Review: Ben Harper and Relentless7 - White Lies for Dark Times (* * * 1/2)

I have a somewhat conflicted love for Ben Harper, and I doubt I'm the only one. Harper has almost limitless appeal, with his soulful blues-rock style, serious musical chops, and sincere delivery, but for the last seven years or so, he's been frustratingly inconsistent. There was Diamonds on the Inside, a diverse and sprawling, but mostly great rock album followed quickly by Harper's acclaimed work with The Blind Boys of Alabama, about which I had mixed feelings. Then came Both Sides of the Gun, a two-disc set that was more filler than fun, and lastly, 2007's Lifeline with the Innocent Criminals, which was a modest success and a fresh approach, but ultimately lacking in energy. None of these albums was particularly bad, but they generally fell short of what Ben Harper had convinced us he was capable of offering.

I remain hooked, though, and right on schedule, Harper returns with his new band for another record, White Lies for Dark Times, eleven tracks of his standard, gritty rock 'n' roll that's a little too familiar, but more compelling than anything Ben has done for some time. Lead single "Shimmer and Shine" was an indication of good things to come, all burning guitar riffs and a signature knock-out chorus that transfers a heavy dose of soul straight into your system. Setting aside both the playful funk and heavy-handed politics of his previous work, Harper finds a nice spot in the middle where he creates some excellent songs. Opener "Number With No Name" is a personal favorite, as is "Why Must You Always Dress In Black," both of which show Harper in his zone, confident, emotional, and taking none of your nonsense while hot guitar licks, groovy bass lines, and fantastic percussion give the songs the necessary kick.

Of course, like any Ben Harper album, there's several seemingly mandatory ballads, which often make or break his records. Here they add to - much more than distract from - the overall feel of things, with the achingly beautiful "Skin Thin" ranking among the album's best tracks. In fact, the balance of the record is about perfect, which may be why I find the whole thing so easy to enjoy. Though White Lies for Dark Times doesn't hold up especially well down the stretch, with the aimless rocker "Keep It Together (So I Can Fall Apart)" and the surprisingly flat "Boots Like These" taking from the momentum, it closes on a high note - the gentle, uplifting "Faithfully Remain." Also, while I stand by my previous statement of Harper's somewhat lacking amount of originality here, he puts together a satisfying and well-executed package that's hard to deny.

Harper sounds focused and inspired, and most of all, relaxed in a way that keeps the music sounding natural even when the material isn't quite as spectacular or interesting as his best work. I'm still waiting for a late-career-defining album from Harper, and I believe he's got it in him, but White Lies for Dark Times is good enough to keep me happy for now.

Review: Richie James Follin - Battle (* * * 1/2)

Best known for leading indie rock band Willowz and his connection with Michael Gondry, Richie James Follin now strikes out on his own with his solo debut, Battle, a bluesy folk rock album. The music was written, according to his bio, on a train ride from New York to Los Angeles, while the lyrics were inspired partly by stories his Aunt told him about his recently deceased Uncle's experiences during World War II. The recording was done primarily during a 4th of July barbecue at collaborator/producer Dan Horne's house, where a host of musicians showed up to play various parts on the album, providing drums, bass, guitar, piano, mandolin and more to give Battle a full band sound.

The history of the album plays well into the songs themselves, with each tune feeling weathered and worn, twelve odes to classic southern rock music that, for the most part, capture the spirit of the genre. Follin's world-weary tenor voice rises and falls jaggedly over mournful pedal steel and jangly electric guitar lines with a sincerity that gives some real personality to the music, though some of the material might feel a little too familiar. The songs drift from burning country rock tunes to more thoughtful, introspective ballads. Songs like the soulful, upbeat "Prize" and the classic rocker "Calling" are fast and fun, channeling the style of 60's rock 'n' roll in a a raw, immediate way. The harder-hitting material is consistently great and keeps Battle alive and kicking through some of the less interesting selections.

The more deliberate, bluesy folk numbers are a bit hit and miss, but there really aren't any true misfires here, just not quite enough variation. "Circle," "Host," and "Rose" are all decent tunes, but they all sound similar enough that by your second time through the record, you're likely to have a tough time remembering which was which. The gritty, haunting "Colt" and the bright, organ-heavy "Reason" are, on the other hand, much more expressive and unique, adding some much-needed depth of style to the album. Overall, the 36 minutes of Battle make for an enjoyable album that features solid production and talented execution, offering a pleasant trip that more than justifies Follin's time and energy spent.

Review: DM Stith - Heavy Ghost (* * * * *)

When you think 'graphic designer,' 'musician' is not usually a word you would immediately associate with the term, but that's exactly how DM Stith (first name, David) got his start in the music biz. While working in Brooklyn, Stith befriended Shara Worden (My Brightest Diamond) and eventually ended up providing some design and recording help for her album Bring Me The Workhorse. In fact, Stith's creative journey centered much more around visual art and writing for the majority of his life, and though he is part of a very musically-inclined family and a gifted musician himself, it was only after writing some music around the time of Worden's recordings that his fascination with music returned and his debut album, Heavy Ghost, began to take shape. After Worden discovered his musical ability, she encouraged David to share his music with Asthmatic Kitty Records. Stith was invited (and coaxed) to write and record a full album after previewing just two songs, but I bet it would only have take one.

It's hard to imagine how anybody could have possibly kept such musical genius under wraps for so long. Stith's debut is a wonderful mix of the grandiosity of Sufjan Stevens with the intimacy of bands like Grizzly Bear and Shearwater, though he creates a sound all his own. The record's first single, "Pity Dance," is a good representation of his style, with his delicate voice somehow working its way through subtle, yet complex arrangements of guitar, strings, piano and layers of ethereal backing vocals. It's intriguing and inspiring all at once, and the album continually impresses with highlights like the eerie "Pigs" and the orchestral epic "Fire of Birds." With a little help from his friends (Stevens and Worden both contribute), Stith gets just about everything right here, with not a single weak moments among Ghost's twelve tracks and something to love at every turn. "Morning Glory Cloud" keeps things more simple, with warm acoustic guitar providing most of the background to Stith's captivating poetry before shifting into a noisy, haunting piano solo, and opener "Isaac's Song," (one of many Biblical/religious references) crashes menacingly and haphazardly around in a brief, but riveting narrative.

Even Stith's more abstract moments are much more than just interesting distractions. "Spirit Parade" is a fascinating mix of nonsense lyrics and messy instruments swirling around in a claustrophobic climax of noise, and "GMS" is a beautiful piano piece packed with more emotion than some artists get out of an entire album. "Wig" closes the record with a hazy bit of blurred violin and faint vocals that provides a beautiful end to a debut that is easily the most impressive I've heard this year. As shy as Stith seems to be, he confidently tackles a variety of song structures and arrangements without ever overreaching or seeming pretentious. His lyrics, which often center around his personal struggles with religious and ethical beliefs, are gripping and poignant, adding to the fragility of his music. Put simply, this guy is operating on another level.

Unpredictable, gorgeous, and endlessly enjoyable, Heavy Ghost is nothing short of a musical masterpiece and what we should hope is the first of many from DM Stith. If my ranting hasn't convinved you, check out his MySpace to hear some of my favorites from the album or his homepage to hear demos, singles, and more.