Check out my archive of articles/posts!
Saturday, June 20, 2009
Monday, February 16, 2009
Second is the best: Idol contestant releases debut album
Appeared in The Daily Collegian on December 5th, 2007.
Season six "American Idol" runner-up Blake Lewis is making his attempt to get back in the game by releasing a solo debut Dec. 4, "Audio Day Dream." If it is a matter of competition, Lewis has some fighting to do to reach the level of success of Idol champ Jordin Sparks.
Sparks is doing quite well for herself with a new album out. Not only is her self-titled debut album successful in sales, reaching number 22 on the "Billboard Top 200"; ruthless critics are also enjoying Ms. Sparks. Rolling Stone made Sparks' album the feature review, giving it three stars and Entertainment Weekly gave the album a gracious B+ rating. Don't give any credit to Clive Davis this time - this past Idol contestant career maker didn't have any influence on Sparks.
After the hype of season six and the moneymaking "American Idol Tour," Lewis signed with 19 Recordings/ARISTA Records to finally continue the solo career the show laid out for him. The finale song for Sparks and Lewis was your typical Clive Davis ballad, clearly written for Spark's powerhouse voice. After the two performed, it was obvious to predict the outcome of an already predictable show.
"'This Is My Now' is definitely not my style. It's a song I would never sing if I didn't have to," said Lewis.
Despite the show's turnout, Lewis' fans are taking him back. Lewis is the most popular artist on "AOL Music" this week. These fans don't have to anxiously wait any longer since his album has already hit shelves.
From the reactions of his first single, 'Break Anotha,' it sounds like Lewis is on the right track to mainstream success, emulating a sound heard on Justin Timberlake's album "FutureSex/LoveSounds."
Of course, Lewis does not forget his signature talent for beatboxing made famous on "Idol." In fact, he introduces 'Break Anotha' with the notorious skill. Surprisingly, he doesn't collaborate with the high-profile sensation Timbaland, but teams up with other notable producers like Doug E. Fresh, Gnarls Barkley, Darkchild (Jennifer Lopez, Destiny's Child) and a friend from "Idol" - Chris Richardson, the boyishly good-looking Virginian that made the ladies swoon with his wry falsettos.
With the help of collaborators and Lewis' inspirations from bands and artists across the spectrum, ranging from Maroon 5 to Jamiroquai, "Audio Day Dream" is a gumbo album laden with electro-funk beats and atmospheric balladry. With a sound with attitude, it's a sure-fire bet to please the ears of an array of music fans.
From the expectations Lewis set for himself when he was a free-spirited artist living in Seattle and as an "American Idol" contestant, Lewis' expectations as an underground and eclectic music maker is as promising as his record company is allowing.
Typically, 19 Recordings/ARTISTA Records artists have had a squeaky-clean image and it's a wonder how much leverage this traditionally prudent record label will give the wild tangent running Blake Lewis.
Lewis said in a press release by the record company that he is satisfied with what was done with "Audio Day Dreams." "This album is exactly how I wanted it to come out," he said.
Looking back in "Idol" history, there have been only three Idol artists that hit it big with album sales. With six seasons, Kelly Clarkson, Clay Aiken and Carrie Underwood have proven most successful by selling millions of records. Lewis has the talent to sell a lot of records. He somehow stays true to a current mainstream sound while sustaining his musical style.
It was quite the risk to release the album so close to competitor, Sparks' newest album. With the high costs of CDs and the mere fact that nobody is buying them anymore, the move to release the CD around the time of Sparks' could possibly inhibit fans from buying his. Hopefully Lewis' current popularity will reflect his album sales. If not, then he will be just another "Idol" contestant that falls through the cracks of trying to make it on his own.
Season six "American Idol" runner-up Blake Lewis is making his attempt to get back in the game by releasing a solo debut Dec. 4, "Audio Day Dream." If it is a matter of competition, Lewis has some fighting to do to reach the level of success of Idol champ Jordin Sparks.
Sparks is doing quite well for herself with a new album out. Not only is her self-titled debut album successful in sales, reaching number 22 on the "Billboard Top 200"; ruthless critics are also enjoying Ms. Sparks. Rolling Stone made Sparks' album the feature review, giving it three stars and Entertainment Weekly gave the album a gracious B+ rating. Don't give any credit to Clive Davis this time - this past Idol contestant career maker didn't have any influence on Sparks.
After the hype of season six and the moneymaking "American Idol Tour," Lewis signed with 19 Recordings/ARISTA Records to finally continue the solo career the show laid out for him. The finale song for Sparks and Lewis was your typical Clive Davis ballad, clearly written for Spark's powerhouse voice. After the two performed, it was obvious to predict the outcome of an already predictable show.
"'This Is My Now' is definitely not my style. It's a song I would never sing if I didn't have to," said Lewis.
Despite the show's turnout, Lewis' fans are taking him back. Lewis is the most popular artist on "AOL Music" this week. These fans don't have to anxiously wait any longer since his album has already hit shelves.
From the reactions of his first single, 'Break Anotha,' it sounds like Lewis is on the right track to mainstream success, emulating a sound heard on Justin Timberlake's album "FutureSex/LoveSounds."
Of course, Lewis does not forget his signature talent for beatboxing made famous on "Idol." In fact, he introduces 'Break Anotha' with the notorious skill. Surprisingly, he doesn't collaborate with the high-profile sensation Timbaland, but teams up with other notable producers like Doug E. Fresh, Gnarls Barkley, Darkchild (Jennifer Lopez, Destiny's Child) and a friend from "Idol" - Chris Richardson, the boyishly good-looking Virginian that made the ladies swoon with his wry falsettos.
With the help of collaborators and Lewis' inspirations from bands and artists across the spectrum, ranging from Maroon 5 to Jamiroquai, "Audio Day Dream" is a gumbo album laden with electro-funk beats and atmospheric balladry. With a sound with attitude, it's a sure-fire bet to please the ears of an array of music fans.
From the expectations Lewis set for himself when he was a free-spirited artist living in Seattle and as an "American Idol" contestant, Lewis' expectations as an underground and eclectic music maker is as promising as his record company is allowing.
Typically, 19 Recordings/ARTISTA Records artists have had a squeaky-clean image and it's a wonder how much leverage this traditionally prudent record label will give the wild tangent running Blake Lewis.
Lewis said in a press release by the record company that he is satisfied with what was done with "Audio Day Dreams." "This album is exactly how I wanted it to come out," he said.
Looking back in "Idol" history, there have been only three Idol artists that hit it big with album sales. With six seasons, Kelly Clarkson, Clay Aiken and Carrie Underwood have proven most successful by selling millions of records. Lewis has the talent to sell a lot of records. He somehow stays true to a current mainstream sound while sustaining his musical style.
It was quite the risk to release the album so close to competitor, Sparks' newest album. With the high costs of CDs and the mere fact that nobody is buying them anymore, the move to release the CD around the time of Sparks' could possibly inhibit fans from buying his. Hopefully Lewis' current popularity will reflect his album sales. If not, then he will be just another "Idol" contestant that falls through the cracks of trying to make it on his own.
Tuesday, October 14, 2008
New CD shakes it up
Appeared in The Daily Collegian on October 14th, 2008.
Kevin Barnes, Of Montreal's frontman, probably never played with geometric shaped blocks as a child - fitting a wooden triangle block into a triangle shaped hole would've been far too boring for him.
In the world of this Athens, Ga., bred band, music isn't designed to fit into any space. It's conjured to stand alone, be speculating and provoking - for better or for worse.
"Skeletal Lamping" is Of Montreal's latest album, which has a philosophy that goes against the grain of all art that "works," as Barnes said.
The goal for this album was to surpass the weirdness of the band's last success, "Hissing Fauna, Are You the Destroyer?" Of Montreal's most ingrained virtue is to surprise and create mild confusion amongst its listeners. Shock value is the band's ultimate value.
"Skeletal Lamping" is not designed for the passive listener. The album demands a change in perception of how an album is supposed to be constructed. Its 15 songs often run into each other, which makes the album seem more like a single composition rather than a collection of separate tracks.
"Hissing Fauna" was a real foreshadower for this new album, with unknown transitions from song to song. Both albums are like run-on sentences that leap from topic to topic; punctuation is used sparingly and erratically from start to end.
It is evident that Of Montreal wants to bring back the concept of the "album" - a trend that currently eludes popular music due to the iTunes single download age. This new effort highlights the shift back in time when people actually purchased CDs.
The stream-of-consciousness in "Skeletal Lamping" is maddening. Barnes' complex psyche is exposed in lights all over the spectrum. It is incredibly moody and unpredictable, initially making it tough to warm up to. If "Skeletal Lamping" is a parallel of Barnes' mind, someone please call a shrink.
What does "lamping" mean in the album's title anyhow? It's a hunting technique in which hunters enter the forest at night, flood an area with light, then shoot or capture animals as they run in panic from their hiding places. The end result is a mixture of intriguing things.
Humor is blended with apprehension on the track, "Women's Studies Victims," which speaks about the experiences between a boy and a bitter feminist, but opens with spooky electronic beats that could be in a thriller movie.
For the 11 years Of Montreal has existed, elements of pop have always been in the band's music. Though chaotic at some points, "Triphallus, To Punctuate!" has an infectious chorus that can beat any rays of sunlight with its jovial synth keyboards and uptempo percussion.
"An Eluardian Instance" is another tune that keeps the pop sound alive. This is achieved by a brilliant trumpet which carries the melody and the repetition of the lyrics: "Do you remember our last summer as independents?" As a means of harmonizing, Barnes uses himself as his own backup singer.
Barnes is a free spirit as he indulgently bends notes from beginning to end. He also likes to incorporate off-kilter shrieks and reverb, a tool that gives "Skeletal Lamping" a cosmic feel. Lyrically, "Skeletal Lamping" is borderline sleazy. Barnes is overtly sexual as he sings lyrics like, "We can do it soft core, if you want, but you should know I do it both ways." Salacious banter pops up everywhere on this, at times, horny album.
Because Barnes gives himself freedom to do as he pleases on the microphone, he is often caught in falsetto. On "St. Exquisite's Confessions," Barnes uses soul power and idiosyncrasies to emulate Beck during his "Midnite Vultures" era.
The album is a schizophrenic mess through its abrupt fragments, songs within songs, shifts in moods, outer space productions, gender bending, and ego-tripping.
But underneath it all, Of Montreal's peculiar essence still lingers through and through.
Kevin Barnes, Of Montreal's frontman, probably never played with geometric shaped blocks as a child - fitting a wooden triangle block into a triangle shaped hole would've been far too boring for him.
In the world of this Athens, Ga., bred band, music isn't designed to fit into any space. It's conjured to stand alone, be speculating and provoking - for better or for worse.
"Skeletal Lamping" is Of Montreal's latest album, which has a philosophy that goes against the grain of all art that "works," as Barnes said.
The goal for this album was to surpass the weirdness of the band's last success, "Hissing Fauna, Are You the Destroyer?" Of Montreal's most ingrained virtue is to surprise and create mild confusion amongst its listeners. Shock value is the band's ultimate value.
"Skeletal Lamping" is not designed for the passive listener. The album demands a change in perception of how an album is supposed to be constructed. Its 15 songs often run into each other, which makes the album seem more like a single composition rather than a collection of separate tracks.
"Hissing Fauna" was a real foreshadower for this new album, with unknown transitions from song to song. Both albums are like run-on sentences that leap from topic to topic; punctuation is used sparingly and erratically from start to end.
It is evident that Of Montreal wants to bring back the concept of the "album" - a trend that currently eludes popular music due to the iTunes single download age. This new effort highlights the shift back in time when people actually purchased CDs.
The stream-of-consciousness in "Skeletal Lamping" is maddening. Barnes' complex psyche is exposed in lights all over the spectrum. It is incredibly moody and unpredictable, initially making it tough to warm up to. If "Skeletal Lamping" is a parallel of Barnes' mind, someone please call a shrink.
What does "lamping" mean in the album's title anyhow? It's a hunting technique in which hunters enter the forest at night, flood an area with light, then shoot or capture animals as they run in panic from their hiding places. The end result is a mixture of intriguing things.
Humor is blended with apprehension on the track, "Women's Studies Victims," which speaks about the experiences between a boy and a bitter feminist, but opens with spooky electronic beats that could be in a thriller movie.
For the 11 years Of Montreal has existed, elements of pop have always been in the band's music. Though chaotic at some points, "Triphallus, To Punctuate!" has an infectious chorus that can beat any rays of sunlight with its jovial synth keyboards and uptempo percussion.
"An Eluardian Instance" is another tune that keeps the pop sound alive. This is achieved by a brilliant trumpet which carries the melody and the repetition of the lyrics: "Do you remember our last summer as independents?" As a means of harmonizing, Barnes uses himself as his own backup singer.
Barnes is a free spirit as he indulgently bends notes from beginning to end. He also likes to incorporate off-kilter shrieks and reverb, a tool that gives "Skeletal Lamping" a cosmic feel. Lyrically, "Skeletal Lamping" is borderline sleazy. Barnes is overtly sexual as he sings lyrics like, "We can do it soft core, if you want, but you should know I do it both ways." Salacious banter pops up everywhere on this, at times, horny album.
Because Barnes gives himself freedom to do as he pleases on the microphone, he is often caught in falsetto. On "St. Exquisite's Confessions," Barnes uses soul power and idiosyncrasies to emulate Beck during his "Midnite Vultures" era.
The album is a schizophrenic mess through its abrupt fragments, songs within songs, shifts in moods, outer space productions, gender bending, and ego-tripping.
But underneath it all, Of Montreal's peculiar essence still lingers through and through.
Saturday, October 11, 2008
Seattle group creates '70s sound
Appeared in The Daily Collegian on February 27th, 2008.
After conquering a dream conceivable by all indie music makers, over-night success Grand Archives released a luminescent and harmonic self-titled debut.
Grand Archives is a prime case of instantaneous triumph as the Seattle quintet played its first show and caught the attention of the music moguls over at Sub Pop Records. Next thing you know, Grand Archives is signed to a highly credible label and performing with Modest Mouse at Seattle's historic Paramount Theater.
Front man Mat Brooke is a prominent name in the Seattle music scene. He is respected for his partnership with Seattle's raved about but now deceased band, Carissa's Wierd. He is also known for kick starting Band of Horses' career. Abandoning Band of Horses as it was just heating up, Brooke shifted into a totally different gear and he decided to open a bar called the Redwood.
Brooke managed to juggle a music career along with the opening of the bar in Emerald City. With a new project, Brooke and the rest of the gang that comprises Grand Archives hoped to incorporate sounds of the '70s. The plan was to echo vocally-important bands from the era in music when Bread, Crosby, Stills, Nash and Young and Moody Blues dominated.
Grand Archives started with three friends in September 2006, all of whom once played in a band. Drummer Curtis Hall (The Jeunes), bassist Jeff Montano (The New Mexicans) and guitarist/keyboardist Ron Lewis (Ghost Stories) came to a consensus to make a pop record. Fifth member Thomas Wright shortly hopped onto the bandwagon to complete Grand Archives.
Innately finding its sound, Brooke and the boys ran into difficulty when it came to polishing off a new style. Hopping from studio to studio in Washington State throughout the summer of 2007, the gang dabbled with unorthodox instruments.
Across the 11-track record you will pick up on instruments ranging from the trombone to slide guitars rubbed with violin bows.
Don't let the complexity of the instrumentals scare you off. Grand Archives keeps the origins of classic pop in tact, loading up on tight percussion and hooks weighed down with sho-la-la-las and ba-da-dums. When Brooke and Montano trade off on vocals they sound like a cross breed of Simon and Garfunkel and their inspirations, Crosby, Stills, Nash and Young.
All but one song on "The Grand Archives" are written by Brooke. Lewis contributed his words to the harmonica-heavy track, "A Setting Sun."
Although the main goal of this record was to achieve an accessible '70s pop feel, the band gets a little esoteric on tracks like "George Kaminski" - a song inspired by a convict that once owned the largest four-leaf clover collection in the world.
During the making of the album, the quintet from time to time had a willingness to improvise. One track in particular that was improvised, "Breezy No Breezy," came out sounding like underground smooth jazz-fusion with a hint of dub reggae. This instrumental piece, which is less than two minutes, serves as their most imaginative and surprising.
Brooke's falsetto and the violin go together like spaghetti and meatballs on the dreamy song, "Sleepdriving." The anxiety-free song serves as one of their most pleasurable and finely-tuned numbers.
Grand Archives know how to have fun with powerpop on tunes like "The Crime Window," but also put themselves under the blue light on nostalgic numbers like "Index Moon" and "Swan Matches," in which Jenn Ghetto, the other half of Carissa's Weird, contributes backup vocals.
As a newly-formed band, the naiveté of Grand Archives doesn't hinder its ability to make a decent album. As a band on the same path, discordance amongst its members is hardly traceable.
After conquering a dream conceivable by all indie music makers, over-night success Grand Archives released a luminescent and harmonic self-titled debut.
Grand Archives is a prime case of instantaneous triumph as the Seattle quintet played its first show and caught the attention of the music moguls over at Sub Pop Records. Next thing you know, Grand Archives is signed to a highly credible label and performing with Modest Mouse at Seattle's historic Paramount Theater.
Front man Mat Brooke is a prominent name in the Seattle music scene. He is respected for his partnership with Seattle's raved about but now deceased band, Carissa's Wierd. He is also known for kick starting Band of Horses' career. Abandoning Band of Horses as it was just heating up, Brooke shifted into a totally different gear and he decided to open a bar called the Redwood.
Brooke managed to juggle a music career along with the opening of the bar in Emerald City. With a new project, Brooke and the rest of the gang that comprises Grand Archives hoped to incorporate sounds of the '70s. The plan was to echo vocally-important bands from the era in music when Bread, Crosby, Stills, Nash and Young and Moody Blues dominated.
Grand Archives started with three friends in September 2006, all of whom once played in a band. Drummer Curtis Hall (The Jeunes), bassist Jeff Montano (The New Mexicans) and guitarist/keyboardist Ron Lewis (Ghost Stories) came to a consensus to make a pop record. Fifth member Thomas Wright shortly hopped onto the bandwagon to complete Grand Archives.
Innately finding its sound, Brooke and the boys ran into difficulty when it came to polishing off a new style. Hopping from studio to studio in Washington State throughout the summer of 2007, the gang dabbled with unorthodox instruments.
Across the 11-track record you will pick up on instruments ranging from the trombone to slide guitars rubbed with violin bows.
Don't let the complexity of the instrumentals scare you off. Grand Archives keeps the origins of classic pop in tact, loading up on tight percussion and hooks weighed down with sho-la-la-las and ba-da-dums. When Brooke and Montano trade off on vocals they sound like a cross breed of Simon and Garfunkel and their inspirations, Crosby, Stills, Nash and Young.
All but one song on "The Grand Archives" are written by Brooke. Lewis contributed his words to the harmonica-heavy track, "A Setting Sun."
Although the main goal of this record was to achieve an accessible '70s pop feel, the band gets a little esoteric on tracks like "George Kaminski" - a song inspired by a convict that once owned the largest four-leaf clover collection in the world.
During the making of the album, the quintet from time to time had a willingness to improvise. One track in particular that was improvised, "Breezy No Breezy," came out sounding like underground smooth jazz-fusion with a hint of dub reggae. This instrumental piece, which is less than two minutes, serves as their most imaginative and surprising.
Brooke's falsetto and the violin go together like spaghetti and meatballs on the dreamy song, "Sleepdriving." The anxiety-free song serves as one of their most pleasurable and finely-tuned numbers.
Grand Archives know how to have fun with powerpop on tunes like "The Crime Window," but also put themselves under the blue light on nostalgic numbers like "Index Moon" and "Swan Matches," in which Jenn Ghetto, the other half of Carissa's Weird, contributes backup vocals.
As a newly-formed band, the naiveté of Grand Archives doesn't hinder its ability to make a decent album. As a band on the same path, discordance amongst its members is hardly traceable.
Americana invades Calvin
Appeared in The Daily Collegian on February 1st, 2008.
Born in Virginia and raised in Washington, Neko Case is a singer-songwriter most notorious for a solo career and her vocal contributions to the indie pop sensation, The New Pornographers.
Case is a dying breed in today's country music scene and a hard act to catch live. With a new solo record in the making, she will make only six stops on her winter tour. One of the stops happens to be at Northampton's Calvin Theatre Feb. 2 with opening act, Eric Bachmann.
She may not sell as many records as successors Martina McBride or Faith Hill, but the fiery redhead can blow any Country Music Channel hotshot out of the water with unbreakable vocals sure to send shivers down your spine. While attending college in Vancouver, British Columbia, Case got her start in a few local bands, which ultimately landed her a spot in The New Pornographers.
From then on, she was flooded with music offers, resulting in five charming solo LPs. Her latest work, the 2006 "Fox Confessor Brings the Flood" released on indie label Anti (Tom Waits, Michael Franti), is hands-down her greatest album yet. Case stopped both stiff critics and her dearest fans in their tracks.
Case has a polished folksy and alternative country sound that strays from being overproduced. She manages to remain honest to her home-grown style of music, which serves as her most endearing attribute. Her timeless voice has grabbed the attention of lucrative labels, but Case prefers to take a humble route, working with labels that are generous enough to grant her artistic freedom.
In a nutshell, Neko Case has the plaintive voice of 50s country-star Loretta Lynn, the ability to tell a story like Tori Amos, the despair of Jenny Lewis and the sexiness of Nicole Kidman.
Think of her music as a mix of American bluegrass with a twist of 60s throwback pop. Case comes off very "coalminer's daughter" through her expressive twang and regretful and wishful lyricism. Her style has proven successful whether playing with the powerpop clan, The New Pornographers, or the folksy and punk groups from her Canadian past. Her ability to perform in different styles qualifies her to tackle a multitude of musical projects.
A new album is currently in the works and Case plans on leaking the new material on this current tour with the assistance of a full band. Despite the full band, her voice is the centerpiece at live shows. Calvin Theatre will be an excellent venue to showcase her strong and poignant vocals because of its crisp acoustics and spacious atmosphere.
Opening up for the headliner tomorrow is Eric Bachmann. Once a member of the band Crooked Fingers, Bachmann is a cross between Bruce Springsteen and M. Ward, as well as a a protégé of indie god Conor Oberst. Though Bachmann is an artist on Saddle Creek Records, he does not come from the plains of Nebraska, but from North Carolina. He creates a sedated tone and holds a demeanor to match Sam Beam, the frontman of Iron & Wine. Before releasing his newest album entitled, "To The Races," Bachmann laid down the entire soundtrack for the movie "Ball of Wax." Prior to his solo albums, Bachmann's work can be traced back to folk band, Archers of Loaf, the ladies of Azure Ray and others.
As Case fortifies her talent time after time, her fanbase continues to expand. Despite her growing popularity, she continues to perform mainly in small and intimate music clubs and theatres such as the Calvin. Tickets for tomorrow's show are still being sold and can be purchased online at nbotickets.com.
Born in Virginia and raised in Washington, Neko Case is a singer-songwriter most notorious for a solo career and her vocal contributions to the indie pop sensation, The New Pornographers.
Case is a dying breed in today's country music scene and a hard act to catch live. With a new solo record in the making, she will make only six stops on her winter tour. One of the stops happens to be at Northampton's Calvin Theatre Feb. 2 with opening act, Eric Bachmann.
She may not sell as many records as successors Martina McBride or Faith Hill, but the fiery redhead can blow any Country Music Channel hotshot out of the water with unbreakable vocals sure to send shivers down your spine. While attending college in Vancouver, British Columbia, Case got her start in a few local bands, which ultimately landed her a spot in The New Pornographers.
From then on, she was flooded with music offers, resulting in five charming solo LPs. Her latest work, the 2006 "Fox Confessor Brings the Flood" released on indie label Anti (Tom Waits, Michael Franti), is hands-down her greatest album yet. Case stopped both stiff critics and her dearest fans in their tracks.
Case has a polished folksy and alternative country sound that strays from being overproduced. She manages to remain honest to her home-grown style of music, which serves as her most endearing attribute. Her timeless voice has grabbed the attention of lucrative labels, but Case prefers to take a humble route, working with labels that are generous enough to grant her artistic freedom.
In a nutshell, Neko Case has the plaintive voice of 50s country-star Loretta Lynn, the ability to tell a story like Tori Amos, the despair of Jenny Lewis and the sexiness of Nicole Kidman.
Think of her music as a mix of American bluegrass with a twist of 60s throwback pop. Case comes off very "coalminer's daughter" through her expressive twang and regretful and wishful lyricism. Her style has proven successful whether playing with the powerpop clan, The New Pornographers, or the folksy and punk groups from her Canadian past. Her ability to perform in different styles qualifies her to tackle a multitude of musical projects.
A new album is currently in the works and Case plans on leaking the new material on this current tour with the assistance of a full band. Despite the full band, her voice is the centerpiece at live shows. Calvin Theatre will be an excellent venue to showcase her strong and poignant vocals because of its crisp acoustics and spacious atmosphere.
Opening up for the headliner tomorrow is Eric Bachmann. Once a member of the band Crooked Fingers, Bachmann is a cross between Bruce Springsteen and M. Ward, as well as a a protégé of indie god Conor Oberst. Though Bachmann is an artist on Saddle Creek Records, he does not come from the plains of Nebraska, but from North Carolina. He creates a sedated tone and holds a demeanor to match Sam Beam, the frontman of Iron & Wine. Before releasing his newest album entitled, "To The Races," Bachmann laid down the entire soundtrack for the movie "Ball of Wax." Prior to his solo albums, Bachmann's work can be traced back to folk band, Archers of Loaf, the ladies of Azure Ray and others.
As Case fortifies her talent time after time, her fanbase continues to expand. Despite her growing popularity, she continues to perform mainly in small and intimate music clubs and theatres such as the Calvin. Tickets for tomorrow's show are still being sold and can be purchased online at nbotickets.com.
Poor lyrics dampen CD
Appeared in The Daily Collegian on March 5th, 2008.
Soft as the warm mist from the waters of Portland on a summer evening, A Weather integrates boy-girl vocals with tranquil sounds on their debut album, "Cove."
The members of A Weather are relative newcomers to music making. Though last year, the band did release a two-track EP, which was also recorded through its current label. Despite their short repertoire, A Weather has shared the stage with Saddle Creek Records' heavyweight Bright Eyes and other notable bands in their hometown of Portland.
Aaron Gerber (lead vocals) and counterpart, Sarah Winchester (secondary vocals and percussion) serve as A Weather's primary contributors on the instrumentally-hushed album. Both Gerber and Winchester plant fragility in their hushed voices, while managing to keep vocal restraint. Gerber has a monotonous voice that is similar to Jimmy Tamborello of Dntel, while on the other side of the vocal paradigm, Winchester sings emotively with her alto voice that is comparable to Stereolab's Lætitia Sadier.
As Gerber carries the harmonies on the nine-track LP, Winchester blends her voice exceptionally well with Gerber's. She softens his stagnant voice, elevating the overall product to a more dynamic and textured sound. Winchester's dulcet vocals do get ample exposure on "Cove," but she is well-deserving of some ballads of her own.
Accompanying the soft vocals scattered throughout "Cove" is equally soft instrumentation. The organs, strings and percussion that comprise the majority of the music on this album are merely overtones for the most part. With their chosen style, the lyricism is extra articulated and warmly layered.
"Cove" is a sparse and uncomplicated effort with slow tempo melodies. The meandering guitars and minimal percussions (which only consist of Winchester using an upturned bass drum, a snare and a cymbal) on songs like the dark "Spiders, Snakes" and the enlightening highlight track, "It's Good To Know" are quietly reflective, which leaves between time for dreamy thoughts and imagery.
In "Hanging Towers of Baltimore," the band crafted a song that closely resembles the style of early Rilo Kiley, with the drums of Winchester and a twangy guitar carrying the tune. Here, the instruments play just as large a part as the singers. The instruments become increasingly emphasized, but are ultimately still pinned down to prevent the track's quiet vocals being drowned out.
While listening to "Cove," a pronounced sense of anticipation builds throughout, leaving one yearning for something more daring or startling to arise. Unfortunately on "Cove," this is a rare find. Its lack charisma is A Weather's most glaring drawback. With alarming regularity, filler tracks on the album, like "Pilot's Arrow," are daunting with their dull guitar riffs and snoozing refrains.
Ultimately, "Cove" is a safe album, troubled by its bleak arrangements to lack of variation. "Cove" will underwhelm you if you're a folk fan with songs like "Small Potato" - teenage love songs about ultimatums just don't make the cut with lyrics like "If I can't have this forever I don't want it at all." A Weather's lyrics are often mind-numbing, which is why it falters as a singer-songwriter album.
A Weather sticks to a particular folk-pop inspired sound but happens to fall short of delivering anything life changing due to its uninspiring lyrics. The band may own its own sound, but "Cove" is not a release that will be leaving memorable impressions.
Soft as the warm mist from the waters of Portland on a summer evening, A Weather integrates boy-girl vocals with tranquil sounds on their debut album, "Cove."
The members of A Weather are relative newcomers to music making. Though last year, the band did release a two-track EP, which was also recorded through its current label. Despite their short repertoire, A Weather has shared the stage with Saddle Creek Records' heavyweight Bright Eyes and other notable bands in their hometown of Portland.
Aaron Gerber (lead vocals) and counterpart, Sarah Winchester (secondary vocals and percussion) serve as A Weather's primary contributors on the instrumentally-hushed album. Both Gerber and Winchester plant fragility in their hushed voices, while managing to keep vocal restraint. Gerber has a monotonous voice that is similar to Jimmy Tamborello of Dntel, while on the other side of the vocal paradigm, Winchester sings emotively with her alto voice that is comparable to Stereolab's Lætitia Sadier.
As Gerber carries the harmonies on the nine-track LP, Winchester blends her voice exceptionally well with Gerber's. She softens his stagnant voice, elevating the overall product to a more dynamic and textured sound. Winchester's dulcet vocals do get ample exposure on "Cove," but she is well-deserving of some ballads of her own.
Accompanying the soft vocals scattered throughout "Cove" is equally soft instrumentation. The organs, strings and percussion that comprise the majority of the music on this album are merely overtones for the most part. With their chosen style, the lyricism is extra articulated and warmly layered.
"Cove" is a sparse and uncomplicated effort with slow tempo melodies. The meandering guitars and minimal percussions (which only consist of Winchester using an upturned bass drum, a snare and a cymbal) on songs like the dark "Spiders, Snakes" and the enlightening highlight track, "It's Good To Know" are quietly reflective, which leaves between time for dreamy thoughts and imagery.
In "Hanging Towers of Baltimore," the band crafted a song that closely resembles the style of early Rilo Kiley, with the drums of Winchester and a twangy guitar carrying the tune. Here, the instruments play just as large a part as the singers. The instruments become increasingly emphasized, but are ultimately still pinned down to prevent the track's quiet vocals being drowned out.
While listening to "Cove," a pronounced sense of anticipation builds throughout, leaving one yearning for something more daring or startling to arise. Unfortunately on "Cove," this is a rare find. Its lack charisma is A Weather's most glaring drawback. With alarming regularity, filler tracks on the album, like "Pilot's Arrow," are daunting with their dull guitar riffs and snoozing refrains.
Ultimately, "Cove" is a safe album, troubled by its bleak arrangements to lack of variation. "Cove" will underwhelm you if you're a folk fan with songs like "Small Potato" - teenage love songs about ultimatums just don't make the cut with lyrics like "If I can't have this forever I don't want it at all." A Weather's lyrics are often mind-numbing, which is why it falters as a singer-songwriter album.
A Weather sticks to a particular folk-pop inspired sound but happens to fall short of delivering anything life changing due to its uninspiring lyrics. The band may own its own sound, but "Cove" is not a release that will be leaving memorable impressions.
Jazz musicians meet and play for free on Fridays
Appeared in The Daily Collegian on September 12th, 2008.
For years now, The Basement in Northampton on Friday nights has been a spot for local, and sometimes widely regarded, musicians to assemble and play. Despite The Basement's elusive location, the tradition continues to thrive.
The Friday Night Jazz performances are free to the public. The show begins around 10 p.m. and ends early in the morning. The reason the shows start later than most is because unlike rock or pop concerts, Friday nights at The Basement deliberately cater to a crowd that wants to come and go as they please.
The majority of people that attend these live shows are looking for a refuge - a place to escape the stresses of work or home. Its lounge layout promotes relaxation and tranquility. The Basement parallels the texture of velvet, where cocktail jazz and quiet background music are embraced. Downtempo vibes like to pervade during Friday night kickback sessions.
The Basement is part of the Iron Horse Entertainment Group. Performers at the other venues - Iron Horse, Calvin Theater, Pearl Street - are often known to stop in after their sets. These dignitaries are also another allurement of The Basement.
Some jazz musicians like '82 UMass Alum Dan Goitein (who will be taking the stage tonight) and a few of his friends have become well-known at The Basement. Since the start of Live Jazz Fridays five years ago, Goitein has played over 225 shows and doesn't seem to want to stop anytime soon.
"I used to play in a jazz duo in a few restaurants. This isn't high art music. We all have day jobs," Goitein said.
When Goitein isn't performing, he fathers five children, works as an accountant, a mobile service technician, and owner of a large franchise.
Many of the patrons that go to The Basement on Friday evenings happen to be musicians themselves. When mainstays like Goitein and long-time accompanists John Crankshaw (drummer) and George Plouffe (organ and baby grand piano) perform, these guests occasionally contribute to the show. Anyone able to incorporate his or her talents into the show is politely welcomed to do so. Friday evenings are known to be full of free improvisations and the unexpected.
When more popular musicians like guitarist, Burt Teague, or Cicci Santucci (trumpet player that contributed to the soundtrack of the 2004 movie, "Cold Mountain") come into The Basement, the stereotypical sophistication that draws people away from jazz is lost. Most of the tunes heard are jazz standards so crowd participation is common. Because of this, the pretenses of jazz music are at a minimum. You can catch Teague at The Basement on October 3.
People from different places can flock to The Basement without any reservations to witness this small-town jazz subculture.
"It is our social scene. We strive to keep an ambiance atmosphere. It is very loose," said Goitein.
UMass Music Professor Theodore Brown often sends his students specifically interested in jazz studies to The Basement to see performances. In the course Music 103 "History of Jazz," it is mandatory for his students to review one live jazz show. "The atmosphere at The Basement is intimate. They [his students] can actually talk to the musicians. They are able to ask important questions to help them better understand the music," said Brown.
Another local figure in the closely-knit music scene is Ellen Cogen, a fellow UMass Alum. Cogen gained a love for music while attending UMass, and later went on to receive a Master's degree from The New England Conservatory of Music. When Cogen performs at Live Jazz Fridays, she adds a feminine flare to a genre of music dominated by men. Cogen keeps busy in the Pioneer Valley by doing performances in Holyoke, South Hadley, Westfield, Sunderland and other local towns. She will be making her visit to The Basement on September 26 at 9 pm.
For more details on The Basement's schedule of performers, visit Iheg.com. On the site, one can view biographies of local and national artists that are scheduled to perform.
For years now, The Basement in Northampton on Friday nights has been a spot for local, and sometimes widely regarded, musicians to assemble and play. Despite The Basement's elusive location, the tradition continues to thrive.
The Friday Night Jazz performances are free to the public. The show begins around 10 p.m. and ends early in the morning. The reason the shows start later than most is because unlike rock or pop concerts, Friday nights at The Basement deliberately cater to a crowd that wants to come and go as they please.
The majority of people that attend these live shows are looking for a refuge - a place to escape the stresses of work or home. Its lounge layout promotes relaxation and tranquility. The Basement parallels the texture of velvet, where cocktail jazz and quiet background music are embraced. Downtempo vibes like to pervade during Friday night kickback sessions.
The Basement is part of the Iron Horse Entertainment Group. Performers at the other venues - Iron Horse, Calvin Theater, Pearl Street - are often known to stop in after their sets. These dignitaries are also another allurement of The Basement.
Some jazz musicians like '82 UMass Alum Dan Goitein (who will be taking the stage tonight) and a few of his friends have become well-known at The Basement. Since the start of Live Jazz Fridays five years ago, Goitein has played over 225 shows and doesn't seem to want to stop anytime soon.
"I used to play in a jazz duo in a few restaurants. This isn't high art music. We all have day jobs," Goitein said.
When Goitein isn't performing, he fathers five children, works as an accountant, a mobile service technician, and owner of a large franchise.
Many of the patrons that go to The Basement on Friday evenings happen to be musicians themselves. When mainstays like Goitein and long-time accompanists John Crankshaw (drummer) and George Plouffe (organ and baby grand piano) perform, these guests occasionally contribute to the show. Anyone able to incorporate his or her talents into the show is politely welcomed to do so. Friday evenings are known to be full of free improvisations and the unexpected.
When more popular musicians like guitarist, Burt Teague, or Cicci Santucci (trumpet player that contributed to the soundtrack of the 2004 movie, "Cold Mountain") come into The Basement, the stereotypical sophistication that draws people away from jazz is lost. Most of the tunes heard are jazz standards so crowd participation is common. Because of this, the pretenses of jazz music are at a minimum. You can catch Teague at The Basement on October 3.
People from different places can flock to The Basement without any reservations to witness this small-town jazz subculture.
"It is our social scene. We strive to keep an ambiance atmosphere. It is very loose," said Goitein.
UMass Music Professor Theodore Brown often sends his students specifically interested in jazz studies to The Basement to see performances. In the course Music 103 "History of Jazz," it is mandatory for his students to review one live jazz show. "The atmosphere at The Basement is intimate. They [his students] can actually talk to the musicians. They are able to ask important questions to help them better understand the music," said Brown.
Another local figure in the closely-knit music scene is Ellen Cogen, a fellow UMass Alum. Cogen gained a love for music while attending UMass, and later went on to receive a Master's degree from The New England Conservatory of Music. When Cogen performs at Live Jazz Fridays, she adds a feminine flare to a genre of music dominated by men. Cogen keeps busy in the Pioneer Valley by doing performances in Holyoke, South Hadley, Westfield, Sunderland and other local towns. She will be making her visit to The Basement on September 26 at 9 pm.
For more details on The Basement's schedule of performers, visit Iheg.com. On the site, one can view biographies of local and national artists that are scheduled to perform.
Subscribe to:
Posts (Atom)