Muruch

Shelby Lynne’s tenth studio album Just A Little More Lovin’ was released this week by Lost Highway Records. The album was recorded live in studio and is a tribute to Dusty Springfield. The disc features nine covers culled from Dusty’s songbook and one original inspired by the singer. I was a fan of Shelby’s music back in the early ’90s when she was a red-haired country singer like her sister Allison Moorer, but she has since then transformed into a blonde folk-pop star.

I’m not as impressed by this album as others claim to be. The collection is certainly good and grows on me with each listen, but it seems to be much more appealing to people who don’t normally listen to jazz, folk, or country. Shelby has a pretty voice, but it’s not quite strong enough to make such pale tunes shine. Instead, there’s an overall mellow coffeehouse tone reminiscent of Norah Jones’ debut or Suzy Bogguss’ Sweet Danger.

The two Burt Bacharach tunes – “Anyone Who Had A Heart” and “The Look Of Love”- and the lackluster rendition of “You Don’t Have To Say You Love Me” (the definitive version of which was by Elvis) are the prime examples of the album’s unfortunate flirtation with mediocrity. The tracks are pleasant, but so lacking in dimension that they are better suited for background music than attentive listening.

That being said, it’s still a fine album for a laid-back climate and there are some noteworthy tracks. The moody and understated “Just A Little Lovin”, the seductive “Breakfast In Bed” and the bluesy “Willie And Laura Mae Jones” are particularly good. The three songs afford a rare glimpse into the deeper, soulful side of Shelby’s voice and the latter track shows off her guitar playing talent.

Shelby flavors her reticent singing style with a little bit of twang on her cover of “I Only Want To Be With You”. The ballad “Pretend” is the only track on the album written by Shelby herself and what a difference the hand holding the pen makes. Lynne finally allows some emotive modulation to break the smooth surface of her voice. And the stripped down rendering of “How Can I Be Sure” serves as a satisfying finale.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Shelby Lynne Official Site
Shelby on MySpace

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Dengue Fever’s third full-length album Venus On Earth was released last week. To say the Cambodian band has a unique sound would be an understatement. The music on the album is a wonderfully bizarre mix of pop, psychedelica, Khmer rock, jazz, Bollywood, Middle Eastern, and other cultural styles. The band is led by Cambodian singer Chhom Nimol. Their music has been featured in the films City Of Ghosts and Broken Flowers and also in the Showtime series Weeds.

The opener “Seeing Hands” and the finale “Mr. Orange” blend quirky Asian pop with light dance beats and churning psychedelic rock guitars. Chhom’s pretty voice is especially hypnotic on the brass accented “Clipped Wings” and the exotic Iraqi pop inspired “Integration”.

Though the band’s music is heavily influenced by the Cambodian pop-rock scene of the 1960s and 1970s, songs like the transcontinental duet “Tiger Phone Card” and the beautiful ballad “Tooth And Nail” could just as easily have been lifted from an American band of that era.

“Sober Driver” is a moodier duet with robust horns. The band’s Cambodian roots are most apparent on “Monsoon Of Perfume”. And “Oceans Of Venus” is a surf rock instrumental.

Dengue Fever’s Cambodian tour are the subject of a John Pirozzi documentary entitled Sleepwalking Through The Mekong.

Dengue Fever – Sober Driver (mp3)

Dengue Fever on MySpace

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Luke Doucet is back, this time sharing the moniker spotlight with his band The White Falcon. Whereas his previous release Broken (And Other Rogue States) revelled in the sweet melancholia of a heartsick poet, Blood’s Too Rich has a tougher, dustier exterior. It’s the seventh album from Doucet, who is husband to White Falcon band member Melissa McClelland and label/tour mate to Justin Rutledge.

The opener “Long Haul Driver” is the sexy, smoky wild child of C.W. Mccall’s “Convoy”, while the catchy Americana “Blood’s Too Rich” has shades of Springsteen by way of Ryan Adams. A slightly distorted but still very upbeat rendition of The Cure’s “The Lovecats” provides a sunny interlude. Doucet’s daughter Chloë sings on the cover as well as the moody finale “Bombs Away”.

“First Day (In The New Hometown)” is a rousing display Western soul, “Take You Home” has a simmering “Crimson and Clover” (Joan Jett version) retro rock riff, and “The Commandante” is drenched in Latin brass, string, and piano embellishments that would do Alejandro proud.

The stand out track “The Day Rick Danko Died” is a gonzo melting pot of hillbilly washboard pluck and bluesy rock grind. The song would be equally fitting on an old Led Zeppelin album or a new release by Reverend Peyton.

Luke Doucet Official Site

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I was fortunate enough to attend last night’s Mountain Stage concert, which featured Jeremy Fisher, Amy Correia, Kelly Sweet, Bill Evans & Soul Grass with Richard Bono & Sam Bush, and Marc Cohn.

I have to send out an enormous “Thank you!” to Amy Correia for getting me into the sold out show. I was in the audience when Amy performed at Mt. Stage in 2001 and again in 2005, and I’m very glad I was able to attend her third appearance at the venue.

Canadian jazz singer Holly Cole was also scheduled to perform, but was apparently “hung up at the border” and didn’t make it to the show. I was very disappointed, as I was almost as excited to see her name on the lineup as Amy’s. Holly’s performance at Mountain Stage in 1998 was one of my favorite concert experiences.

Jeremy Fisher was the first to take the stage last night. He was adorable – like a young, more handsome Bob Dylan with that big curly mop of hair and harmonica strapped around his neck. I haven’t been able to get his album yet, so the music was unfamiliar to me. His voice and arrangements were very catchy and soulful. I think the songs I liked best are “Scar That Never Heals” and “High School”. I always like to see a musician really throw themselves into a song like Jeremy did. I only wish he’d had more stage time. (Postscript: Goodbye Blue Monday review here)

The incomparable Amy Corriea was next, accompanied only by her guitar. Amy was a late addition to the lineup, booked for a solo set after the show’s producers realized she would be coming to the venue to sing backup for Marc Cohn. Every time I see and hear Amy perform there, I’m astounded by the power and character of her voice. Last night was no exception.

Amy played three new songs and one from her Lakeville album. The first of the new songs was sung from the perspective of a little boy whose father is sent to Iraq. The second was “Love Changes Everything”, which you can hear on Amy’s MySpace page. The third was “Powder Blue”, a funny tune about a love starved barfly and her Trans Am. Amy finished with an astonishing a cappella performance of “Love Is”. As she grabbed the microphone and let the song rip its way out of her throat, she seemed to be channelling the spirits of both Edith Piaf and Billie Holiday.

I should probably refrain from commenting too much on the acts that followed, because it was difficult not to be bored by anything left in Amy’s wake. But I prefer to be honest. Kelly Sweet and Bill Evans & Soul Grass with Richard Bono & Sam Bush seemed to be big hits with the baby boomers in the crowd, but I eagerly awaited the end of both sets. Kelly had an undeniably pretty voice, but was way too saccharine for me…like an even more pageantic Charlotte Church singing lifeless pop ballads. And the first half of the overly long set by Bill Evans & Soul Grass with Richard Bono & Sam Bush was like an elevator music jam band. The exception being the brief time when Sam Bush did an impressively fast mandolin solo.

Marc Cohn got the show back on track for me. Amy Correia returned to the stage to lend her voice, guitar, and claps to his band. Marc’s voice has even more depth and power in person than on his recordings. His is another CD on my wishlist. Highlights of his set were “Live Out The String” from his new album and a slowed down, bluesy version of his hit single “Walking In Memphis”.

Everyone except Jeremy Fisher returned to the stage for the rousing group finale of The Band’s “Up On Cripple Creek”.

Mountain Stage Official Site
Mountain Stage Podcasts

Petracovich’s 2002 release Blue Cotton Skin is even more beautiful and haunting than their sophomore album We Are Wyoming.

take me for a ride, open window’s the sign, staining blue, soaked into my cotton skin

The voice of singer-songwriter and multi-instrumentalist Jessica Peters is particularly lovely on the opening eerie lullaby “Nighttime” and the melancholy piano ballad “Company”. “Falls From Trees” and the finale “Footsteps” float around in Petracovich’s signature trip-pop haze.

“Bird’s In Flight” holds true to the band’s trippy softness, but adds some spark with hand claps and a multi-tracked choir hum. “Coyote And The Moon” provides a gentle piano instrumental interlude before “Driving Home” shifts into a lighter acoustic style. And “Water House” is curious concoction of tinkling glass and industrial clunk.

the dust is picking up the pink and sun is really making a show and i’m so settled in my sunken seat, breathing like i was asleep

Petracovich – Nighttime (mp3)
Petracovich – Birds In Flight (mp3)

Petracovich Official Site
Petracovich MySpace
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Exotic Bird is an apt title for singer-songwriter Jessie Kilguss. Her subtly saucy voice softly spiels lyrics full of poetically brooding imagery amidst outlandishly diverse arrangements. Kilguss is a former actress who appeared in the film adaption of The Crucible with Daniel Day Lewis and shared the stage with Mary Margaret O’Hara and Marianne Faithfull.

“Desert Song” layers acoustics and light trip-hop beats underneath Jessie’s seductive croon. Alan Cox co-wrote and sings on the jazzy salsa “All I Am Is Breath”.

The haunting “Lord Lucan” burgeons from ghostly hums to sparse electronic beats as Jessie’s lone voice transposes her personal heartbreak onto the tale of a murderous English aristocrat. “The Dream” and the erotic “Delicate Queen” are strange brews of glowering, atmospheric jazz and junkyard clang.

The album includes three covers. With the exception of a few flourishes, the Kilguss take on Elvis’ “Don’t” stays true to the moody, downtempo original. There’s a plunking, plonking cover of the Waits tune “I’ll Shoot The Moon”. And a partially spoken word rendition of Jacques Brel’s “The Desperate Ones” serves as the finale.

Jessie Kilguss – Lord Lucan (mp3 expired)
Jessie Kilguss – Desert Song (mp3 expired)

Jessie Kilguss Official Site
Jessie on MySpace

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Flowers Forever’s self-titled debut will be released by Team Love Records on February 19th. Led by Derek Pressnall, the album was mostly inspired by his apparent mental breakdown (or possibly mono) last year. The sound is a lilliputian amount of indie-rock with a colourful splash of 80s punk and avante garde.

The brief opener “Beautiful Tornado” sounds so much like a Bright Eyes song that I almost didn’t bother listening to the rest. But then the album burst open with the brassy orchestration of “American Dream” and I was hooked.

“Black Rosary” could be the dispassionate indie-rock descendant of The Clash’s “London Calling”, while “Golden Shackles” is a violent cacophony of eclectic instrumentation and fervent vocals. “Dirty Dollar Bill” and “Happy New Year” spin into catchy mutations of 80s punk-rock.

The stand out track is the mesmeric rendition of “Strange Fruit”. Though the cover intermittently deviates into deep forests of jazzy horns, the rest of the Billie Holiday classic is completely transformed into a twisted rock song.

The finale “Black Pope” is another carnival of noise, this time with a nicely melancholic lace of strings. Other tracks return to the mousy sound of the opening track, but even the stereotypically deadpan songs are done well.

Flowers Forever – Black Rosary (mp3)
Flowers Forever – Happy New Year (mp3)
Flowers Forever – Beach Bum (mp3)

Flowers Forever Official Site
Flowers on MySpace

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In addition to Radio America, this week’s mostly boring One Tree Hill featured the music of Kate Voegele. Voegele starred and sang as Mia in last night’s episode. I reviewed her album Don’t Look Away last May. Rhyming unintended.

The Stone Coyotes are singer-songwriter, piano player, and slide guitarist Barbara Keith, drummer Doug Tibbles, and bass, banjo, and lead guitarist John Tibbles. Their 2006 release Dreams Of Glory is a blend of rock and alt-country.

“Party Down The Hall” is a moody twang-rock contagion and “Blue Mountain” is a bluesy haunt. Neither track would be out of place on a Lucinda Williams album. “Dreams Of Glory” is muffled psychedelica mixed with alt-country, while “Back To New York” and “Ace Of Spades” riff unadulterated rock… albeit circa 1978.

The hard edge of “Bad Luck” could sound like an old punk song if given some sharpening. The disc also includes a cover of the traditional “Streets Of Laredo”. Dreams Of Glory is rough around the edges, but worth a listen.

The Stone Coyotes Official Site

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Jag Star is band from Knoxville, Tennessee that is led by singer-songwriter Sarah Lewis and has shared the stage with Joan Jett, Macy Gray, Tyler Hilton, Dashboard Confessional, Michelle Branch, and Edwin McCain. The band seemed to be striving for a punk-rock look on the cover of their debut The Best Impression Of Sanity, but the truth is they are a pop band. Good pop, but pop nonetheless.

Songs like “Something Different”, “Does Anybody Know”, and “Ridiculous” are catchy pop ditties anchored by rock guitar riffs. Sarah’s vocals sound prettier on the softly whispered notes than the loudly belted ones, but her voice is well suited to the band’s blend of pop and rock. “Missed Out” and “Disguise” dip into a darkly atmospheric but still radio friendly tone.

The album lacks substance and some tracks are cloying, so it should be avoided by those with total pop aversion. But I think it’s an entertaining piece of ear candy for a light-hearted mood.

Jag Star Official Site

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Morcheeba will release their sixth album Dive Deep on February 19th. Those that associate the band’s name with the soulful trip-hop sound of previous albums will be surprised by the softer pop style of the new disc. The experimental nature of the Godfrey brothers has always been refreshing, but the absence of former Morcheeba vocalist Skye Edwards is sorely felt here. In her place are a collection of artists that the band culled from MySpace. While this is a fairly good pop record, it’s lackluster in comparison to the innovative trip-soul of Morcheeba’s past.

Singer-songwriter Judie Tzuke lends her voice to the mellow opener “Enjoy The Ride”. Norwegian singer Thomas Dybdahl joins the band on the suicide pact tale “Riverbed”, the electro-acoustic “Sleep On It Tonight”, and the bluesy finale “Washed Away”. Rapper Cool Calm Pete contributes his unique fluteboxing (human beatbox through a flute) skills to “One Love Karma”, but the audio isn’t as interesting as the description. And “Blue Chair” sounds like an Annie Lennox cover band.

The above parts are nice enough, but the sum is a disjointed listen. However, there are exceptions that make the album worth purchasing…

The most successful detour the disc takes is the reworked cover of John Martyn’s “Run Honey Run”, which blends a Celtic melody with trippy beats. Also of note are the two tracks featuring French singer Manda – the soul-hop tune “Gained The World” and the lovely ballad “Au-Dela”. And the moody electronic instrumentals “Thumbnails” and “The Ledge Beyond The Edge” are pure Morcheeba.

Morcheeba Official Site
Morcheeba on MySpace

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I don’t usually post about the personal lives or deaths of celebrities here, but I must make an exception for Belizean singer-songwriter Andy Palacio. I was shocked and saddened to hear that Palacio – who was only 47 – passed away on January 19th of a massive stroke, heart attack, and respiratory failure.

In an interview last year, Andy said that when he died he wanted to be remembered “as a proud Garifuna…someone who instills pride in Garifuna and raises their self-esteem.” Considering how impressed I and others were by his 2007 release Wátina, his wish is definitely granted.

Friends and fans have been invited to leave comments on Andy Palacio’s MySpace.

The Heavy Circles is singer-songwriter Edie Brickell’s new project, a joint effort with guitarist Harper Simon (son of Paul Simon). The band’s all-star debut self-titled album will be released on February 12th. Their sound is a pop, rock, blues, indie, avant garde, reggae, and alt-country blend. Though there are certain retro elements in the songs, the sound is quite different and much more modern than Edie’s old neo-hippie outfit New Bohemians. The album features guests Martha Wainwright, Inara George, Sean Lennon, Cibo Matto’s Miho Hitori, Jennifer Charles of Elysian Fields and Lovage, That Dog’s Anna Waronker, and Joan As Police Woman‘s Joan Wasser among others.

I received the The Heavy Circles debut in the mail, listened to and loved it, and didn’t realize who was behind the catchy tunes until I read the press release while writing this review. Edie Brickell never fails to make music I enjoy, even when experimenting with new genres like this.

The opener “Henri” has a hypnotic, psychedelic rock arrangement beneath Edie’s ethereal whisper. The track features former Elysian Fields and Lovage vocalist Jennifer Charles, and would not have been out of place on last year’s Plant/Krauss collaboration Raising Sand.

“Better” and “Ready to Play” follow in a perkier pop style accented with crunchy guitar riffs. “Confused” slows down into a semi-ballad with soft percussion and a pretty piano ascension. “Need A Friend” has a surprising twist of reggae and brass. And despite the natural mildness of Edie’s voice, “Dynamite Child” is pure rock.

Martha Wainwright sings on languid blues tune “Easier”, while Inara George and former That Dog vocalist Anna Waronker lends her voice to the dreamy “Maximo”. Sean Lennon plays bass on both tracks. Joan Wasser contributes to the string arrangements on several tracks and performs a violin solo in “Wait & Wait”. And Cibo Matto’s Miho Hitori sings on the finale “Oh Darling”.

The Heavy Circles – Henri (mp3)

The Heavy Circles Official Site

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There’s a new art-centric interview with Johnette Napolitano posted at My Dreams Gave Me Away. If you haven’t read the blog before, it’s written by very good friend of mine. She posts music, art, and occasionally her own personal writing. If you like her blog header, I made it. If you don’t, nevermind. And if you missed my interview with Johnette the first time around, you can read it here.

Before you judge me here, remember that I have shamelessly admitted my guilty pleasure addiction to One Tree Hill (which I perceive as the Dallas of the aughts!) many times in the past. As you may or may not know, this season the show has the bizarrely cast guest Kevin Federline as the singer of a rock band. Turns out that the music K-Fed is lip synching to is by an actual band called Radio America, whose album was co-produced by the same guy as the new Magnetic Fields disc.

Love and Circumstances by Christabel & The Jons is a sultry and nostalgic collection of old-fashioned jazz, big band swing, Appalachian folk, and old-timey country. The core members of the band are vocalist Christa DeCicco, drummer Jon Whitlock, Mischa Goldman on upright bass, and Seth Hopper on violin, mandolin, trumpet, and bandoneon. Supporting musicians contribute clarinet, flute, and pedal steel.

The jazzy stand out tracks “It’s Love” and “Best Kind Of Friend” blend the Tin Pan Alley homage of Samoa Wilson and the Jim Kweskin Band with the modern country charm of Eleni Mandell‘s Country For True Lovers. Christa’s velvet voice adds a torchy heat to the jaunty twang of “Postcard” and “Lay Your Head Down”.

The sweet strings and warm woodwinds steal the spotlight on “Remember” and “Little Jane”. Christa’s rich inflection is sometimes similar to Bernadette Seacrest or Jolie Holland, particularly on the brassed up “Florida”. The Streamliners join the band for the brilliant big band finale “St. James Infirmary”.

Christabel & The Jons Official Site
Christabel on MySpace

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White Hinterland is the new band fronted by singer-songwriter Casey Dienel. Their debut album Phylactery Factory will be released on March 4th by Dead Ocean Records, a sister label to Secretly Canadian. Casey’s lovely voice and creatively quaint arrangements are still very present, but the new disc has a smoother, sometimes darker tone than her charmingly organic 2006 solo release Wind Up Canary. Phylactery Factory includes guest vocals by Dienel’s former Hush Records labelmate Laura Gibson.

There’s a melancholy in the simmering jazz of “The Destruction of the Art Deco House”, with Casey’s voice taking on a intermittent falsetto reminiscent of Feist’s debut. The jaunty verses of “Dreaming of the Plum Trees” sound more like Casey’s first album, but the multi-tracked vocals and cacophonic mix of guitar and piano in the chorus is something else entirely.

“Calliope” slips down into pretty, quiet melody accented with a deep string arrangement. The moody beauty of the song’s first half recalls Joni Mitchell’s “River” or “Winter” by Tori Amos, while the second portion crests in a wave of piano and voice then ebbs away softly.

“Hometown Hooray” balances between a breezy liveliness and melodic serenity, then the polyphonic “Lindberghs + Metal Birds” picks up the pace as a retro 70s rock bass line mingles with the orchestral pop piano.

The stand out track “Napolean At Waterloo” is the prettiest song of war I’ve ever heard, rising from ballad to rhythmic crescendo. The simple piano ballad “Hung on a Thin Thread” at first seems to revisit the Joni Mitchell sound, but is flavored and fortified by soft horns. And the wonderful Laura Gibson joins Casey for a duet on the haunting ukulele and horn finale “Vessels”.

White Hinterland – Dreaming of the Plum Trees (mp3)

White Hinterland Official Site
Casey on MySpace

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Yep Roc Records will re-release Flock by Irish band Bell X1 on February 19th. The album was originally released in Ireland in 2005. Bell X1 is composed of former members of Juniper, probably best known as Damien Rice’s first band. Members of Bell X1 recently contributed to the Irish charity album The Cake Sale. I suspect that Flock‘s American release will garner comparisons to certain other indie-rock bands (particularly The Shins or Franz Ferdinand) for its mix of airy vocals and polished electro-rock, but Bell X1 was first and better.

It’s been a little over two years since I first mentioned “Eve, The Apple of My Eye” here. The beautiful ballad remains the stand out track of the album, with Paul Noonan’s delicate voice rising with the lovely melody. It’s the song that made me love Bell X1, one that reminds me of the softer side of The Frames.

“Rocky Took A Lover” blends a soft indie-rock rhythm with shimmering strings, while the catchy “Flame” has a darker pop-rock sound with an a capella and handclap finale.

“My First Born For A Song” looks at 80s synth-rock through a dark glass, and I believe that’s the delightful clunk of a cowbell mingling in the riffs and handclaps on “Bigger Than Me” – which sounds like a tribute to Talking Heads or early R.E.M.

The first part of “He Said, She Said” has the slightest hint of eerie Lynchian twang, then the second half explodes into a yesteryear Radiohead rock wail. Other tracks of note are “Reacharound” and “Just Like Mr. Benn”.

Bell X1 Official Site

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Forget tepid Paramore, my current guilty pleasure is Rotten Cheri. Their debut album 02 is shiny, sexy femme rock. Led by vocalist Stephanie St. Hilaire, the Brooklyn trio’s mixes the alterna-rock and ska sound of the ’90s with the chick pop-rock of the aughts.

Songs like “Jealous Girl” and “Things I Hate” sound like Gwen Stefani singing for Red Delicious. “Before It’s Over” at first slows down into a slinky ballad before flaring into another rock riff slathered with catchy pop.

“Sickness” sounds like a hybrid of No Doubt and Foo Fighters, while “Under Control” fully embraces the girl-ska sound of Gwen’s old band. The softer “Get Out Go Away” has a surprising splash of strings, and the seductive electro-rock “Centipede” sounds like Angelfish (Shirley Manson’s pre-Garbage act).

The album definitely has some weak spots, but there are also great moments that almost recall Throwing Muses. And in general, it’s a pretty fun listen.

Rotten Cheri Official Site
Rotten Cheri MySpace

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White Moth was Australian didgeridoo virtuoso Xavier Rudd’s second release last year. Unlike the bare bones sound of the also excellent Food In The Belly (originally released in 2004, re-released in 2007), Rudd added a little rock kick to his blend of folk, pop, reggae, and Aboriginal styles on White Moth. The disc features guest members of the Aboriginal musical group Yothu Yindi, percussionist Dave Tolley, Panos Grames, and First Nations Cree elder Kennitch. Rudd deems the album his “proudest work” and it’s easy to understand why. His sound has matured and deepened to a profound degree since I first saw him perform at Mountain Stage.

One of the more impressive things about White Moth is that Xavier was often able to create the impression of a backing band by playing basslines with his thumb while finger picking the melody. This was in addition to his usual multi-instrumentalist arsenal of guitars, didgeridoos, slide guitars, stomp boxes, djembes, harmonica, and other forms of percussion.

The catchy and upbeat opener “Better People” pays tribute to Australia’s indigenous people, environmental activists, and Rudd’s family. “Twist” and “Come Let Go” delve into Marley reggae territory.

The stand out tracks “Stargaze” and “Footprint” are the prime examples of Xavier’s singular ability to mimic a reverberating rock orchestra. “Footprint”, which addresses the harm wrought by global warming, sounds more like a Rocco DeLuca & The Burden song than the austere style of Xavier’s past catalogue.

The twinkling “White Moth” shows off the richness of Xavier’s voice, and refers to an incident in Sri Lanka when a white moth rested on one of his children for six hours. “Choices” is a softer tune concerning a relative’s terminal illness. Simple acoustics rise with rhythmic percussion and the voices of an Aboriginal backing choir on “Land Rights”, which was inspired by the Aboriginal territory of Arnhem Land in Australia.

The yidaki (didgeridoo) takes center stage on the haunting quasi-instrumental “Message Stick” before the song erupts with drums and chanting. The atmospheric “Set It Up” is an unusual mix of pop-folk and blues, and the finale “Come Back” is a soulful, wistful ballad.

I was not granted permission to share an mp3, but you can hear clips at the links below.

Xavier Rudd Official Site

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Greg Laswell will release a six-track EP entitled How The Day Sounds on March 11th. The new EP will include an expanded version of “High And Low”, which was originally featured on Laswell’s debut Through Toledo. The sound of the new disc seems to be similar, but perhaps a little softer, than his first album. Following is the tracklisting and an mp3 from the EP. Laswell is working on another full-length album to be released next summer.

How The Day Sounds EP Tracklist:

1. How the Day Sounds
2. Salvation Dear
3. Days Go On
4. Embrace Me
5. High and Low (with the Edison String Section)
6. What A Day

Greg Laswell – Days Go On (mp3)

Greg Laswell MySpace

In Love & Light will be released on February 12th. It’s the second solo album by Irish singer Heidi Talbot, formerly of Cherish The Ladies. The album blends Celtic, folk, and pop, and features guests Eddi Reader, Kris Drever, erstwhile Solas guitarist John Doyle, Fairground Attraction’s ex-drummer Roy Dodds, fiddler John McCusker, as well as flutist Mike McGoldrick. This is the first 2008 release to fully capture my affection.

The opener “If You Stay” is a simple acoustic tune accented with soft strings that compliments the delicate tone of Heidi’s voice. A cover of one of my favorite songs follows – Jump Little Children’s “Cathedrals”. Talbot’s rendition loses the haunting quality of the original with its faster tempo, but it’s still captivating and I’m just glad to see such a wonderful song getting some attention.

“Invisible” then drops down into an old-fashioned torch song. Heidi’s rendering of Tom Waits’ “Time” is more sweet than bitter. Talbot revisits her Celtic musical roots on the moody Irish tune “Bedlam Boys” and the traditional Scottish ballad “Glenlogie”. Kris Drever duets on “The Blackest Crow”, and Eddi Reader sings backup on “Everything”.

Talbot’s lustrous falsetto shines on the pair of covers that close the album. A melodic interpretation of The Ink Spots’ “Whispering Grass” is followed by the angelic hymn “When The Ring The Golden Bells”.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Heidi Talbot Official Site
Heidi Talbot Official Site

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I missed the initial Art In Manila wave, but oh well. Had I realized that former Azure Ray singer Orenda Fink was Art In Manila’s lead singer and that Set the Woods On Fire is so pretty and catchy, I would not have waited so long. Truth be told, I didn’t bother listening to their album until recently because the promo edition looks exactly like those of Two Gallants (which I don’t like). Another overlooked gem. Better late than never, I suppose.

Orenda’s wistful voice floats along the surface of songs like the opener “Time Gets Us All” and the stand out track “I Thought I Was Free”, which build from sparse piano melodies into lush arrangements punctuated with dramatic percussion. “Our Addictions” rises into an infectious pop-rock ditty.

“The Abomination” takes on a severe acoustic strum as Fink’s vocals echo into a backing choir. “Set The Woods On Fire” dances between moody verses and a taut rock chorus. Tracks like “Golden Dawn” revisit Orenda’s ethereal past, while the rock guitar and melodic vocals of “Spirit, Run” quake and shimmer.

Art In Manila – Set The Woods On Fire (mp3)
Art In Manila – The Abomination (mp3)

Art In Manila MySpace

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Fans of Juno and The Moldy Peaches take note: here’s a quirky lil kazoo song from the self-titled debut by The Terrordactyls, with guest vocals by Kimya Dawson.

The Terrordactyls (feat. Kimya Dawson) – Devices (mp3)

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Sydney Wayser’s debut album Silent Parade slides a melancholy indie-pop sound accented with beautiful piano, string, and woodwind instrumentation beneath Sydney’s languid lilt. The sound is somewhat akin to that of Cat Power or Sarah Slean, but Wayser’s arrangements are often more dramatic.

“Papa Don’t Worry” stirs harmonica into a haunting piano and string arrangement. “Crumpled Paper” sinks into a mournful violin and piano melody that compliments Sydney’s pretty voice.

The tinkling “Misplayed Games” and “Carousel” spin on merry-go-rounds of strings and woodwinds. “Unwanted Visitor” masks a chilling melodic phrase with theatrically militant percussion and strings.

The playful Parisian style of “Place de la Bastille” was inspired by the French film Amelie. And the simple piano of “Untitled 21 Juillet” quietly closes the album.

Sydney Wayser Official Site
Sydney on MySpace

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I must add my voice to the chorus of bloggers who love Juno. I finally saw it yesterday, and it lived up to all the hype. I feared I would be annoyed by the stereotypical “indie”-ness of of the film, but that wasn’t the case at all. The strength of the script, direction, and acting made the overtly quirky look and soundtrack charming rather than tedious. It all fit together into a surprisingly heartwarming, though unquestionably difficult story.

Juno seemed to be a mix of Freaks & Geeks, Ghost World, Napoleon Dynamite, and Knocked Up. There was even a small nod to My So-Called Life in the brief mention of “Tino”. If you’ve heard anything about the film, you probably already know that Ellen Page plays the pregnant and extremely sarcastic 16 year old title character (who is pretty much a teen version of every character that Janeane Garofalo played in the 1990s) with Jennifer Garner and Jason Bateman portraying the prospective adoptive couple.

Indie films rarely play on the big screens in my vicinity, but the critical buzz and casting of hometown darling Jennifer Garner seemed to help this one make it to local cinemas. Garner gives a strong performance in her supporting role, managing to balance the unlikableness of her uptight suburban character with the sympathetic emotion of a woman who yearns deeply for a child of her own. While Bateman has to tackle the opposite spectrum, shifting from a short-leashed husband obsessed with the grunge era into a selfish yet still somewhat empathetic guy who doesn’t feel ready for the responsibility of adulthood.

But I must confess that the main reason I wanted to see the film was the hilarious sight of Michael Cera (aka George Michael from Arrested Development) as Bleeker – Ellen’s “part-time lover, full-time friend” – in taxi cab yellow shorts and a Loverboy headband. That alone was worth the price of a movie ticket, I tell ya.

There were a lot of great lines in the movie – my two particular favourites being when Juno’s father tells her to “find someone who loves you for exactly what you are” and when her stepmom says “someone else is going to find a blessing from Jesus in this garbage dump of a situation”. I also liked Juno saying that she really didn’t know what kind of girl she is, because I think that summed up her character’s struggle throughout the movie. There is an unexpected and subtle theme of morality in the film, and it has nothing to do with how Juno came to be in her condition.

And I could not help but fall in love with a movie that not only uses the music of Kimya Dawson and The Moldy Peaches, but has Juno and Bleeker sing a duet of “Anyone Else But You”.

The Terrordactyls (feat. Kimya Dawson) – Devices (mp3)

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Saddle Creek Records has been nice enough to offer a free mp3 sampler with tracks from albums they released in 2007. Included in the sampler are songs by Maria Taylor, Bright Eyes, Georgie James, The Good Life, Two Gallants, and Art In Manila. The sampler is in torrent form, so you’ll need a BitTorrent client to download it. More details at the link.

Saddle Creek Records Mp3 Sampler (external download page)

Irish author Maggie O’Farrell has quickly become a favorite writer of mine. Her new novel The Vanishing Act Of Esme Lennox is a beautifully written, enthralling piece of Gothic fiction that effortlessly weaves together the emotional and riveting threads of one family’s multi-generational tale.

The modern story in The Vanishing Act Of Esme Lennox centers on Iris Lockhart, an independent woman running a dress shop in Edinburgh, Scotland. As we learn more about Iris and her love life, we’re introduced to the title character. Iris is shocked to learn that she has been named caretaker of a previously unknown relative named Esme Lennox, who is being discharged after over six decades in an asylum. As Iris begins to unlock her family’s myriad of secrets, we’re taken back into the past to be properly introduced to the intriguing Esme and learn the appalling truth behind her banishment.

Not only does Maggie O’Farrell have a talent for creating realistic characters and suspenseful drama wrapped in eloquent prose, but I love how she trusts the intelligence of her readers to distinguish between the various plots. Instead of strictly dividing different characters and timelines into chapters as other authors do, Maggie seamlessly alternates between them within each chapter – sometimes on the same page. So instead of having a drastic shift between the present and the past, the novel flows from one to the other. This encourages the reader to stay engaged with all of the characters, rather than being drawn to one in particular and rushing impatiently through the chapters that omit them.

As in O’Farrell’s debut novel, After You’d Gone, The Vanishing Act Of Esme Lennox ebbs and flows with dramatic tension until the tragic final act. O’Farrell’s novels are often full of sadness, but they are so superbly crafted that even the most melancholy moments are an exhilarating read.

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In honor of Alice Smith’s Grammy nomination, three lucky readers will win a copy of her For Lovers, Dreamers & Me CD. You can read my rave review of the album here and the contest details are below.

The Prizes:

3 copies (1 for each winner) of Alice Smith’s For Lovers, Dreamers & Me CD

The Rules:

Comment to this entry with your email address. And feel free to include artist, album, or song recommendations. If you’re shy about leaving your contact info in a comment, you may also email me to enter. Comments are preferred, though.

Note: the 3 winners of the contest will be required to provide me with their full names, email addresses, mailing addresses, and phone numbers, which I will then forward to the promo company sponsoring the contest. Your contact information will only be used for shipping purposes, but it is required in order to qualify.

The Deadline:

The contest will end on Thursday, January 31st. The 3 winners will be chosen at random and contacted via email.

Go now go! And tell others.

Ladysmith Black Mambazo will release Ilembe: Honoring Shaka Zulu on January 15th. The South African vocal group continues their signature Gospel laced African sound on their tribute to Shaka Zulu.

I love that the LBM collective have such disciplined voices they can sing a capella in perfect harmony and also engage in hypnotically syncopated humming, such as heard on the opening track “O Mmu Beno Mmu”.

On “Kuyafundw’ Osizini (Ilembe)” and “Prince Of Peace”, the band seems to be incorporating a touch of Mavis Staples’ bluesy vocal style (LBM contributed backing vocals tp We’ll Never Turn Back) into their traditional African rhythm.

And “Vela Nsizwa” is a standout example of Ladysmith Black Mambazo’s heart-rhythmic harmoniousness. Unfortunately, I was not granted permission to share an mp3. But if you are at all familiar with the group’s previous work, you will probably enjoy this new collection.

Ladysmith Black Mambazo Official Site

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Devil Doll is led by the fiery Bettie Page lookalike Colleen Duffy. The Return of Eve juxtaposes the riffy rockabilly of Sarah Borges & The Broken Singles and Bernadette Seacrest‘s seductive jazz with the punk rock attitude and affinity for cursing of Juliette & The Licks. So needless to say, I love it. Devil Doll has toured with X and The Cramps, and their music was featured in an episode of Buffy The Vampire Slayer.

“The One Who Got Away” opens the album with a rockabilly flavored jazz style that shows off Duffy’s strong vocal range, then “Doreen” accelerates into a twangy rock whirlwind. Songs like “Sweet Lorraine” and “Tortured” slow down into pretty country ballads, while tracks like “The Curse” and “The Way You Do” explode into a rock roar.

I don’t know if Duffy is of Roma heritage, but “Gypsy Bitch” is obviously not a politically correct song by any means. And the lyrics of “Lord’s Prayer” are not for those who take religion too seriously. But they sure sound great, especially if you have a good sense of humor. Both songs layer bluesy lapsteel beneath Colleen’s crooning verses and steel-plated chorus.

The catchy “Man In Black” throws a touch of pop into its rock rhythm while Duffy again swings effortlessly between a torchy chanteuse and snarling fireball. “St. Patrick” keeps the guitar churning while putting more of an emphasis on the fiddle.

The growling “Sexy” takes on a cha-cha-cha sway with rock guitar punches, and “Queen of the Road” is the definitive example of the sensual and bawdy nature of Devil Doll’s jazzy rockabilly. The album ends with a bonus cover of “Fever”.

I was not granted permission to share an mp3, but you can hear samples below.

Devil Doll Official Site
Devil Doll MySpace

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