Fresh, thought-provoking, melodic
354212
This is the debut album from "The Strange Game", a Los Angeles based band.  The music styles on this album vary considerably, but there's still a core "feel" that ties it all together.  The genre is best described as "Symphonic Folk/Rock".  With an emphasis on thought-provoking lyrics and melodies you can listen to over and over, it's certainly worth a spin!  The website is thestrangegame.com - they are already starting work on their second album!
365203
While "What About Now" is somewhat of a departure from the more radio friendly songs of the past, do not allow the overall edgier sound of this album scare you off.  After first listening to "The Search",  I knew this CD would differ stylisticly from the previous ones.  It quickly  became one of my most favorite discs of all time.  It still enjoys a great  deal of spins on my CD player.
One thing The Kry does well is create  melodic rock that is both thought provoking and fun to sing along with  while listening to it.  My favorites include "Paradise," "I  Believe It," "Over and Over," and "After All."  While these four songs are more up-tempo rockers, there are plenty of power  ballads, acustic gems, and mid-tempo numbers to complete the mix  ("Time," "Down At the Cross," "Jason,"  "When You Die," and "What About Now").  "Down By  the Rivers of Babylon" is a fun praise and worship number that could  be sung in many church services.
Whether you are a long-time  "Krybaby" or a new convert, this CD ranks at the top when  considering a good and honest rock and roll album.  It combines the right  mix of a hard rock edge with pop energy to satisfy many rock and roll fans.
490943
"Little Broken Hearts" is a nifty, attractive record that manages to be slinky-cool while also retaining resonance and warmth. Norah Jones and producer Brian Burton, known elsewhere as Danger Mouse, have created a slick, witty alt-rock concept album about the vagaries of falling out of love which also somehow manages to sound original, at least in overall presentation and feel. The results sound both legitimately avant-garde and ready to court the mainstream listener.

Jones' supple, expressive voice and strong ear for melody make her thoughtful but ultimately unremarkable lyrics palatable, welcome and occasionally moving, but the true gift here is producer Burton, who understands his subject well enough to showcase her to the hilt. With his light-as-air touch and empathy for the emotional turmoil of her compositions, he gives them the boost they need to sound ingratiating, adding mystique, punch and flavor. The result is Jones' most consistently pleasing effort since 2004's "Feels Like Home."

This album is not one about individual songs but rather cohesion, aura and atmosphere - here, one of restraint and articulate, therapeutic calm under pressure. Little stand out from the crowd - the cheeky, intelligent, and instantly addictive "Happy Pills" is one exception, the hurts-so-good, ingenious "Say Goodbye" another - but that does not hinder the overall effect Jones and Burton reach for and achieve. The overall sound is strong, well-wrought and easy on the ears, clearly communicating Jones' swelling emotional turmoil without the need for the songs to call individual attention to themselves .

By the time the icy, downbeat synths cloaking "After the Fall" sink in it becomes clear that Jones is not content to rest on her laurels, doggedly pursuing new paths and pursuits in her music. While this may be relatively easy for her to do - she has "Come Away With Me" money, after all - it is still admirable, considering she could have turned out half a dozen unadventurous cocktail jazz discs by now and still sold records in healthy numbers. Here, she proves she has substance to supplement her ambition. She is all the more intriguing and exciting for it, with Burton amplifying her already considerable assets, not only making her lyrics often sound far more consequential than they otherwise should but highlighting her versatility. This is nearly as much his album as hers, and Jones would surely agree.

"Little Broken Hearts" is like a handful of Hershey's kisses. Their taste hardly rivals the nuance and boldness of what a top-shelf chocolatier would produce, but it is strangely impossible to avoid reaching back for more of them. Yes, they may be lacking for distinct personality or particularly revelation, but they are also sweet, satisfying and often comforting.
2789458
Several weeks ago, I had never heard of Melody Gardot. Amazon's customers who bought this product also bought - led me here.

Exploration reveals that  Melody Gardot was in a serious nearly fatal accident several years ago, when her bicycle was hit by a car.  She suffered brain damage, lost her short term memory, and for a while the use of her voice.  The doctor told her that musical therapy was one of the few things that would help restore her neural pathways.  Today she walks with a cane, and wears slightly darkened glasses because of lingering photosensitivity.

I have to say this album is remarkable.  Not only is Melody a great singer, she has a very expressive voice, and the distinctive nature of this album is the mood.  Every note, every chord, every phrase goes to create a mood and an atmosphere.

When you listen to this album you open a doorway to a new world of experience.  If you're like me you might imagine yourself down in the basement of a club, as you walk through the door there's a sultry singer on the stage, you see a flash of blond hair, you hear the subtle sounds of the bass, the brushing sounds of the drum, the slap of fingernail on nylon string, and you sit rooted to the spot as the melody washes over you, and the mood takes you wherever it takes you.  You have just entered the world of Melody Gardot.

It's not as bright as daylight, nor as dark as darkness, it's a curious in between place, perhaps a reflection of the slightly polarised lens through which she views the world.  And the music is wonder inspiring, some of the songs sound like they are already standards, although she wrote all the songs except Over The Rainbow, to which she her unique rendition.  I have to give her 10 out of 10 for the songwriting.  It's rare these days to hear an artist who is also a good songwriter.  A particular favorite is Lover Undercover, and Les Etoiles, although all the songs are really good.

The outstanding string arrangements on this album were done by Vince Mendoza.

If you're like me, the songs are somewhat mysterious, and the more you listen to them, the more they grow on you. So, if you find yourself in the position I was in several weeks ago, go ahead- buy it.  I think you'll love it.

I hope you found this review helpful.
3161676
Thoroughly melodic & enjoyable album. Each and every choice was a positive surprise. A valuable addition to any music library,
1931551
At last, something original to listen to! The music is surely a bluesy rock pop, but with some strange turns at some even stranger intersections. I found the music derivitive of many sources, but not overly of anyone. Ultimately it maintains its own identity and that is a good thing. Todd Royce is his own entity and his guitar (and the two excellent musicians aiding him) speak rich and textured volumes. The songs are musically sound and yet not pop enough to absorb them all with one listen. This is smart music that requires intelligent listening. Do yourself a favor and pretend that the lyrics did not come with the CD. It is ultimately more rewarding listening when , like the words of Michael Stipe, the lyrics are music in their own right to be discovered on their own terms. Unlike Stipe, you can actually understand what Royce is singing and saying. I'm not a huge fan of the "concept" album, but Royce can be forgiven because he stays true to himself and the personal truth of his message. It's a gut wrenching delivery seasoned with a hopeful spirit. A journey most of us know all to well. We all need to step into the light sooner or later. By the end of the CD, the songs do not end. As the last note fades, it requires us to inquire of ourselves as to what ours or Royce's next journey will be. Todd Royce has stepped into the spotlight with this CD. I hope he receives the attention and accolades due him so he may continue his musical odyssey. It will take me some time to digest this CD, but I already know I would like to hear more. You will too.
1485451
Inbar Bakal has made a great first impression with the release of her debut album Song Of Songs (Shir Ha Shirim). Though not yet a household name, the Israeli-American singer brings a welcome freshness to the World Music scene. She has a smooth vocal quality that is ethereal and immediately recognizable. The source material for the album comes from ancient Hebrew biblical texts, yet Bakal reaches back through her Yemenite/Iraqi roots to create a fusion of Middle Eastern textures and American contemporary Electronica. The result is a remarkable listening experience that allows for a deep connection to the music.

This rich musical soundscape results from the collaboration between Bakal and visionary Producer/Arranger Carmen Rizzo, who masterfully combines the Middle Eastern instruments Tabla, Oud, Bouzouki, and Saz with Keyboard, Synth, and Percussion elements. The music is consistent throughout the album, giving the feeling that these songs really are a collection and belong together.

The songs do vary in rhythmic texture. Hallelujah is an expressive piece in 12/8 time, while my favorite track, The Bride, seems to be in  time but with a 10-bar phrase. To me this is the most Middle Eastern sounding piece on the album.

The songs are mostly in Hebrew, with The Bride sung in Yemenite and English. The vocals are set back a bit in the mix and blend well with the other instruments, never overpowering. There are occasional moments of extra processing such as delay effects on Hallelujah and long tail reverb on Meditation. These are effective, though, and add to the emotional impact of these songs.

I must mention the outstanding musicianship of the players on this album. Dimitry Machlis is amazing on Oud, Bouzouki, and Saz. His musical contributions help to set the tone for the album. He lays down some very nice accompaniments and fills, perfectly complementing the vocals. He gets plenty of space to solo as well, and I enjoy every one of those moments. Satnam Singh Ramgotra is a masterful Tabla artist, adding to the Eastern feel and texture of the album.

The audio quality is excellent. I like the way it is mixed in a contemporary World Pop style, making it easy on the ears and appealing to a wide audience. Kudos to producer Carmen Rizzo. I could not find engineering/mastering credits, but kudos to these artists also.

The promo CD I received is a simple package consisting of a sleeve with song titles, credits, and photos. No insert or liner notes, but you can check Bakal's website for more details.

The album is short, containing six songs, but they are all high quality songs. Bakal did not feel a need to include more songs just to make a full album. I like this approach because it shows that Bakal is more interested in the quality of her music than the quantity. And with the resulting lower purchase price, there is certainly no barrier to obtaining the album either on CD or via download.

I am very impressed with Song Of Songs. Bakal and Rizzo have done a remarkable job of bringing this music to a Western audience. This is an adventure in listening, and as I allowed myself to be transported to another time and place, I am mindful of the beauty of the music and the emotional depth of the underlying context. I don't know what turn Bakal's music will take next, but rest assured, it will be something you won't want to miss.

Keith Wolzinger
Klezmer Podcast

Keith Wolzinger is the host of Klezmer Podcast, an internet radio show about Klezmer and Jewish music. It can be found at [...]
1251772
Theologically solid, perspective shifting, refreshingly honest, musically and lyrically creative: this album nails every point with some serious impact. you'd be better served listening to the album than reading reviews. buy it. you won't regret it.
1398922
From the first three seconds of "Danyew," it's obvious that you're in for something special.  What begins as a U2 Joshua Tree era riff explodes into punk inspired cacophony and then mellows into Danyew's first notes, a sweet balance of cool and angelic.

As the album continues, Danyew pulls masterfully from a variety of sounds and styles.  "Streetlight" is good old-fashioned stadium rock, "Close your eyes" is drum machine R&B, "Beautiful King" and "Nothing Without You" are modern mellow folk, and "Turnstyle" might be considered light pop.  Of them all, I'd call "Closer We Are," "Streetlight," and "Nothing Without You" the real triumphs of this album, with the other three tracks failing to leave any real resonance.

My only real regret with this album, in which the music transcends my default assumption that most gospel music is made by bands that couldn't cut it in any other genre, is that the lyrics are exceedingly unoriginal.  Danyew truly finds a new way to worship through his music -- it's distinct, moving, and wildly inspired.  The words, on the other hand, sound like generic tripe.  There is nothing moving or inspiring in the lyrics, nothing that touches my own heart and faith.  Worse yet, "Turnstyle" commits the classic and unforgivable gospel music sin of sounding like it was written for a lover and than quickly changed to be a gospel song ("Though many things have changed, our love remains the same.  I want you like the first time I saw you," etc).  Is he really talking to Jesus??

No, I'm not a fan of gospel music.  Danyew almost changed my mind, here, seemingly drawing his musical worship from influences as diverse as U2, Josh Radin, Wilco, and possibly even Justin Timberlake, but I really think he needs to team up with a lyricist on the next album.
29649
From the opening marimba lines that double her vocals, you know you're in for something fresh on Jill Sobule's fourth album, Pink Pearl.  This is pop for thinkers, with innovative arrangements and intelligent lyrical treatment of mature, frequently dark subject matter.
Sobule's songs sneak up on you: light, happy-go-lucky tunes belie the deep sarcasm that runs throughout her work.  This installment's menu includes mental illness, anorexia, child abuse, and disillusionment with one's lovers and heroes.  Yet these songs are so filled with uncommon wit and the genuine joy of performance that they can raise a smile and a snicker.  It is this balancing act between elation and desperation that makes Sobule's songs so compelling.
In Mary Kay, Sobule spins a yarn about a certain notorious teacher and her adolescent lover.  Opening with a hilarious montage of sampled melodramatic strings, the sordid tale unfolds and the tune turns acoustic with Jill's finger-picked guitar and vocals, then dramatically builds to a full arrangement featuring co-producer Brad Jones on bass and harmonium.  It all ends as surprisingly as it begins, with a reprise of Mickey Grimm's noisy drums, an ominous undamped floor tom ringing out to the end.
Claire, one of the album's strongest entries, has good-natured fun with an aunt's increasing senility: "She told me back in '44 she slept with Eleanor / Sometimes she gets confused / For all we know it's true, " then takes a surprising sad turn, shifting voices: "Have you been here before? / Are you someone I should know? / Then perhaps you better go."  Similarly bipolar, Heroes is a rousing, very live (complete with hand claps and yells) sounding anthem to the clay feet of our most revered role models.
Jill Sobule's recording method is rather democratic: after laying down basic tracks, she instigates a Nashville studio free-for-all until just the right sound happens, inviting ideas from all corners.  Though the instrumentation is wonderfully varied, ranging from Moog to timpani to pump organ, this recording often lays cardboard flat, suffering from an overall compression through which occasional percussion is allowed to punch.  Especially dynamically challenged are Jill's lead vocals, in contrast to her springy guitar.
Sobule's tentative singing is far from perfect, but her lack of control reads as honesty and vulnerability, not as poor technique.  Emphasizing this vocal candor is the fact that she is recorded bone dry, without a hint of reverb.  To her credit, this takes real guts.  To our benefit, the effect is arresting and immediate.  Here one is reminded of Sam Phillips' stark dry vocals on Martinis and Bikinis, minus the transcendent harmonies.
Oddly, the most sonically pleasing track is the one most crudely recorded.  The home 4-track demo Rock Me To Sleep is a sweet and gentle lullaby, sung without a trace of Sobule's usual cynicism.  Beautifully simple, and constructed of only Jill's voice and guitar, one can hear through the analog hiss a performance that is real and captivating.  One wishes Sobule would learn from this lesson in simplicity.  It's the songs that matter.
1875388
Like most people who know who he is, I was introduced to Todd Agnew when I heard his huge hit, "Grace Like Rain" way back in 2003. Agnew then released my favorite of his albums, Reflection of Something, in 2005, which featured great musical diversity and challenging messages. Then, I kind of forgot about Agnew, not picking up his Christmas album in 2006 or Better Questions in 2007. So I was very curious about what I would encounter with his new release, Need, which hits stores today.

There are two things I've always appreciated about Agnew: his honesty and his focus on Jesus (not in that order). He's never afraid to challenge pre-conceived notions and doesn't sugar-coat convicting truth, but it's always about Jesus. That doesn't change on Need, where all of the songs center around the theme of complete dependence on Christ. Songs like the poignant "I Need No Other" and the southern-flavored, hymn-like "Give Me Jesus" focus solely on Christ. "Tell Me The Story" basically walks through a summary of Christ's life, death, and resurrection. And "The Love of God" beautifully paints a grand picture of God's love and explores the implications of that characteristic.

Other favorites include "Higher Ground," which alternates between driving rock song and gospel hymn, and the rocker "Breakable," where Agnew essentially puts Philippians 2 to music with a chorus that states, "You are glorious, infinite and wise. You are mighty, holy. There is none beside You. But to save me from my brokenness, You became breakable." Great stuff.

My favorite song, though, would have to be "Did You Mean Me?" Here, the lyrics deal with the struggle to accept grace and the truths of the gospel. Agnew sings, "You said all things could be forgiven, but did you mean me?" The gospel's truth is amazing and we might affirm it, but many of us struggle to accept personally the implications of it. This is powerful songwriting.

Musically, the album is very diverse, including elements of rock, acoustic, gospel, and even some blues. Agnew's trademark baritone sounds as good as ever, and the song writing is pretty sharp. I have to say, though, that I don't think the album reaches to level of Reflection of Something for me. The songs are solid, and there are a few standouts, but there's just something missing.

Agnew's fans will likely not be disappointed by this album, and the lyrics are outstanding as usual (hence the pretty good rating), but I still can't help feeling that he's capable of a little more musically. As I said, the album is very diverse and the different styles are performed well, but it's also a little un-focused for my tastes. I enjoyed the album, but I don't really see it having a whole lot of lasting appeal for me.
2137181
This is subtle, quiet, serious work.

The vocal quality expresses woundedness and joy, but without any parade or guile, with a hint of Sam Baker's "well, shucks" battered but sung words sort of sound (the third track, Hold Me Certain, is very reminiscent of Baker), or maybe a bit of Iris Dement's deliberate holding of each syllable that carries plaintive connotations. That plaintive quality reaches its summit on the sixth track, Rainbow Song, which reminded me of the old BoDeans style of harmonization, only more reflective than most of the BoDeans' songs.

The guitar work matches the cadence of the voice quite well - I keep thinking of waves, both oceanic and psychological (the waves of grief) as I listen to the cd over and over again.

The lyrics are gently evocative and kind, they suggest that the writer has experience with the conversational demands that arise around loss.  You are not being sold anything here, and there isn't any obvious attempt to grab you with a catchy phrase in the manner of a Drew Nelson or a John Prine (not that those brilliant grabs are a bad thing, mind you), but the words here are more like an intimate, mostly quiet, sometimes playful afternoon conversation with a friend.  Though there is also a quality of awayness, of loneliness that threads through each song on the album, but is especially heard on Mountain in the Sea and Your Ghost, the 7th and 8th tracks.

The last track, Lillian's Lullaby has a double entendre (sleep/death) that is a fitting ending to an album that is rich enough to offer the listener glimpses of life and grief from a coherent variety of angles.  The song progression is quite competently done - this album makes sense as a whole, and is best taken in as such.  Because of that quality of wholeness, I'd say that this is an album which begs you to just sit down, put your screen of whatever sort away, be still, and listen.  I think you will find it well worth your time if you do just that.
4323143
The strong, clear and pitch-perfect vocals of Ted Leonard fit perfectly with the uncluttered, mostly guitar driven arrangements. Tempo, song structure and guitar textures are reminiscent of Rush, while the lead and harmony vocals continually conjure up Steve Walsh and Kansas.
But San Francisco's Enchant is its own thing regardless of these influences. Each song is built on its own strong riff, clearly distinguishable from the others. Each clocks in between 5-7 minutes, but there is very little gratuitous soloing as filler, no real redundancy. Enchant always leaves you wanting more.
Guitarist Douglas Ott ekes out some tremendous rhythm and lead guitar parts, with lots of changes in texture and some sweet tone. He's demonstrated his chops before. Perhaps most surprising to me this time around is the quality of the songwriting. Most rock musicians are fair-to-middling lyricists at best. The new writing team of Ott and Leonard consistently delivers lyrics that I can relate to, whether it is the regrets of a soldier who killed in the line of duty in "Under Fire" or the strangely up-tempo breakup song "Flat Line" or the reflective laments of past mistakes such as "Seeds of Hate" or "Dispicable" or the beautiful hopeful and yearning "Follow the Sun," I hear words that move me, that make me care what Leonard is singing about. Rare.
I also want to comment on the production and the handful of original ideas that jump out when listening at full volume. For 40 years, the standard in rock audio production has been the "wall of sound" where there's a roar even when there's silence. Not so here. In the quiet moments at time changes and between beats, it is so quiet you can hear a pin drop. There is no clutter, no unnecessary layers of overdubs detracting from the mix. Each instrument can be heard loud and clear, and each adds to the sound of the song. Not one cymbal crash is heard that doesn't count for something in the arrangement.
Speaking of the arrangements, the main guitar solo in "Under Fire" rocks to high heaven while the most prominent supporting instrument is a bells-sounding synth harmoniously chiming in with complementary chords. It brings chills. "Ultimate Gift" delivers a variety of textures with very smooth transitions, all held together with a clear commitment to the song's basic melodic theme, consistent and varied at the same time. I also love the way this band can so delicately change time, best exemplified in the many changes through "My Everafter" and "Invisible."
Spend the money to get the limited edition, complete with the instrumental "Prognosis." It's a great addition to one of the best rock releases of 2002.
4489014
Estonian composer Erkki-Sven T&uuml;&uuml;r (b. 1959) started his musical career in a progressive rock group, but the music on this disk is quite far removed from that style. Indeed, it is difficult to categorize T&uuml;&uuml;r's music. It is clearly contemporary, but yet has elements of many musical eras as structural elements, but yet without at all sounding like a mere concatenation of styles. This is music that is boldly original, striking in sonority, and although it may seem off-putting at first hearing, it is very, very compelling, pulling the listener into a new universe of sound. The first few measures of the first cut, Architectonics VI, announce that this is music not quite like anything else you have heard before. The five selections on this CD vary in musical style and setting, ranging from orchestral to chamber to choral settings, but all are filled with vision, imagination, and wonder. How exciting and wonderful to it is to herald a major new composer!
4864114
I love this album, but let me tell you why. It is both familiar and fresh.

This is a wonderful album from the Swedish indie songster Erik Mattiasson and has definitely been channeling some Elliot Smith and Damien Rice. It has all the weary simplicity of these two great artists. Erik Mattiasson is definitely in the vein of Rice, Smith and Oberst - but he manages to pull off optimistic without being childishly trite. Tracks like "Good with Mothers", "To be Someone" and "I should get away" have an alluring familiarity that feel like ghost tracks on some of my favorite albums. Its comforting.

BUT there are definitely fresh moments that remind me this is an artist on its own no matter how familiar it sounds - "Tropical Island" had a sexy lounge feel that was subtle yet perfectly placed. "Hello Benjamin" is my favorite it dances around the of line dark, catchy and simple (maybe some mod?) in a way that I can't really think of a proper peer. "Don't save me" is another excellent track.

If you can't get the whole album - which I  HIGHLY recommend - you must have:

Hello Benjamin
Don't save me
To be someone
Dream about me
3868752
Being a newcomer to the Flower Kings, I have to be careful submitting a review after only a few precious days of listening to this new disc. I always end up enjoying their albums more with each subsequent play. They cover so much ground musically that it takes a while to digest and absorb their work. But, hey - that's part of the fun!
This disc kicks off with a grand introductory opus, "Last Minute On Earth" that lyrically offers a relevant theme to ponder. I love the drastic change that occurs with approx. 6 minutes to go, Jamie Salazar offers some tasty contrast in his drumming that allow Tomas Bodin and Roine Stolt to unleash some inspired soloing. Mr. Salazar will be sorely missed as he has proven to be inventive and versatile. Check out the intro of "Rumble Fish Twist" on their previous release for a concise overview of his abilities.
The interplay between the keys and guitar is so tight & engaging throughout and the bass steps in with key flourishes to add power, shape, and colour at just the right times. I've read a few reviews by those who prefer their previous bassist, but I feel Jonas Reingold is plain awesome.
The emotional vocal workups continue to be a hallmark of this band as Hasse Froberg continues to contribute stellar work without trying to overtake the rest of the band with his contributions. It would be easy to feature him throughout, but the variety offered by his vocal collaboration with Roine Stolt keep their albums from becoming staid or predictable.
They offer less of the saxophone playing on this album, but it's use throughout, particularly in the outro of "Elaine" which receives some nice support from the fabulous bass line, produces nice results.
The longer pieces on this album are all very solid, and there seems to be less emphasis on instrumental tracks. The instrumentals are shorter in length, but fit well with the rest of the material.
Bodin unleashes some great keyboard sections on this release, especially on "City of Angels". There are many instances of great hooks and melodies sprinkled around, so if you don't relish every note, you will likely find some riff or segment of a song replaying in your mind long after the music has stopped playing.
I offer high marks for their lyrics as they obviously present deeper thinking than most bands are capable of offering. Overall, this a very strong release - a bit shy of a masterpiece like "Stardust We Are", but not by a great margin. I'll be anxious to hear what longtime fans will have to say about this recording. I highly recommend buying this title, the Flower Kings have proven to be every bit as good as promised.
1861600
I must say it is difficult to find new talent in this day and age with a refreshingly innovative and creative musical perspective. This artist seems to have an exceptional prowess for authoring progressive rock compositions with classical and jazz overtones. I am quite impressed with his innovative and unique sound which appeals to my sense of fun and adventure into new territory while providing the intellectual and artistic content I am looking for in music composition. I am also amazed at the overall thoughtfulness in the orchestration provided on a number of the tracks. I would highly recommend this album to those looking for something inspiring and different. This album certainly stands out against the cacophony of creations gushing forth from the mainstream music industry. A truly unique and promising work of art and talent!