Sam Amidon, I See the Sign

On April 20th, Sam Amidon’s forth solo effort I See the Sign is released on Iceland-based Bedroom Community. Dealing with themes of redemption and featuring religious themes, this modern day Nick Drake’s album is bound to leave you feeling moved. 
     
It’s non-polished “dirty sound” with its sweeping orchestration leaves you breathless as Shahzad Ismaily’s haunting vocals on  covers of gospel singer Bessie Jones “Way Go Willy,” “Johanna The Row-di” and Amidon original “Red” transport you worlds away.
     
This album brings new life to other public domain treasures such as, the beautiful story of love during wartime in “Pretty Fair Damsel”  and “Climbing High Mountains” with its inspirational lyrics: “Bearing my burdens, trying to get home/ having hard trials, trying to get home/ my way sometimes weary, trying to get home/ climbing high mountains, trying to get home.” Sam Amidon also fits in a cover of “Relief” by R. Kelly done à la Ben Folds’ cover of Dr. Dre’s immortal classic “Bitches Ain’t Shit.”
     
Every song on I See the Sign is a gem, and will make you feel Sam’s pain that he expresses flawlessly in his voice. Some might be annoyed by the repetition of lyrics in traditional songs though. I guess like the song goes, “You Better Mind”

“I See the Sign”- Even with references to the fruit of repentance, and the Apocalypse, this song is steeped in biblical imagery and can be appreciated by the faithful and the faithless. 

“How Come that Blood”- Mixing traditional vocals, Moog Synthesisers and John Cage-esque finger piano this song has to be one of the most accessible songs on here.

“Way Go Lily” -This sounds like a lost Nick Drake song that was left off “Bryter Layter”.

With its orchestral background juxtaposed with a simple guitar riff this song is impossible to not revisit.

Shawn Alexander Roy

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Mighty Sam McClain, Betcha Didn’t Know

Sam McClain has led a storied career. At age thirteen he ran away from his abusive stepfather and joined “Little Melvin” Underwood, and this lead through a life with lots of ups and downs (from concerts around the world to selling plasma and living on a park bench) that just led credibility to Sam’s powerful voice.

Now on his own independent label (Mighty Music) and under self-management, Sam puts out records that are entirely his own vision. In his latest project of thirteen self-penned songs Betcha Didn’t Know Sam’s mixture of natural sounding   Funk, Soul, Jazz, Gospel, and even Hip-Hop makes an eclectic blend genres into a great album that makes you bob your head and tap your toes.

“Things Ain’t What They Used To Be”: Certainly a great commentary on the first decade of the 21st century.  We even get to see hip-hop return to its roots with Jesse “Apeshit” Lannoo spitting a quotable 16 bars.

“Just Wanna Be”: if you’re looking for a song to sing your daughter, and want to be in the run for a “Father of the Year” mug to show proudly off at the office, here’s your song.

“Hold On to Your Dreams”: Even looking past its heavy religious message, it’s sure to pick you up when you’re down.

Shawn Alexander Roy

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Mishka, Talk About

A gentle perusing of one’s CD collection typically will render at least one Reggae album, usually the ubiquitous ones, like Marley’s Legend or anything Peter Tosh. Further still one may find an obscure Yellowman or a long forgotten Burning Spear, but it seems that few of the CD generation went untouched by the feel-good vibes of Reggae. Even mainstream acts, the likes of The Police and Sublime, borrowed heavily from island rhythms and instrumentation. Yet, it seems Reggae as a whole has remained a marginal genre that has lost luster in the post-Bob Marley years. But if one contemporary artist has his way, the Reggae flag is that much closer to being planted into mainstream music.

Mishka has returned with a much-anticipated follow-up to 09s Above The Bones with Talk About, again on Matthew McConaughey’s vanity label j. k. livin Records (more like Mishka’s vanity label in that it was created for him). Album single “Bittersweet” is Reggae meets alt guitar riff work with the acclaimed Butch Walker lending production duties. The staccato Reggae guitar chirps laid over alt-pop electric guitar work makes the track a dub-infused, radio-friendly sing along. “Dead End Streets” paints a lyrical picture of a crumbling cityscape lost to time, a testament to Mishka’s socially aware lyrical content. The track is served well with backing brass, which culminates with a muted trumpet solo mid-track. “Homegrown” bears mention for two reasons: it seems no proper Reggae album is complete without a shout out to marijuana and also, Willie Nelson makes a vocal guest appearance. Yes, THAT Willie Nelson. Appropriate mused this writer.

Again, for a genre of music that seems to have been relegated to CD purchases of the past, Mishka is breathing mainstream life into the genre through album sales and accolades. Named 2009 Best New Artist by iTunes, it was the same year he saw his first album debut at #1 on the Billboard Reggae Charts. With his modern spin on traditional Reggae, Mishka certainly serves the genre well. I expect many more socially conscious, feel good vibes from this guy. 

by Chris West

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Gin Wigmore, Holy Smoke

Last year, I reviewed a Lucy Woodward album and made a heartfelt confession. I am about to make another one. I have a Kiwi crush on New Zealand songbird Gin Wigmore. Now, the reasoning behind my amorous affections doesn’t revolve around her Aguilera-esque looks or her heavily tattooed right arm (although those would certainly be reason enough). No, much like I confessed about Ms. Woodward, I have a crush on a voice on an album. It is a near indescribable vampy rasp that evokes a Macy Gray duet with Corrine Bailey Rae. Bolstering the incredible vocal delivery is the expansive musicality of The Cardinals (of Ryan Adams fame) and a melding of neo-soul, pop and rock elements rendering a total disregard of genre adherence.

One need only listen to the first three tracks of Holy Smoke to realize the breadth of diversity, so that is what I did and that is what I am going to review. Album opener “Oh My” is essentially a poppy-rock track with alt guitar work laying the foundation for the eclectic vocal delivery of a Wigmore toe-tapper. “Hey Ho” has 20s era torchy/lounge throwback elements with effects-laden guitar combining with the classical instrumentation of strings and trumpet over spacey vibrachord-like keys. “New Revolution” features down-tempo Rickenbacker-style guitar plucks and another vampish vocal delivery, which finally spills over into a soaring chorus. The electric guitar outro is true “new” meets “old” rendering a true song one can’t help but sway in time to.

Perhaps it is the multiple genres that morph from track to track. Perhaps it is the melding of contemporary instrumentation and style while granting “a tip of the hat” to a long-gone era of songbirds. Or perhaps it is simply the awe-inspiring command that Gin has over that gift of hers—“the voice.” Whatever the reason or reasons, this is… simply put, just damn, damn good.     

by Chris West

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Vitamin-D, Bridge

Get ready to get a full dose of Vitamin-D as you travel along a well-balanced, musical Bridge.  Dennis Cronin is the brains of the operation as he played the role of: composer, producer, engineer, vocalist, trumpeter, bassist, accordionist & vibraphonist.  Following him are: Konrad Meissner on drums & percussion, Adam Gold on guitar, vibraphonette & drums, Clark Wallace on bass, Pete Galub on guitar, Greta Gertler on piano, Linda Pitmon on drums and a number of string players.  The mass collection of musicians and instruments gives this record a very rich and fulfilling texture.

The beauty of this album is how Cronin & company incorporate so many cool styles of music.  You hear elements of classical & jazz with some rock & pop thrown in for good measure.  All the while, Vitamin-D keep it subtle and fun with a bit of eloquence.  Overall, this Brooklyn-based group gives a rock-solid performance as all of the instrumentalists bring their A-game.  The end result is a collage of wonderful sounds as Vitamin-D take it to a new level.  The recording quality is top-of-the-line and all 11 tracks are well-rehearsed verses.  All I have to say is magnifico! 

The CD starts up with a song called “Keeper” that gives off a happy-go-lucky vibe to tag along with a pep-rock feel.  Rolling into the next two tracks, you know right away that this band is all about feeding the listener smooth & cool, easy-going compositions.  You experience a laid-back demeanor that includes a rock backdrop.  On installment seven, “Trumpet Moment 2”, a soothing aura of horns hits you head on.  The record concludes with “George Washington Bridge” where Vitamin-D end it all perfectly with a simple, quick and funny twist.  These artists, in a sense, are telling their listening audience to ‘sit back, relax and don’t read into things so seriously’.  To sum this idea up, I’d say to just lighten up a bit and simply enjoy this diversely appealing piece of work.

When it’s all said and done, I would say this disc is musical enjoyment for your listening pleasures. No breaks and no fakes, just all-the-way-through genuinely-written & performed pieces of music.  I’d say there is a little bit of everything to excite your audible senses here with an array of instruments to choose from.  Make sure you get your daily allowance of Vitamin-D by allowing yourself to cross this Bridge of originality.  I’ll leave by saying that I truly appreciate what this NY-based group has done here.  They have made it their own with no regrets and I give to them my stamp of approval.  For more on Vitamin-D and their new release, Bridge, SKOPE out www.vitamindmusic.com. 

By Jimmy Rae

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Carmen Tosca, Wind

Carmen Tosca attempts to blow you away with her new album, Wind.  The CD consists of 11 tracks that are in the realm of electronic/new-age/ambient.  The disc also displays classical moments and comes across as being extremely intercontinental.  This record oozes with creativity where Tosca makes good use of sounds, sound effects and instruments.  Carmen had a true vision in mind when she created this tranquil Wind full of bright, colorful ambience. 

Tosca actually started playing the piano at age five and playing pop songs by ear in high school.  Her love of music carried over into her other passion of photography where she now also runs her own business, Tosca Studio.  Worth noting that she was inspired by a Swedish film called “As It Is In Heaven”, which is about a music conductor whose wish was to open people’s hearts through music.  Opening people up to a vibrant new style is exactly what Carmen Tosca is attempting to do here.  Her exhibit named Wind is an audio display of musical art in its own right that will require careful observation.

Wind moves steadily along here with percussive elements that dominated this recording.  The beats were very catchy and appealing to hear as they enticed the listener.  The impact of percussion on this record was a huge aspect as you even experience African rhythms & beats thanks in part to Tosca’s South African roots.  Another important ingredient to the mix was the presence of the piano.  Carmen played her instrument of choice with such elegance and poise.

On track two, you hear some enchanting vocals and on installment 4, “Emma”, you enter a world full of sheer wonder.  Track three, “New Life”, gives off a very cool underwater sensation that is quite hypnotic.  Some rad sound effects further add to the allure of this composition, which is discovering all of the great mysteries of the deep blue sea.  Tosca captures the true essence of this sense of ocean life through her musical approach.  “New Life” truly was fascinating to me because of how it left you wondering about this world below us.  This “New Life” comes to life right before your ears and leaves your senses in amazement.

The only flaw I saw with the making of this project was the length of time.  The entire record runs over 76 minutes long with only one track under five minutes.  With such long, drawn out pieces, my only concern is that people will not stay connected or remain interested all the way through.  Especially in a hustle & bustle-type world where everyone is constantly on the run, I picture a hard sell in this face-paced market.  Maybe Carmen Tosca wants us to stop for a second to really take in Wind and to escape reality for awhile.  If that’s the case then mission accomplished and hopefully other individuals will see it that way as well. 

I definitely picked up on what Carmen was doing here and I really commend her for her efforts.  This work was nothing short of engaging that keeps your mind audibly stimulated throughout the album.  The use of sound and the incorporation of the percussion beats really stand out to me as being the key factors.  The overall peaceful vibe was heard loud & clear and honestly I think this could be an excellent meditative soundtrack.  For more on Carmen Tosca and her new release, Wind, SKOPE out www.carmentosca.com. 

By Jimmy Rae

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Lake Of Stew, Sweet As Pie

If records like Sweet As Pie the latest release from Lake Of Stew don’t put you in a good mood, then there’s simply no helping you. Though this hootenaney-ready, banjo laden dustbowl of a listen is tinged with some dark undertones, there’s no stopping the overwhelming sense of prosperity that keeps this gem of a record afloat.

Most of the tracks hover around the two-minute mark, such as the stomping sing-a-long shuffle of “Jimmy Runs Fast.” A simple tale brings to mind homemade wine drank from a jug at sunset; Sweet As Pie is an uncomplicated but enlightening listen. Perhaps Lake Of Stew could be written off as something of a gimmick record. And while it’s true that Sweet As Pie is easy to classify, it’s also very easy to find tracks that hit you on a personal level, thus rendering the previous statement kind of meaningless. The defiant state of mind that “On The Porch” induces is one the best of us have experienced; ultimately we’re all alone in this life, but if there are records Sweet As Pie to keep us company, then things might not be so bad. It’s albums like Sweet As Pie that beg not for the revival of CBGB’s but the Grande Ole Opry. After all, a feeling this good is pretty damn contagious.

By Joshua Kloke

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April Smith And The Great Picture Show, Songs For A Sinking Ship

There’s a clever edge to “Songs For A Sinking Ship,” the debut full-length from April Smith and the Great Picture Show. Perhaps it’s the fine touches that litter “Songs For A Sinking Ship.” Nothing is laid on too thick; Smith and her bandmates never rely too heavily on banjos, organs, mellotrons and the like. In fact, Smith doesn’t exactly pigeonhole herself throughout “Songs For A Sinking Ship.” Smith and her talented bandmates approach each of the eleven bubbly, caberet-influenced pop tracks with a certain languid approach that produces a fine and remarkably listenable balance. It’s a groovy and immediately pleasurable listen.

“Drop Dead Gorgeous” is a gleaming example of Smith’s casual yet striking talent as a songwriter. The song’s back of the bar, mischevious vibe creeps up on you but never betrays what it is, and what Smith shows of herself: a realist with a husky romantic edge. “Colors,” another standout track, lets us in on another side of Smith. She’s all kinds of old school, believing in simple clap-alongs, such as on this jazzy, peppy number. The weight of a few hands banging against each other works so much better for Smith than any studio trickery every could. The production on “Songs For A Sinking Ship” is truly minimalist, letting Smith’s classy tunes and buoyant (Sorry, I had to at some point) voice speak for themselves. She’s tricky, this April Smith newcomer, but there’s also a certain warmth on “Songs For A Sinking Ship” that is just so damn inviting.

By Joshua Kloke

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1986, Everybody Is Whatever I Think They Are

1986, the branchild of Giorgio Angelini and Cully Symington isn’t a band to take lightly. Everybody Is Whatever I Think They Are is a weighty, emotional listen, burgeoning with a swampy and often melancholic grunge edge. It’s a potent listen, particularly on swerving rock and roll beasts like “Habit,” which clamour at the edge of sonic pugnacity. If 1986 were a hockey player, he’d be the one you’d love to have on your team but would dread having to face.

A swiftness of purpose emerges on “Undertow,” which gets as close to catchy as Whatever I Think… does. Still, throughout the cagey guitars and driving breakdowns, 1986 howls with meaty hooks and Angelini’s fierce growl. It’s those meaty hooks that stick out on Whatever I Think…, especially on the surprisingly uplifting “Black Spring.” At nine tracks, Whatever I Think… is a near perfect length, as the amped-up fuzz gets to be a little much at times. But for all the droning, meandering and slightly boring fuzz of a track like “Aunts Marching,” there’s an unmitigated urgency that abounds on “Jesus (Is On The Phone),” the kind of classic, 80’s fuzz-punk that likely lead to Angelini naming his band as he did.

By Joshua Kloke

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Peasant, Shady Retreat

Obviously artists vary in terms of the complexity and simplicity of their music. Some tend to blend a myriad of instrumentation that equates to a “sum of the parts” aural assault. Others tend to lean on a “less is more” approach and allow the music to stand on its own merit. Pennsylvania’s Peasant leans on the latter and his latest release Shady Retreat echoes this sentiment with slight instrumentation, simple melodies and his ever-present wiser-than-his-years lyrical subject matter.

The album opens to “Thinking” with sparse instrumentation—simple backing keys and intermittent guitar allows 18 year-old Damien DeRose’s near falsetto-vocal delivery to do the talking for the track. “Well Alright” follows the above equation with metronome-ish snare taps keeping rhythm for slightly clunky piano over more upper-range vocals. Again, the cerebral lyrics belie the age of their originator. “The End” seems to be the track where Peasant’s “vocally-driven, slight instrumentation equation” takes flight. The constant of acoustic strumming paired with a backing electric riff adds fullness to the track and with Peasant singing over himself on lead and backing brings multiple soundscapes to the song, however still in a vein of absolute simplicity.  

A full listen to the album will reveal that the strength of Peasant lie in the vocals. His upper range is uncanny and raw; there is no nasally straining to reach the octave. Another important facet is the lack of overt instrumentation. Most tracks seem to feature the musicality as a background nuance or to simply keep time. What I feel the album lacks is in arrangement. There are no peaks and valleys, no rises and falls. More a collection of similar songs than an album that wants to convey a particular ethos or tell a particular story, there is no disputing the songs are approachable and even memorable, but the album as a whole is missing something. And something essential. Diversity, perhaps. 

by Chris West

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