cover of one of Paul Simon's lesser known hits, "Standed In A Limousine".  Fisk brings out the bluesy backbone of the song, and has obvious fun doing so.  There's no keeping your feet still for this one.  "Life And Limb" finds Fisk in a quieter mode, turning in a great vocal performance, and finding a bit of high lonesome sound in the distinctive vocal harmonies crafted around the melody.  Fisk closes with a solid reprisal in "Part Of You II".

The first thing that will strike you about Dan Fisk is his voice.  It's not perfect; flecked as it is here and there with interesting veins of timbre and tone, but there is something utterly reel about it.  Fisk is a performer, pure and simple; a quality that even comes across in the recorded media of a CD or MP3.  Bruises From The Backseat is the sort of introduction that keeps listeners coming back.  It's a little early to declare Fisk a star, but the potential is there. 

Rating: 4 Stars (Out of 5)

Learn more about Dan Disk at www.danfisk.com or www.myspace.com/danfisk. Bruises From The Backseat is available from Amazon.com as a Bruises from the Backseat or Download.  The album is available via iTunes.

Brian Eno and the words of Rick Holland - Drums Between The Bells

Brian Eno and the words of Rick Holland - Drums Between The Bells

2011, Warped Records

Brian Eno has long been acknowledged as one of the founding fathers of ambient music.  His roots lie in the glam rock era, starting with the band Roxy Music.  As a soloist, his progressive tendencies grew from art rock to the early experimental days of Electronica.  Along the way Eno collaborated with such icons as Robert Fripp and Genesis, creating a body of work that is impressive in both its scope and quality.  As a producer, Eno has worked with acts such as U2, Coldplay, Depeche Mode, Paul Simon, Slowdive and Grace Jones.  Eno first discovered Rick Holland during a collaborative effort of the Royal College, the Guildhall School of Music, the Royal Academy of Music, the National Youth Orchestra (UK) and the English National Ballet entitled the Map-Making Project.  Eno first collaborated with Holland in 2003, and the two have worked together on and off since that time.  In 2011, Eno made the jump to Warped Records with the release of Small Craft on a Milk Sea.  Drums Between The Bells, featuring the words of Rick Holland, follows quickly on its heels, dropping on July 5, 2011.

Drums Between The Bells is an aural treat, with Eno drawing stylistically from his vast body of work to create musical backdrops that are esoteric in beauty and vital in their energy.  The album ranges from dance-oriented Electronica to avant garde, with stops at seemingly pastoral, cinematic and meditative musical spaces along the way.  "Glitch", the lead single, is a modernist obsession that will play well as a low-key club number, full of recursive synth and percussion and the robotized spoken word craft of Grazyna Goworek.  "Pour It Out" is a thing of pure beauty, from the Eno's seamless composition to the smooth soliloquy of Laura Spagnuolo.  "Fierce Aisles Of Light" features Rick Holland himself in his sole appearance on the album, offering his poetry in unaffected voice alongside Nick Robertson and Anastasia Afonina, to the ebb and flow of gentle industrial sounds.  There is a hopeless feel of automation here that is perhaps as much of a statement as the words themselves.

"A Title" has a space-age, cinematic feel to it that wraps around the listener like a shawl on a chilly night.  The school-marm voice of Caroline Wildi (we love the name) is both soothing and stern.  Eno gets percussive on the stimulating "Sounds Alien", a lesson in the power of rhythm in music.  Eno uses his own voice to create a sort of digital-age Gregorian Chant to the power of money and stock markets on "Dow".  "Cloud 4" sounds like the music of a child's demented wind-up toy, an answer, perhaps, to Pink Floyd's "Goodbye Blue Skies".  Drums Between The Bells settles in the shades of night with "Breath Of Crows", a musical landscape in oils, that mimics lonely madness on the edge of the periphery of darkness.  Holland's words reveal an utter loneliness bordering on insanity, delivered against a wonderfully bleak backdrop of sound that includes the machination of wind chimes and the ghosts of voices that only arrive to waking souls in the deepest hours of darkness.

There really is no tying Brian Eno down.  There is no one genre or style that you can attribute to the man, although much of modern Electronic music owes a debt of gratitude to his creativity and progressive musical nature.   The music on Drums Between The Bells vacillates between artful and creative to downright masterpieces of sound and vision.  Eno wraps up Rick Holland's poetic muse in clothing so well-fit it becomes impossible to separate the two.  Holland's work itself tends toward the pessimistic and bleak as often as not, and may be a tough read, but his words come to life across the soundscapes that Eno has created.

Rating: 4 Stars (Out of 5)

Learn more about Brian Eno at www.brian-eno.net or www.warp.net/brian-eno.  Drums Between The Bells drops on July 5, 2011.  The album is available from Amazon.com as a CD, a Limited Edition CD, on Vinyl and as a Download.  

Paul Simon - So Beautiful Or So What

Paul Simon - So Beautiful Or So What
2011, Hear Music

Five #1 albums.  13 GRAMMY Awards.  The Gershwin Prize for Popular Song.  The Rock N Roll Hall of Fame.  Paul Simon could never record another note and be remembered as one of the greatest singer/songwriters in American (or world) history.  Yet at the tender young age of seventy, Paul Simon releases his 11th solo album, So Beautiful Or So What, showing the same lyrical touch, melodic sensibility and musical complexity that his distinguished his work over a long and critically acclaimed career.

If the vigor of youth has begun to slip away from Simon, you'd never know it from listening to So Beautiful Or So What.  Simon is at the top of his game on the subtly complex collection of ten songs that may be his best work since Rhythm Of The Saints.  Simon opens with "Getting Ready For Christmas Day", contrasting the secular struggle with finances and gifts with the spiritual power of the Christmas story.  The arrangement is classic Simon with a modern twist.  The melody is timeless, drawn across an acoustic guitar progression that's as rhythmic as it is harmonic, and the chorus is speckled with spoken word sampling that adds an extra bit of rhythmic spice.  "The Afterlife" sounds like it could have been an outtake from the Rhythm Of The Saints sessions, and looks through the lens of humor at an afterlife overrun with the bureaucracy of man.  Simon's arrangement subtly melds musical and lyrical flavors that seem like they shouldn't work together but somehow do.

"Dazzling Blue" is a philosophical love song, blending influences from various stages in his career.  Delivered with a subtlety that continues to grow in depth with each passing year, Simon enters the realm of the sublime.  "Rewrite" opens with a complex, polyrhythmic progression on the acoustic guitar, and is written from the perspective of someone trying to come to terms with the mistakes of his past by re-crafting events to place himself in a better light.  Simon creates a character so real and dysfunctional that the song takes on a life of its own.  "Love & Hard Times" revisits the idea of making amends for past injustices, both personal and romantic, while acknowledging a current love.  It's a starkly beautiful exploration of how love can vanish and reform even in the midst of personal darkness. 

Simon deconstructs love in terms of good and evil in "Love Is Eternal Sacred Light".  The concept of abandonment resurfaces here (it was first raised in "Rewrite"), but this time the authorial voice is God himself.  It's an intriguing number that weaves its way through philosophical and theological considerations while attached to an incredibly catchy folk/rock arrangement. 

Simon shows off his guitar skills on the gorgeously free-form instrumental "Amulet".  Pensive and complex, the guitar players out there will be in awe on first listen.  "Questions For The Angels" is contemplative and quasi-spiritual.  Growing out of "Amulet", the song follows one seeking spiritual enlightenment in the sights and sounds of New York City.  "Love And Blessings" is an intriguing little number that juxtaposes blessings and curses, viewing them all from the bright side.  If there's a subtle implication that all are one and the same and a matter of perspective, then Simon has raised the bar on subtlety once again.  Simon closes with "So Beautiful Or So What", an incredibly catchy, low-tech folk rocker decrying the human tendency to overlook our own role in making our lives better.  Simon doesn't go quietly, and reminds us all that we don't have to either.

Paul Simon was a legend long before releasing So Beautiful Or So What.  But at an age when many legends are living off their expansive catalogues, Simon continues to create music as fresh and compelling as any he's written.  While it's impossible to judge, at this stage, what sort of competition he might have for the award itself, anything less than a GRAMMY nomination would be an insult.  So Beautiful Or So What displays the sort of musical excellence that truly comes along once or twice a generation, and can be nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more about Paul Simon at www.paulsimon.com or www.myspace.com/paulsimon.  So Beautiful Or So What is available from Amazon.com on CD, as a Limited Edition CD/DVD, on Vinyl and as a Download.  Digital copies are also available via iTunes.

Nate Marshall - Stowaways, Throwaways & Drifters

Nate Marshall - Stowaways, Throwaways & Drifters
201, Nate Marshall

Nate Marshall may be familiar to readers of Wildy's World as one half of Upstate New York duo Nate & Kate.  A lot has gone on in the world of Nate Marshall since we reviewed Now & Then; but the essential character of his songwriting hasn't changed even as continued touring and the cascade of life events have deepened his perspective on the world around him.  Marshall recently returned with Stowaways, Throwaways & Drifters, a collection of eleven tracks that documents Marshall's continued development as a songwriter and storyteller.

Marshall opens with "Smile That Smile For Me", a folky love song with something of a mid-1970's Paul Simon flair to it.  You'll find yourself hitting repeat on this track, which combines great songwriting with vibrant energy and a subtle sense of musical timing.  "River Of Liquor" is a bit muddled and messy; reflecting an attempt at recovery from alcoholism and the restoration of a relationship.  "Anything, Anytime, Anywhere: Free" is a sociological take on how the prevalence of technology has blurred the line between "needs" and "wants".  It's an apt observation planted in a blues/folk/American arrangement you can't shake.  "Here To The Midnight Shore" changes pace a bit; a love song embossed with Beach Boys-style harmonies.  It's a sweet number that's pretty and airy but manages substance in spite of it all. 

"Architects Of Destiny" is like a messy Blood Sweat & Tears jam.  The horns are jarring and the arrangement has an uncomfortable feel; which may be by accident but more likely seems an instrumental allegory for deep discomfort with the direction of the world.  "Turn The Key" opens with an instrumental take on "Oh Susanna" that grows through variation and embellishment into a tune about the imperturbable draw of home, even from within the unrelenting walls of prison.  Marshall descends into inspired silliness for "I Love U More", a love song that includes references to George Bush, Saddam Hussein, Jesus, Burger King, McDonalds and nudism.  It's hokey and fun and may even evoke a chuckle or two.

Marshall displays depth with "Piano Overture", a bluesy pop piano piece that sounds like it was recorded in a restaurant at dinner time.  Marshall impressive with a lyrical style, a sense of dynamics and vibrant personality that plays out through the keys.  Horizons continue to broaden on "Fiery, Desolate Day", which dawns stylistic guitar work that feeds into a high octane acoustic blues tune you won't soon forget.  "That Ain't Us, Ain't That Us" is a story song about the things we all say we don't do in relationships even as we do them.  It's an indictment of human behavior and sincerity that relies on human tendency as the primary indictment.  It's a smooth bit of songwriting that is likely to stick around Marshall's live sets for years.  "Not In My Name" is a political protest song, calling out the U.S. government for waging wars her people don't support.

Nate Marshall doesn't have a perfect voice, but he has the perfect voice for the songs he write and the style he purveys.  There's something gritty and knowing about the man as a songwriter that puts listeners at ease right away.  Stowaways, Throwaways & Drifters is a varied collection that shows off some of Marshall's strengths as a writer and performer, but also manages to unearth some sides to the artist you might not have expected.  In a crowded Indie singer/songwriter marketplace, Nate Marshall stands out.

Rating: 4 Stars (Out of 5)

Learn more about Nate Marshall (and Nate & Kate) at www.nateandkatemusic.com or www.myspace.com/nateandkatemusic.  Stowaways, Throwaways & Drifters is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

John Shipe - Villain

John Shipe - Villain
2010, Involushun Records

Villain opens with "Lion", an interesting reflection on culpability, responsibility and choices.  Delivered in a folk style, Villain displays a story-teller's flair and an aurally pleasing voice that calls to mind thoughts of Paul Simon and Elvis Costello.  "Villain" finds Shipe exploring the human tendency to root for the bad guy, whether in romance, movies or real world events.  It's a cute bit of songwriting, displaying a sense of wit that will appeal to fans of Lyle Lovett and Randy Newman.  "Love Belongs To Everyone" invokes images of a melancholy Elvis Costello, as Shipe engages in a good old fashioned dose of mutual self-pity.

Shipe entertains guest, and 2010 Wildy's World Artist of the Year Halie Loren in a duet on "Hard To Believe", an intriguingly sad love song.  Shipe sticks to his easy-going vocal style, while Loren offers a gorgeous husky alto sound to the mix.  The best moments come when Shipe and Loren blend their voices in harmony; the dichotomy of their respective sounds blends almost in spite of their distinct differences.  "What Right Do We Have To Fall In Love?" finds Shipe exploring the dysfunctions of love from the other side of the looking glass.  It's a unique perspective that works well.  Shipe deeps dig into romantic dysfunction with "Another Disaster", creating an incredibly catchy pop song in the process.  The comparisons to Costello are never stronger than they are here, and never more well deserved.  You'll be hearing this one in your head at inopportune times for days.

"No Use Crying Over A Spilt Life" blends apt, intelligent, lyrical prose with a thoughtful singer/songwriter arrangement that waxes and wanes with the emotional angst of the song.  This might be Shipe's finest songwriting to date.  "Dead Kite" is an emotional still life, a musical monologue written from the edge of a relationship's abyss.  Shipe examines the carnage from outside for the first time, waxing poetic on what drew him and what finally drove him away.  Villain closes with "Feel Good Song", a subtly cynical exploration of humanity's ability to make themselves feel better by burying themselves in ideas and reminiscences of the past and using them as an excuse for inaction in the present.  Shipe's focus here is religion, but may not be an outright attack on faith so much as an attack on people's desire to hide behind it.

John Shipe attacks social constructs with shadows and light on Villain, exploring the human weaknesses that drive mankind to do bad things rather than berating humanity for being anything other than it's cut out to be.  Shipe mixes cynicism and hope in unlikely measures while invoking thoughts of Paul Simon, Randy Newman, Lyle Lovett and Elvis Costello across the eleven songs presented on Villain.  The album is somehow more than the sum of its parts.  While Shipe's songwriting and musicianship are worthy of note, he possesses a quiet cult of personality that occasionally raises his performances to sublime.  There are certainly some quiet moments on Villain, but those quiet moments fade with successive listens.  This is one Villain that will grow on you.

Rating: 4 Stars (Out of 5)

Learn more about John Shipe at www.johnshipe.com or www.myspace.com/johnshipemusic.  Villain is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Hannah Fairchild - Paper Kingdoms

Hannah Fairchild - Paper Kingdoms
2010, Hannah Fairchild

Minnesota native Hannah Fairchild re-settled in Brooklyn in 2005 with the intent of becoming an actor. Highly artistic with a strong independent streak, Fairchild didn’t take to the bridle of the actor. Fairchild spent her 2006 tax return on a guitar and set out to remake herself as an artist. Four short years later, Fairchild released her debut album, Paper Kingdoms. Recorded entirely independently in Fairchild’s apartment, Paper Kingdoms dances a highly personal path between fantasy and reality as it explores the difficulty of being a girl and growing up in a complicated world.

Paper Kingdoms opens with "Pin Up", a song of consolation to a friend who has gone through a breakup. Cutting and powerfully empathic, Fairchild avoids the usual syrup and sap that such songs seems to inspire. If Paul Simon had a love child with Tori Amos, she might sound a bit like Fairchild here. "All Eyes On Me" is a song of growing self-assurance and power that might reflect recovery from a loss or just a late bloomer coming out of her shell. It's an amazing bit of songwriting that shows a bit of Ani DiFranco influence. "Before The Cold Air Hits Us" documents the angst and gratification of a dysfunctional relationship in chillingly honest terms, focusing on the comfort and familiarity of the situation for both parties. The title here references reality and the hope to dwell in the known a bit longer before reality hits.

"Poor Leander" shows further empathy, this time for a friend whose need to save others lures him into messy relationships again and again. The intriguing narrative recognizes this quality and also his need to seek out the narrator every time that things fall apart. Fairchild gets in-depth with "Cassie At The End Of Things", an intriguingly positive look at falling down. The song digs past complacence to the elements of loss. Fairchild is in her best voice here, and the performance is nothing short of electric. "Nicollet" is a brilliant tune about a broken soul trying to be the beauty she seeks. Stark and hair-raisingly beautiful, the narrator is full of defiance and self-respect in spite of all she's been through. The last two songs on Paper Kingdoms appear to be cut from different musical cloth. On the rest of the album Fairchild has shown an ability to drill down on her subject and tell lyrically dense but concise stories in song. On "Lady Of The Court" and "Long Since Gone" show Fairchild as a more rambling lyricist. One might guess that these two are earlier songs of Fairchild's included here to fill out space. Both show promise but don't have the focus found on the rest of Paper Kingdoms.

Hannah Fairchild has a voice that grabs your attention and holds it, a gorgeous and edgy alto that's as unsettling as it is entrancing. Writing with a ferocious honesty on Paper Kingdoms, Fairchild bears her soul while maintaining a charming yet firm sense of control. Paper Kingdoms is one of the most strikingly honest and beautiful creations to cross this desk in 2010, even accounting for the final two tracks. Don't deprive yourself of the experience that is Hannah Fairchild.

Rating: 4.5 Stars (Out of 5)

Learn more about Hannah Fairchild at http://www.hannah-fairchild.com/ or www.myspace.com/hannahintheory.  Paper Kingdoms is available digitally from iTunes.