Will Stratton: When You Let Your Hair Down to Your Shoulders (MP3)

Great news today! One of my favorite songwriters, Will Stratton, has a new song available for download.

Check out this Brooklyn Based post featuring the lovely new tune, "When You Let Your Hair Down to Your Shoulders," along with a brief interview with the man himself.

If you'd like to read some of my ravings on Stratton's latest full-length, you can find that here.

Review: Will Stratton - New Vanguard Blues (* * * * 1/2)

Patience is a virtue, sure, but one that tends to slow things down and occasionally even seems completely unnecessary. Will Stratton’s third album, New Vanguard Blues, serves as a reminder that impatience can be just as valuable a trait. After offering one of my favorite records of 2009—the consistently stunning No Wonder— Stratton apparently didn’t want to bother taking the traditional route in releasing his third full-length. Recorded and mixed by the songwriter himself over the weekend of July 9th, the album was made available online only a couple weeks later, an unusual but certainly welcome decision as New Vanguard Blues is in many ways Stratton's best effort to date. Shedding the varied sonic decorations that enhanced the tunes on No Wonder, his latest is simple and stripped-down, resulting in a tighter, more focused set of songs that relies almost exclusively on his impressive guitar work for accompaniment. But the album mostly succeeds for the same reason the last one did: Stratton’s singular songwriting, which has only gotten better with time. (Continue reading at In Review Online. . .)

Daily Dose - 9/14: Kim Taylor

Artist: Kim Taylor
Latest Release: Little Miracle
Genre: Folk/Singer-songwriter/Americana










This has been a great year for singer-songwriters, especially those of the more traditional folk/Americana variety, and though you may not have heard Kim Taylor's name mentioned in that sort of discussion yet, you should expect to soon. Her new album, Little Miracle, drops next week, and it's a stunner. Taylor's blend of folk, blues, and pop is both emotionally gripping and sonically gorgeous, with world-weary tales delivered in captivating melodies by her rich, smokey voice. The record draws you in from the start and demands your attention right through the very last chord, a rare thing indeed.

Key Tracks: "Lost and Found," "American Child," "Fruits of my Labor"

Download: Lost and Found

Homepage

Rufus Wainwright: All Days Are Nights: Songs for Lulu (* * *)

Much has been made of the simplicity and intimacy with which Rufus Wainwright approaches his latest album, All Days Are Nights: Songs for Lulu. A spare piano/voice style is the approach chosen here, and it’s sustained throughout the record’s 48 minutes, a welcome change in a career heretofore defined by artistic excess and drama. But whRufuile the minimalism of Wainwright’s sixth effort serves as an effective reminder of his considerable talent, most everything about the record is grandiose (down to that clumsy, lengthy title), revealing the man at his most stripped-down to be every bit the ambitious, flamboyant personality we’ve come to expect over the last 12 years. This isn't necessarily a bad thing—and it isn’t entirely unexpected, as Wainwright has long shown his love of opera and theater to be a core ingredient in his work—but All Days Are Nights feels overstuffed with ideas and ultimately overindulgent, even despite its spare aesthetic. This crowds the best material and hampers both the album’s accessibility and artistic value.(Continue Reading @ In Review Online)

You Should Know: Kris Drever

Known by some as the son of Ivan Drever, member of Celtic band Wolfstone, Kris Drever has now blazed a trail of his own, first as a guitarist with the band Lau (who I've admittedly never heard of) and lately with a couple of fantastic solo albums, the last of which was just recently released. 2010's Mark the Hard Earth was my introduction to Drever's enchanting folk music, though after listening I immediately sought out his debut, Black Water, which I found equally impressive. His clear, warm voice at times could be described as what James Taylor might sound like with an Scottish accent (which means, of course, that I love it), and his engrossing storytelling conjures striking imagery both modern and antiquated. Neither of his records break much new ground or aim to push boundaries, but each is thoroughly excellent and together they serve to establish Kris Drever as a noteworthy voice in the folk community.

For his latest, I recommend the bittersweet title/opening track, the bright and bouncy "Sweet Honey in the Rock" and the more lively duet "The Banks of the Nile," which has a slightly Decemberist-style edge to it. Each highlight perfectly exemplifies his seemingly natural melodic gift, his remarkable songwriting, and his most powerful weapon - that radiant and emotive tenor voice. I really can't lavish enough praise on this guy, he's incredible, so go listen!

I wasn't able to find a legit link to offer you a free download from the new record, but you can find a good selection of older songs to stream on his website and newer ones at his MySpace.

Website

MySpace.

Review: Will Stratton - No Wonder (* * * *)

It was all too easy to miss Will Stratton in 2007, as I found recently. I hadn't heard a thing about the guy before a couple weeks ago when I had the opportunity to listen to his superb sophomore effort - No Wonder. Being impressed, I tracked down his 07 debut - What the Night Said (which was - astonishingly - recorded just after his senior year in high school) - and then wondered why much more hadn't been said about this talented singer/songwriter over the past couple years. It's easy to name-drop just about everyone from Nick Drake to Elliott Smith when talking about Stratton, but while his finger-picked guitar lines are reminiscent at times of Drake's and his smooth voice a bit like a stronger, more confident version of Smith's, the comparisons are less in relation to Stratton's style than a compliment to his songwriting prowess. Despite his youth (barely 22 now), he is an excellent writer and musician that has just dropped his second notable album, one that shows an increase of maturity and depth over the course of 14 stylistically varied and emotionally intimate songs, further establishing his unique musical identity and gorgeous folk style.

In many ways, No Wonder follows the pattern set by Stratton's debut, comprised of mostly slow, thoughtful tunes that feature his guitar, piano, and voice with few distractions - though here, as on What the Night Said Stratton makes use of muted horns, sweeping strings, percussion, and the occasional burst of electric guitar to give additional life to his stories and enhance the emotional impact of his songs. Wistful opener "Who Will," the sparse title track, and the bittersweet "Your California Sky" sound much like the songwriter's early material though usually even stronger as he has definitely been refining his songwriting craft. But elsewhere he branches out into previously unexplored territory, getting into a sort of poppy garage rock on songs like the hopeful "You're a Real Thing," the moody "Nineteen" and the surprisingly (but still relatively) abrasive "If Only." The amount of variation is a little distracting, and there's no denying that the music is best when contemplative and quiet, but Stratton's reach rarely exceeds his grasp and these forays into more pop-oriented territory yield mostly impressive results. And with plenty of music on No Wonder, it's unlikely anyone will feel slighted by his need to push personal musical boundaries.

Lyrically, Stratton shows especial growth and maturation on this sophomore effort. Whether referencing J.D. Salinger character in "Franny Glass" or providing a strange and political spin on Robin Hood in "Robin & Marian," Stratton never settles for the typical or ordinary, and though he sometimes overdoes it a bit (on the religiously backwards "Judas, 1966" especially), the amount of spectacular songwriting on No Wonder is genuinely impressive. The clever and emotional depiction of a friend's funeral on "The Past Always Runs Faster," the love-sick narrative on "The Country Clear," and the sincerely sweet ode to his home state, "New Jersey," are just a few of the captivating moments on No Wonder, revealing a young man who doesn't necessarily sound wise beyond his years in every case, but who is able to so compellingly and honestly relate his ideas, fantasies and experiences that his music achieves a greater amount of personality than many artists ever manage to reach over the course of their musical career.

It'll be a shame if No Wonder flies under the radar to the degree of its predecessor, but I imagine it's only a matter of time until Will Stratton receives the amount of acclaim he's due even if it doesn't happen immediately. Really, he's just too good to be ignored for long and he's already showing the ambition necessary to improve with time. Enjoy a couple songs (highlights, in fact) from the new album below and get introduced to this talented young artist.

Who Will (MP3)

Your California Sky (Mp3)

Review: A Fine Frenzy - Bomb in a Birdcage (* * * 1/2)

Alison Sudol, recording and performing as A Fine Frenzy, captured my attention a couple years ago with the release of her debut album, One Cell in the Sea. The piano-playing songstress has a lovely voice and a knack for writing captivating melodies that made her difficult to ignore despite the explosion of like-minded female singer/songwriters over the past few years. Sudol's new record, Bomb in a Birdcage, takes her in a different, and decidedly pop-oriented direction - showing a stronger, sexier side of A Fine Frenzy than we've heard before. Even the album covers tell the story, the first showing the red-haired twenty-something looking coyly down at her feet, the second placing her in a more aggressive pose - eyes fixed on the camera and lips seemingly ready for the kiss. The 11 tracks of her sophomore effort occasionally hold to her previously delicate piano balladry, but allow for plenty of expansion into more adventurous areas of pop and even rock 'n' roll with some exciting results.

First singles usually seem a good place to start, and "Blow Away" certainly showcases the evolution of A Fine Frenzy's sound. It's a bouncy, guitar-led piece that kicks the album into high gear, with Sudol's strong, smooth voice soaring joyfully in a chorus that's as catchy as anything I've heard this year. Her characteristic piano is here either buried by the other instrumentation or simply non-existent, but you won't miss it. Her instrument of choice DOES appear more often than not, but even then there's usually quite a bit going on in addition (all kinds of percussion, guitars, strings, woodwinds, etc.), which helps give Bomb in a Birdcage more stylistic range and emotional variation than her debut. The songs are often excellent, like the breezy, yet bittersweet "Bird of the Summer" and the heartbreaking "Swan Song," and even though some tunes don't seem as suited to her talents ("Electric Twist," for example), Sudol's more exploratory spirit makes for an enjoyable and fun experience as a whole.

Bomb in a Birdcage does sacrifice some consistency for experimentation's sake, but there's nothing here so out of place that it distracts much from the best material - which is plentiful. And by cutting nearly 20 minutes off the length of her debut (leaving behind some of the pleasant, but less interesting mid-tempo piano rock), Sudol makes her sophomore album both more interesting and manageable. It all feels like a necessary step for A Fine Frenzy and for Alison, who proves herself a versatile and ambitious young artist with the kind of restlessness that bodes well for her career down the line.

You can hear a good chunk of the album on her MySpace page if you're interested - which you should be.

Introducing...Anna Ternheim

This may be something of a late introduction, but I imagine for many (including myself), Anna Ternheim is a new name. The Swedish singer/songwriter has released several albums, including a US debut last year, but now she seems to be making a more forceful attempt to break into the North American market which is why I had the pleasure of hearing her new record, Leaving On a Mayday. Ternheim creates dark, edgy music with plenty of beautiful and clever instrumental compositions enhancing her troubled romantic poetry, and her home country has taken notice, honoring her with numerous awards including several Swedish Grammys. Her latest collection of tunes makes it easy to hear what the fuss is all about, as Ternheim's talent produces some excellent results among the 44 minutes of delightfully quirky indie pop music.

Starting the record and released as the first single, "What Have I Done" immediately impresses with it's striking string arrangements and heavy bass line behind a mesmerizing vocal melody. Ternheim may often come across as bitter or angry in her lyricism but her silky smooth voice is nothing short of seductive, and the contrast is frequently quite intriguing. The dreamy "Terrified," the driving, tribal "Make It On My Own" and the melancholy folk number "Off the Road" are all highlights on an album that is not only consistent in quality, but feels remarkably cohesive as well. The songs feature a variety of instruments and are filled with subtle flourishes, but nothing ever feels overdone or unnecessarily busy, which brings a feeling of maturity to the album that can partially be accredited to the excellent production of fellow Swede Bjorn Yttling (of Peter Bjorn & John fame).

I would bet we'll be hearing more from and about this exciting artist soon as Leaving On a Mayday is yet another excellent record arriving from a country that has cemented itself as a steady source of worthwhile musical imports. If you haven't heard of Anna Ternheim by now, you would do well to check out the song "What Have I Done" below and head over to her MySpace page to hear more.

What Have I Done (MP3)

You Should Hear: Laura Tsaggaris

Those jonesing for solid singer/songwriter pop-rock should look no further than the music of Laura Tsaggaris. A Pittsburgh native who now calls D.C. home, Tsaggaris (pronounced, as she's fond of pointing out, suh-GAIR-iss) has made a strong impression both around the web and in touring throughout the country, using sharp hooks and insightful lyrics as her weapons of choice. She recently released her sophomore album, Keep Talking, a decidedly upbeat affair that's catchy and fun but still makes time to discuss weightier matters within its pop boundaries. Though it might be easy to lump Tsaggaris in with her many female songwriter peers, and while her sound certainly has a very familiar, radio-ready sheen, she proves herself worthy of distinction by tackling an eclectic set of songs with generally great results.

Highlights include the bouncy opener "Warning Signs," the driving rock tune "The Politician," and the lovely "Get Yourself Right." Incorporating dashes of synth, slide guitar, and other subtle embellishments into the basic guitar/bass/drums/piano formula, Tsaggaris gets good mileage out of the record's 40 minutes, never settling into any one groove for very long and keeping things interesting throughout. It's obvious she prefers rock 'n' roll to dreamy balladry, and though there are certainly some restrained, quiet moments, they don't always last long - as evidenced by closer "Pilots," which begins as a slow acoustic track before erupting into electric guitar solos and crashing percussion. In listening to the 13 tracks, Keep Talking often sounded like the work of an artist still attempting to establish her identity, but as Tsaggaris figures herself out musically, the material she produces along the way is easily strong enough to make for a very effective introduction.

Make sure you download "Get Yourself Right" below and check out Laura Tsaggaris on MySpace to get better acquainted.

Get Yourself Right (MP3)

Introducing...Leslie Mendelson

New York transplant Leslie Mendelson has become a well-known folk songwriter in the Manhattan area, impressing with her breezy folk style that recalls classic pop artists like Carole King (perhaps her most obvious influence) and Laura Nyro. After self-releasing an album in 2005, Mendelson returns having won a label contract with Rykodisc and is releasing a second debut, of sorts, called Swan Feathers. It's a lovely singer/songwriter album that employs the likes of producer Rob Mounsey (Paul Simon, Steely Dan, Brian Wilson), guitarist James Maddock (Wood) and drummer Aaron Comess (Spin Doctors), but the focus remains on Mendelson's smooth voice and emotionally charged songwriting.

Swan Feathers travels between groovy pop songs and delicate acoustic ballads, opening with a couple of the former. Both "I Know You Better Than That" and "So Far So Bad" are among my favorite tunes, filled with subtle, sexy instrumentation under Mendelson's catchy melodies. She gets a little melancholy on "Rest of London," turns up the romance on "Easy Love," and gets down to basics on the simply gorgeous closer "Goodnight." She sounds confident and calm throughout, and though she gets perhaps a little too relaxed too often, Swan Feathers is a good showcase of Mendelson's appeal and contains some solid material.

Check out Leslie on MySpace and make sure you watch a studio session performance of "I Know You Better Than That" below.

A Fine Frenzy previews new single, "Blow Away," on Myspace

For those of you who heard A Fine Frenzy's debut album several years ago, One Cell in the Sea, new music from promising singer/songwriter Alison Sudol should be great news indeed. Sudol's fine voice, piano skills, and songwriting ability are all still in play here, but "Blow Away" is a louder, more rambunctious affair that can be found on most of her debut. The song is the first single from her upcoming album, A Bomb in a Birdcage, which will be release on September 18th and which Alison promises is something of a new direction for A Fine Frenzy. In her own words:

"I think some people may be surprised. They think that I’m all fragile and ethereal—and that’s lovely, it’s flattering. It's all I've really let anyone see, up to this point. But I have a wild side too. I like to bang on things and cause a ruckus every now and then. I’m a quiet person with a loud streak. I like both. This record is a testament to that.”

Sounds great to me; check it out for yourself on MySpace.

Track list for A Bomb in a Birdcage:

1. Wouldn't Do
2. New Heights
3. Electric Twist
4. Blow Away
5. Happier
6. Swan Song
7. Elements
8. World Without
9. Bird Of The Summer
10. Stood Up
11. Beacon

New and Notable: Elizabeth and the Catapult

My introduction to the debut album from Elizabeth and the Catapult came after a fair amount of avoidance on my part, though I can't say exactly why. Perhaps it was my lukewarm reaction to the record's first single or the sheer amount of female pop albums being thrown my way of late, but until a copy showed up in the mail I was missing out on Taller Children, a more than solid album from an exciting new band. Fortunately I've caught up and I'm passing on the good word to you; Elizabeth Ziman and company are a group you should hear whether you, like me, have passed on the opportunity or simply missed any mention of them so far.

During my first listen, Taller Children surprised me by being much more of a classic pop album than I had expected after hearing a couple early tracks. Though there are some quirky 'indie' moments like the bouncy "Race You" or the aforementioned "Taller Children," much of the record is of a more vocal-centered, singer/songwriter persuasion. Ziman's crystal-clear voice breathes life into the more settled, gentler pieces, especially the gorgeous "Apathy" and the subtly sexy "Rainiest Day of Summer," though she's especially alluring on the group's Leonard Cohen cover "Everybody Knows." Meanwhile, the band more than earn their 'Catapult' namesake, giving each of their frontwoman's tunes a welcome lift by covering territory from folk ("Complimentary Me") to orchestral piano rock ("Hit the Wall") with apparent ease and obvious talent.

Though Elizabeth and the Catapult may occasionally sound a bit too much like any number of their female songwriter contemporaries (Sara Bareilles, Fiona Apple, etc.), their inventiveness and more exploratory nature sets Taller Children apart as more than just a simple retelling of a familiar stylistic story. You can download a track from the album below and make sure you check out the band's MySpace page to hear more.

Taller Children (Zipped MP3)

Review: Regina Spektor - Far (* * * 1/2)

Regina Spektor has always been difficult to pigeonhole, creating quirky pop music that falls somewhere between radio-friendly piano rock and avant-garde anti-folk depending on the album and the song. Her latest, Far, feels like a step toward the former genre, but the thirteen tracks contain more than a few moments of grin-inducing weirdness that give the album the dose of Spektor's unique character so endearing to her fans. Far isn't especially consistent, but there's enough solid material here to warrant at least a few listens to find it.

The opening three-song set has the album's most approachable and perhaps best material, led by the bouncy "The Calculation," a sugary pop tune that relies more on hooks than kookiness. Following are "Eet" and "Blue Lips" which slow things down perhaps too early in the record, but both are such excellent songs it doesn't matter much. The ballads shifts smoothly between tempos and intensity as Spektor unfolds her strangely beautiful narratives while still maintaining a relatively restrained, 'less is more' attitude.

The remaining ten songs are slightly more mixed in their success but also a great deal of fun, making up for the lack of weirdness exhibited in the early tracks by adding dolphin noises ("Folding Chair"), stories of kids watching each other eat ("Dance Anthem of the '80s"), and an appropriately goofy mechanical approach to " Machine." Still, Spektor is a strong songwriter at her best when she leaves the songs in their simplicity, allowing her mix of emotion and wit to shine without distraction.

Far is something of a grower which may be a frustrating concept to some, but though it doesn't quite reach the heights of Begin to Hope, it at least maintains Regina Spektor's unique spot in the singer/songwriter genre. Check her out on MySpace and/or watch the video from "Man of a Thousand Faces: below.

Man of a Thousand Faces

Adam Arcuragi's road to Joy

Adam Arcuragi is a talented folk singer-songwriter from Philadelphia that I was given the heads-up on recently. I'm passing on the good word to you because I've been impressed by Mr. Arcuragi's new album I Am Become Joy, set for release next week. He's got an endearingly rough and sincere edge to his poetic musings that immediately caught and kept my attention for the last couple weeks. His musical style is simple and follows a well-traveled path, with his acoustic guitar as his most common companion, but Arcuragi's music is a more than worthy addition to the folk genre. Joy is his second release, but if you - like me - haven't heard him before, it will serve as an excellent introduction.

The title of the new record might imply a sunny and well...joyful musical disposition, but the songs seem to be dealing more with the process of finding happiness and redemption than the achievement or possession of those same qualities. Arcuragi's tunes are sometimes lonely and melancholy, occasionally upbeat and optimistic, and most often some compelling combination of the two. Though the focus here is squarely on the storytelling, Arcuragi compliments his world-weary voice with some subtle, but welcome, instrumental flourishes like slide guitar, backing vocals, and the occasional horn selection. Both the simple, guitar/vocal numbers and the more fleshed out arrangements are enjoyable, and the small amount of variety goes a long way to providing some depth and overall listenability.

It's difficult to pick favorites from I Am Become Joy, but I recommend the earnest opener "She Comes To Me," the jangly, upbeat "People & Private Music," and the more subdued "The Guns that Bring the Morning Home." Check out MySpace to hear some tunes, or head over to laBlogotheque to see Adam and company perform several songs live and acoustic - which is really a treat. I'll post one below to get you started, the excellent "Bottom of the River" from the new album:

ADAM ARCURAGI - The bottom of the river
by lablogotheque

Robert Gomez offers us Pine Sticks and Phosphorus

To call Robert Gomez's musical past colorful would be an understatement. A guitarist from a young age, Gomez made his first real introduction into pop music in college with underground mambo band Latin Pimps which lasted only a short while, after which he recorded a jazz album under his own name, got bored, started singing, and eventually produced his first singer/songwriter record. After that, he toured with the circus for a while (no, seriously - click on 'about'), released another album and then toured with Midlake for a bit. That brings us to 2009, where Gomez has recently released his third album, entitled Pine Sticks and Phosphorus, a quirky, low-key pop album that strays far from Gomez's jazz/mambo background into more experimental indie folk territory.

I haven't had the opportunity to check out Gomez's earlier work, but if it took all those musical adventures to lead him to where he is now, they were certainly worth the time and energy. Pine Sticks and Phosphorus is a lovely, understated gem full of subtle emotion and exquisite textures, featuring some stunning instrumental arrangements that make for a very unique singer/songwriter album. Many of the tunes on Phosphorus actually include Gomez's guitar as just another part of the background for his soft voice and gentle melodies, like opener "On This Day," which is carried by a simple piano line and percussion, or the ethereal "Hunting Song." His skills with the six-string are evident if one listens closely, however, and they occasionally come to prominence on cuts like the noisier "Behind A Green Rosette."

The album's most gorgeous cut is the lovely duet, "Fireflies," a late highlight presented with appropriate simplicity and restraint. It's the best representation of the talent Gomez possesses for songwriting and arranging that makes Pine Sticks and Phosphorus a genuinely great record. The music may take a few listens to fully differentiate itself, but offers plenty of rewards in return. Hear some music from Robert Gomez on his MySpace page and download "On This Day" and "Middle of Nowhere" below.

On This Day (MP3)

Middle of Nowhere (MP3)