Jeannine Hebb - Whileaway

Jeannine Hebb - Whileaway
2011, Jeannine Hebb

Jeannine Hebb has one of the bestpure voices in Indie Rock. Her stunning debut EP Too Late To Change Meannounced the Brooklyn based singer/songwriter to the world four years ago. Itwouldn't have been surprising to see Hebb regress a bit on her second recordedeffort, but Whileaway finds Hebb leaping forward rather than steppingback. Her penetrating voice, distinctive melodies and emotionally intelligentlyrics make for an unforgettable combination. Comparisons to Fiona Apple, AlexaRay Joel and Tori Amos may seem appropriate at times through Whileaway,but it becomes eminently clear before long that Jeannine Hebb's sound and styleare entirely her own.

Whileaway opens with "Call Him Out", a cute number writtenearly in heartbreak. She wonders why no one intervenes. The effort isintriguing, and has the feel of a pop-opera or new Broadway composition. Hebbcreates and enlivens a character here that's entirely believable in herself-pity and self-victimization. The melody is entirely memorable, and Hebbsings with a voice that could grace any stage. "I Believe" is asoulful ballad that shows off the many colors and gorgeous tone of her voice."Back To Me Again" is written from a position of power, with aformer, misbehaving beau trying to his way back into her life. The edgy rockarrangement almost seems to hide a country heart, but Hebb builds a wonderfullyintricate chorus that will keep your toes tapping.

"Tell Me No" shows awonderfully human bit of dysfunction, wrapped up in a theatrical aria that'sabsolutely unforgettable. The combination of neurotic need and honestvulnerability plays out perfectly against the simple piano-based arrangement."Heartache" deals with the darkness that follows a relationship, withthe resolution that she won't make the same mistake again. Once again, Hebbcarries a stage presence into the song, and a diva-like voice that wends itsway through the vaguely Mediterranean melody. Edge and beauty come togetherhere, like the brittle, icy rim of a puddle on a frosty morning."Don't" continues to dance on the emotional ledge, in that dark placebetween capitulation and recovery. Strength grows in the chorus, where shefights back against the causes of her heartbreak. Hebb's sense of compositionhere is amazing, using all of the instruments in her palette to build sound inwaves that crash over the listener much as the emotions that inspired the songmight once have engulfed her.

"These Days" is amelancholy exploration told in the form of a personal ballad. Hebb's (or hercharacter's) personal thoughts born into song alongside a lovely, fluid melody,offer a wonderfully quiet yet powerful moment of pure emotion, and allowlisteners a glimpse into Hebb's upper vocal range as well. "Goodbye"takes on a slightly edgier feel, as Hebb begins to separate herself from thesource of her heartache. Unlike the songs that came before, there's more of ananalytical slant this time around, as Hebb explains her reasons for going. Inthe process she builds gorgeous song architecture that befits the sprouting ofnew chutes into a bare emotional spring that must follow every winter.

"Tragedy" is arelationship post-mortem in the medium of bluesy pop. Hebb belts and croons herway through the moment, speaking not out of anger but out of fact. The dynamicarrangement is too complex for pop radio, but is very appealing nonetheless."Low" alternates a workman-like verse with an airy, one-word chorus.The split is interesting, and the neo-baroque glue that holds the twodistinctive pop styles together will keep listeners very much on their toes.Hebb closes with "Make It Right", a dark confessional that throws allof the previous resolution in doubt. What's appeared to be a general migrationtoward healing is left in the emotional turmoil of one who almost made itthrough, but is on the verge of getting sucked back in to the relationship thatstarted it all. The personal appeal here is compelling, and Hebb delivers itwith a voice and presence that combine all of the personal glamour of abig-time pop star and all of the pastiche of a veteran of the stage.

Whileaway is the sort of album you park in your CD/MP3 player and playagain and again. Jeannine Hebb shows that her debut EP was anything but a flukewith a performance that is subtle and complex beyond her years, both musicallyand lyrically. With a voice that would be welcome on any stage, anywhere and anamazing depth of songwriting ability, it's hard to imagine Jeannine Hebb asbeing anything less than a star one day. Whileaway is nothing less thana Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars(Out of 5)

Learn more about Jeannine Hebb at www.jeanninehebb.com or www.myspace.com/jeanninehebb. 

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Video: Erin Hill & Her Psychedelic Harp - Giant Mushrooms

No.  You've never seen anything quite like this.  Just watch.


Part Milla Jovovich, part Tori Amos, and part Deborah Henson-Conant.  Wild.

Learn more at www.erinhill.com.

Maria Rose & The Swiss Kicks - New Direction

Maria Rose & The Swiss Kicks - New Direction
2011, Maria Rose

Flint and Ypsilanti, Michigan are the co-homes of electro rock n soul trio Maria Rose & The Swiss Kicks.  Led by the powerful and soulful voice of Maria Rose, The Swiss Kicks power their way through an intriguing though sometimes muddled stylistic ménage on their debut EP, New Direction. 

Maria Rose & The Swiss Kicks get things started with "Velvet Cabaret", a musical biography of a strppr with dreams of owning her own French Café.  There's a morbid sort of pull to this song, as we hear the story of someone struggling to break free of a hard life.  It's never clear if our heroine will succeed, even though she's on the verge of her dream.  Maria Rose gives the whole affair a soulful and gritty read with a voice that will stick in your mind.  "Pineapple Wine" is a quirky folk/pop Boss nova; a sexy and sensual invitation to let down your hair and enjoy the moment.  "Angel Face" is a maudlin ballad that's half-hearted and vaguely depressed in sound.  There's a distinctive disconnect between the lyrics and the tone of the music presented here, enough so that it's distracting to the listener.

"Gypsy Of NYC" is another musical bio, this time of a young lady with quasi-magical qualities.  The arrangement and instrumentation is unique and compelling for pop music, even if the production does muddle the sound a bit.  "Wildcard" is catchy and intriguing; showcasing Maria Rose's voice in compelling fashion.  This is one of those songs that eat at you, growing on you slowly, over time.  The EP closes with "New Directions", an unfortunately apt tune that sounds something like Tori Amos and includes an unfortunate and non-committal rap.  This one just doesn't work all that well.

Maria Rose & The Swiss Kicks make a solid impression with New Direction, although the production on the album sounds incomplete at times.  The band skates the middle ground between acoustic band and full sound.  Unfortunately this half-measure doesn't seem to suite them well.  For whatever flaws New Direction might have, however, Maria Rose's voice can't be counted among them.  Rose will make you forget your troubles when she opens her mouth to sing.  The songwriting here is still developing and uneven, but the future looks bright for Maria Rose & The Swiss Kicks.

Rating: 3 Stars (out of 5)

Learn more about Maria Rose & The Swiss Kicks at www.mariarosekicks.com or www.myspace.com/mariarosemusic.  New Direction is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

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.

Marina V - My Star

Marina V - My Star
2011, Marina V

Moscow-born California gal Marina Verenikina won a scholarship at the age of fifteen and moved to America on her own.  Marina V began pursuing her musical dreams by gigging extensively while attending college in Illinois.  On graduating, she moved to Los Angeles, and has established herself as a favorite in the frenetic pop/rock scene there.  Marina V has composed songs for films such as Fallen Idol and Truth About Kerry, and has had songs placed in Days Of Our Lives, The Good Wife, and the iPhone game Tap Tap Revenge.  Marina V’s 2007 album, Modern Fairytale, announced an artist with a world of potential still learning her craft.  On her latest album, My Star, it’s clear that Marina V has grown in self-awareness as an artist.

My Star opens with "You Make Me Beautiful", a solid Adult Contemporary Pop love song.  Built on a strong musical bed, Marina V's warm, lovely voice is framed perfectly here.  "Thursday Song" is a melancholic ballad with a pretty melody and dreamy air.  There is a grey-scale depth to the song, however, that veers widely away from cliché and into a sort of complicated beauty.  "Blue For You" is a fairly straight forward song of heartbreak, pretty but bland at the same time.  Marina V sounds like a richer voiced Tori Amos on "My Star".  The piano that spurs the song along is supported by a symphonic-style arrangement that is sonically appealing. 

By the time Marina V gets to "Unbalanced", the upbeat quasi-rocker is a welcome change of pace.  Up until this point the music has been very self-involved, and while "Unbalanced" is still an internal conversation, its acknowledgement of a world outside is step in the right direction.  Marina V shines brightest on "Tonkaya Ryabina", a traditional Russian song that is haunting in its beauty and brings out additional textures in her voice.  My Star closes with "Magical Christmas", a modern Christmas ballad about recapturing the spirit of Christmas and of youth.  It's a sweet and positive addition to the modern Christmas pop cannon; low key, but pretty and warm.

Marina V can flat out sing.  Her voice is full of textures and tones that are intriguing and lovely.  The heavy focus on ballads on My Star wears thin, and Marina V shines best on an upbeat rocker and a traditional folk song.  My Star seems an effort to cast Marina V's voice in its best light while adhering to what may be perceived as a highly marketable genre, but the song choices here generally don't do the artist many favors.  The sound is great, but there are obviously musical niches that take best advantage of her stunning voice.  It would be nice to hear more of those.

Rating: 2.5 Stars (Out of 5)

Learn more about Marina V at http://www.marinav.com/ or www.facebook.com/marinavmusic.  My Star is available digitally from Amazon.com and iTunes.

Ali Milner - I Dare You

Ali Milner - I Dare You
2009, Ali Milner

Vancouver, British Columbia’s Ali Milner is making quite a name for herself, surfing the pipeline between the genres of pop and jazz.  With a pure voice that could brighten even the darkest day, Milner enthralls with her voice while engaging listeners with a story-telling style that is intelligent and artful. Milner got her start performing with the Vancouver Children’s Choir and has studied at the Berklee College Of Music.  In 2009, Milner released her debut album, I Dare You.  The album has earned Milner significant critical praise, and was named the Best Adult Contemporary Album at the10th Annual Independent Music Awards.  That doesn’t tell you the whole story however.

I Dare You opens with "Crystal Clear", a brilliant musical soliloquy from one used to playing second fiddle to her best friend for suitors.  Milner uses her warm, sultry, soulful alto voice to bring a great piece of songwriting to life.  "I Wanna Be Loved By You" blends reggae and pop in a memorable turn full of melody and Milner's distinctive voice.  "I Lost My Diamond" is a classic pop number couched in an upbeat arrangement.  Heartbreak is the order of the day, as Milner uses jewelry as an allegory for love lost.   "Secret To Tell" is a pop crush song with Americana elements that manages to be catchy and reserved at the same time.  Milner's voice is amazing; she could sing the square root of pie to one hundred decimal places and people would line up to listen. 

"I Dare You" is an unusually frank entreaty to love Milner that heartfelt and without affectation.  Such brutal honesty in pop music is unusual unless it’s intended to cruel, and Milner handles it all as if it were the most natural thing in the world.  "Gonna Dance" is catchy pop that's part 1950's rock n roll and part Motown.  You won't be able to resist dancing along if you have a pulse.  Milner gets a bit esoteric with "Portrait Of Dorian Grey", an intelligent and infectious piano-driven pop number that reminds you just how deep Milner is as an artist.  "I Can't Wait Forever" sways with the push-pull of heart vs. head in romantic affairs.  Milner's voice is so rich and beautiful you'll want to bottle it and sell it, or more likely save it for yourself.

"Breakaway" is a solid song made better by the artist performing it, while "Don't Forget To Call" is wonderfully catchy and fun pop music at its best.  Milner gets dreamy with the 1970's-style AM radio pop of "Day By Day", with a positive vibe and pleasingly lyric sound.  I Dare You bows with "Can't Change This Girl", a soulful declaration of self that's unforgettable. 

After listening to Ali Milner's I Dare You, you'll wonder how someone so good stayed out of the public spotlight for so long.  In this Indie music day and age, Ali Milner is a small fish in a world of small fish, but her songwriting and voice should place her near the pinnacle of pop music.  I Dare You is brilliant, a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Ali Milner at www.alimilner.com or www.myspace.com/alimilner.  I Dare You is available from Amazon.com as a CD or Download from Amazon.com.  The album is also available via iTunes.

Yael Naim - She Was A Boy

Yael Naim - She Was A Boy
2011, tot Ou tard / VF Musiques

Yael Naim rocketed into international consciousness back in 2008, due to the inclusion of her song “New Soul” in an Apple advertisement.  While this break was real and palpable, it’s hard to imagine someone with the talent of Naim not making it.  Together with collaborator Davd Donatien, Naim has spent much of the last two years in her Parisian flat/recording studio, writing and recording material for her sophomore album, She Was A Boy.  The album is due for US release on May 10, 2011 digitally and May 17, 2011 on CD.

She Was A Boy opens with "Come Home, a catchy bit of mellow pop/jazz fleshed out with orchestration. The arrangement is silky smooth and showcases Naim's wonderfully breathy alto perfectly.  "My Dreams" is an interesting blend of pop, jazz, new age and world music.  Beauty, urgency and need are all portrayed as part of the whole in the most sonically intriguing song on the album.  "She Was A Boy" plays with middle eastern scales in a catchy bit of orchestrated pop music. Yael Naim is no stranger to notoriety.  "New Soul", featured on Yael Naim, turned into a sensation overnight with its inclusion in a MacBook Air commercial.  That may be nothing compared to "Go To The River", which is one of the catchiest songs of 2011 so far.  You won't be able to get this song out of your head for days at a time.  Naim uses layered voices to create syncopated harmonies and rhythm on a chorus you will never forget.

"Never Change" features heavy southern European influences and a cantering pace to highlight a memorable melody.  It's a solid changeup from "Go To The River" that's subtle but perhaps just as unique in its own right.  "Today" is personal and compelling, and features Naim's best vocal performance on the album.  Her voice is utterly breathtaking in a song of heartbreak and yearning for something more.  The orchestration builds layers into the sound that are compellingly lush.  "Mystical Love" shows another side to Yael Naim, sounding a bit like something that might have been written through collaboration between Tori Amos and Andrew Lloyd Webber in the early 1970's.  The song is highly original and quirky in construction, showing a deep melodic sensibility with pop pretensions but a highly original sense of musical vision.

"Man Of Another Women" takes on a middle eastern flair in an intriguing number that may catch you by surprise.  It's one of those songs you don't necessarily pay active attention to the first time you hear it, but find yourself humming later and perhaps uncertain where you heard it from.  "Puppet" has pure sonic appeal, with Yael Naim sounding a bit like Milla Jovovich but with a middle eastern rather than slavic influence.  "If I Lost The Best Thing" is a highly personal and heartfelt number that is gorgeous in both instrumentation and vocals.  Naim replicates these qualities on the closing track, "Game Is Over". 

Whereas 2008's Yael Naim balanced French and English fairly equally, Naim sticks with mostly English on She Was A Boy.  The songs offered here show a musical depth that is rarely on display in pop music.  Yael Naim creates songs full of emotional and musical substance that speak to you from the depths of her worldly experience.  The songwriting on She Was A Boy is compelling, and the sounds, whether instrumental or vocal, spend much of the time surpassing beauty.  This is not an album to ignore of pass by.  She Was A Boy is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Yael Naim at www.yaelweb.com or www.myspace.com/yaelnaim.  She Was A Boy is due for release on May 10, 2011 for digital and May 17, 2011 on CD.  You can pre-order the album through Amazon.com on CD or as a Download.  iTunes has yet to post a link to pre-order the album, but expect one shortly.

Sasha And The Indulgents - Love In A Box

Sasha And The Indulgents - Love In A Box
2010, Sasha Papernik

Sasha Papernik will surprise you.  The conservatory-trained classical pianist has been winning national and international piano competitions since the age of eight, but Papernik has never been able to shy away from the freedom of rock music.  Lyric ballads have grown into vibrant rockers, or been spiced up with blinding fast piano runs that strike like lightning and disappear just as quickly.  The Boston-born singer/songwriter has been haunting the clubs of New York City and New England for a few years now with unaffected pop music that's a cousin to that of Tori Amos, Kate Bush and Sarah Slean.  Papernik's band, Sasha And The Indulgents, released their second album in late 2010; a quirky eight-song collection entitled Love In A Box.

Sasha And The Indulgents opens with the musical split personality of the title track.  "Love In A Box" opens as a depressed and dreamy rumination, but transforms into a quirky, angular pop chorus that's incredibly infectious.  Papernik displays an animated, vaguely demented and theatrical style here that is hard not to get into.  "Carolina" is an intriguing dream-pop number about someone who is chasing down her dreams in spite of what family and friends might say.  It's an ode to someone who has given up everything to get her deepest wish.  There's a mild country/Americana flavor in this mellow arrangement that is appealing.  "Edges Of Your Mind" is a bit obtuse in imagery, but is built on a wonderfully vibrant piano progression. 

"I Read The Letter" is an interesting bit of piano pop, channeling the manic feel that tends to infuse Papernik's songs into an edgy and vibrant arrangement that dances on the edge of exploding.  "Would You Like Me" is a great pictorial in song of romance from the perspective of an emotional chameleon that is honest in her dysfunction.  The chorus here is highly memorable, and the dramatic sensibility of the narrator approaches a brittle break without ever quite breaching the divide.  "Chasing Hours" is perhaps the cleanest piano-pop song on the album; a gentle ballad that's full of simple beauty and emotion.  Unfortunately the production on this track isn't what it might be.  Love In A Box bows with "Ten Thousand Dreams", a dreamy, sparse number in a quasi-chanson style.  Sasha Papernik's voice is angelic here, and the atmosphere one of heartbreaking beauty.

Sasha And The Indulgents hit listeners where they live on Love In A Box, delivering quirky, unusually placed pop music full of beauty, grace and honest thoughts and emotion.  Without affectation or device, Sasha Papernik dwells on the beauty of human imperfection and nobility in song.  Love In A Box doesn't play by the rules of pop music, speaking of real lives and real people in a real voice.  If you hunger for honesty in art, then Love In A Box is gift-wrapped just for you.

Rating: 4 Stars (Out of 5)

Learn more about Sasha And The Indulgents at www.sashatheband.com or www.myspace.com/sashaandtheindulgents.  Love In A Box is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Katie Melua – The House

Katie Melua – The House
2010, Dramatico Records

Katie Melua is one of the largest selling artists in the UK for the 21^st century, capturing hearts and minds all over the world with her albums Call Off The Search, Piece By Piece and Pictures.  Under the tutelage of composer/musician Mike Batt, Melua found her voice and a sound that is both distinctive original and commercially appealing.  After three albums and seven years, however, it was time for Melua to branch out on her own and explore the avenues of her art.  The resulting album, produced by the legendary William Orbit, is The House.  This is Melua’s most original and dramatic album to date, delivering on an unerring pop sensibility with the sort of musical quirks and originality that can turn a very good artist into an icon.

The House opens with “I’d Love To Kill You”, perhaps one of the most anachronistically sensual songs you’re likely to hear.  Melua mixes images of violence and sexuality in a disturbing monologue that will unnerve or titillate you depending on your disposition.  The stark, simple arrangement serves only to empower the message and paints a picture of a love that borders on insanity.  “The Flood” is dark, mysterious and beautiful.  There’s an almost spiritual theme revealed in Melua’s parallel between the washing away of a great flood and the releasing of bonds on the human spirit as the song moves between a sorrowful dirge and an uplifting new age/pop dance beat.  “A Happy Place” keeps essentially the same rhythm and melodic structure as “The Flood”.  The theme here is about humanity’s constant yearning to find a happy place and is therefore subjectively a complement to “The Flood”, sharing elements of theme, melody and structure.

“A Moment Of Madness” finds Melua exploring the cabaret style familiar to fans of Sarah Slean.  Melua injects a gorgeous dramatic sensibility into a suggestive art house tune with a distinct baroque feel.  Melua explores the juxtaposition of hope and heartbreak as seen through shared experience in a tune that sounds like something John Lennon may have penned where he still alive and working today.  “Tiny Alien” finds Melua communicating with a baby in utero, wondering at who it will become, what it feels and thinks.  It’s an amazing bit of songwriting, highly personal and yet universal in its theme.  “No Dear Of Heights” is a confident love song that revels in faith and certainty that a relationship is meant to last.  Melua’s performance shows a conviction that is compelling.  “The One I Love Is Gone” is bluesy and forlorn but sophisticated.  Katie Melua delivers a true wow moment here with a vocal performance that is starkly beautiful and thoroughly in the moment.

“Plague Of Love” explores the pleasure and pain of unrequited love in a compact and breezy but significant pop song.  This is brilliant songwriting, blending masterful lyrics with the sort of smart, angular pop arrangement that’s outside the box enough to be noticed but accessible enough to garner the attention of radio programmers, licensers and fans.  “God On The Drums, Devil On The Bass” hits the spiritual realm again, using Judeo-Christian imagery as a sort of parallel of yang and yin, and placing human behavior in between.  The song is entertaining with enough of a mid-tempo dance beat to perhaps crack the club scene with the right remix.  Melua’s vocals here are oddly sensual.  Melua closes out with “Twisted”, a solid pop entry, and “The House”, a pensive, dark internal conversation set to music.  This quietest moment evokes Melua’s best vocal performance on the album, including a chilling high note that will ring in your mind well after the last notes fade.

Katie Melua has come a long way since Call Off The Search, expanding upon her folk and pop roots into a truly artistic pastiche of pop, rock and singer-songwriter styles.  Melua embodies the eclectic spirit of such artists as Kate Bush, Tori Amos and Milla Jovovich, while writing intelligent and coherent pop that is atypically accessible.  It isn’t a stretch to say that Melua has one of the most intriguing voices in pop music today, finding its way into the nooks and crannies of your soul.  The House is Melua’s finest work to date, a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Katie Melua at www.katiemelua.com or www.myspace.com/katiemelua.  The House is available from Amazon.com as a CD, LP or Download.  The album is also available from iTunes.

Amy MacDonald – A Curious Thing

Amy MacDonald – A Curious Thing
2010, Melodramatic Records

At the tender age of twenty-two, Amy MacDonald is sitting on top of the world.  Beginning with the release of her debut album This Is The Life in 2007, the onslaught of critical acclaim, airplay and awards has been nothing short of breathtaking.  All of this from a small-town Scottish singer/songwriter who is the antithesis of celebrity-elite culture. This Is The Life was full of ebullient pop songwriting and MacDonald’s amazing voice.  It would be so easy to simply try and re-create that sound, but MacDonald does not sit pat with her sophomore effort, A Curious Thing.  MacDonald dug into her old notebooks for unfinished gems after two years on the road in the company of her highly talented band, and has taken a giant leap forward artistically without compromising her pop sensibilities.

A Curious Thing opens with “Don’t Tell Me It’s Over”, detailing heartbreak in process with an urgent feel.  MacDonald is revealed as a dynamic vocalist with the sultry alto of Cher yet some of the vocal eccentricities of Kate Bush or Tori Amos.  “Spark” is pure pop goodness; an acknowledgement that she’s okay with either spiritual themes or allusions.  “No Roots” is a lonely rumination on all the events of a human life in a sad cast.  “No Roots” becomes a song of searching without a specific goal; it’s well-written and introspective yet simultaneously upbeat.   “Love Love” a dynamic pop/rock number about being in love about an all-encompassing love and an inability to share it with the subject.   In “An Ordinary Life” MacDonald discusses the whirlwind of celebrity lifestyle and takes great pride in maintaining a simple life away from the stage.  MacDonald captures the blend of excitement and angst that comes with living in the public eye in discussing the importance of maintaining a private space for herself and her loved ones. 

“My Only One” is an incredibly mature love song recalling good and bad times and putting them into perspective.  Literate and well-developed, “My Only One” is the sort of song you expect out of a twenty-year vet in songwriting.  “This Pretty Face” gives priority to inner beauty over outer; an establishment of terms about what is truly important in relationships and life in general.  “Troubled Soul” is a song of recognition; of recognizing another who understands you and finding happiness there no matter the circumstance.   “Next Big Thing” has a dark and urgent feel; a driven pop/rock number that explores the darker side of the pursuit of fame.  “Your Time Will Come” is a song of encouragement to a loved one who is going through a period of soul searching.  The message could be trite, but MacDonald avoids the usual pitfalls to find a sweet and heartfelt moment.  “What Happiness Means To Me” is the official closing track, a stripped down moment of reflection that is honest and pure, a step inside MacDonald’s emotional inner sanctum that is nothing short of beautiful.  MacDonald follows this up with a hidden bonus track, an amazing cover of Bruce Springsteen’s “Dancing In The Dark”; A “wow” moment that features MacDonald’s voice with a single acoustic guitar.

Amy MacDonald shows significant growth on A Curious Thing, developing her depth as a songwriter and artist. The leap forward from her debut album, This Is The Life, is nothing short of breath-taking.  This is a significant statement considering the quality of This Is The Life.  A Curious Thing is the sort of album that serves as a career benchmark.  Two years ago you might have been forgiven for wondering if MacDonald would maintain her immense popularity in the UK, given the propensity of pop music fans and programmers toward short memories.  After hearing A Curious Thing, you’ll realize that the sky is the limit for Amy MacDonald.

Rating: 4.5 Stars (Out of 5)

Learn more about Amy MacDonald at www.amymacdonald.co.uk or www.myspace.com/amymacdonald. A Curious Thing is available from Amazon.com as a CD, Deluxe 2-CD Set or Vinyl.

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.