Listening or creating music can easily be labeled as a hobby, as it most commonly is. But for many musicians, its incorporation into one’s lifestyle makes it much more than that. When LA-based songwriter Adam Marsland compares creating an album to raising children, most parents would probably laugh at the comparison. An album has no real human emotions or dire consequences in case of neglect, right? While it would indeed be ridiculous to value art more than a human life, the similarities between the upbringing of both is amusingly striking. “You’re responsible for them,” Marsland also says of albums. “Some grow up to be mechanics and you don’t have to worry about them. Others are special, and you have to send them to medical school.” Any music fan will notice that a classic album has a certain amount of dedication involved to it, something that – alongside talent – is one of the only necessities in creating a masterpiece. But talent and true dedication is as rare as anything when they coexist, a fact that becomes heavily prevalent when occurring despite its rare showing. As a veteran songwriter and producer, Marsland is certainly aware of this. With that in mind, he must have also been aware of the implications involved in creating a double-album. In his analogy, it might be comparable to raising twins with stark personalities; the parent attempts to manage all occurrences and themes while remaining equal and attentive to the surplus of material at hand. It is arduous to be sure, but raising two gems has to be more rewarding than one, right?

The difficulties in creating a double-album is apparent for even a veteran like Marsland, who is accustomed to releasing consistent material since his emergence in the early ’90s with a few alt-rock groups, notably Cockeyed Ghost. He has been releasing solo albums since 2002’s 232 Days on the Road. But to create a double-album is a new venture altogether, even for a songwriter that has been around for nearly two decades. To fuse cohesion with quality songwriting throughout two discs and 23 songs is no small feat, and to gather the proper material for a songwriter accustomed to releasing average-length albums must mean that his time spent off the stage and out of the studio must have had an effect as well. Unfortunately, finding inspiration through demise is more common than discovering it through triumph. Such was the case with Marsland and his new album, Go West. Although the album often depicts moving on and personal triumph in a prominent light through some infectious pop songwriting, Marsland’s personal life was in a bit of chaos during the recording of the album. In addition to the untimely death of his brother, Marsland’s house was broken into and most of his recording supplies were stolen. A Telecaster, synthesizer, and computer were among the things stolen, and it took Marsland some time to recuperate. But as Go West shows, sometimes our deepest lows can lead us to our biggest triumphs.

The death of a sibling and a robbery could be enough in one year to bring most people down to their knees, but Marsland has kept chugging on. There is little to suggest that these two unfortunate events, in addition an illness that has effected his hearing for several years, is going to stop him now. His best years appear to be ahead of him, especially since he just released his most accomplished album, Go West this year. The album’s theme is immediately apparent from the dramatic croons of the opening “Standing in Chicago”, the city which he clarifies as “the midpoint between east and west”. He depicts characters at a crossroads, about to develop their life based on their own decisions about how to tackle their obstacles and control their strengths. It can get gritty and bleak, but it is always genuine and realistic. “It’s roughly about being a young adult gradually finding out life isn’t what you thought it was and neither are you,” he says. Self-discovery is a prominent theme throughout the album, but its involvement is more interesting than that. Marsland finds that the simultaneous desire for security and freedom leads to the heightened difficulty of moral choices. When that is realized and digested, the evolution into an adult begins and ends. This is what Go West tells us, both in its title and encompassing songs. For such a deep and universal message, it gets it across extraordinarily.

For any longtime fan of Marsland, Go West should be one of their favorite albums of the year. The reason for this is the eclectic talent displayed throughout the album, as Marsland’s career has seen him tackling everything from typical alt-rock to shimmering electro-pop. As a result, Go West almost plays like a greatest hits album due to its diversity and consistent quality, two necessities in creating a successful double-album. It is almost ironic since he released a greatest-hits collection last year, Daylight Kissing Night. This is why Go West is such a big accomplishment; these are all new tracks that could have easily fit on his greatest hits. Songs like “Learning the Ropes” concoct a style of piano-led pop that recalls that likes of Squeeze or Elton John, all while using Marsland’s soulful croon to bring the effort to R&B territory. With that in mind, listening to the preceding track, “I Don’t Wanna Dance With You”, finds Marsland in a completely separate zone. As the title may suggest, get ready for the synth-bass and the mock-worthy falsetto, all incorporated with the best of intentions to throw some genuine dance infectiousness within the midst of power-poppers and alt-rockers. Some alt-rock tracks, like “Burn Down the World” and “Stranger on the Town”, seem reminiscent of Marsland’s ’90s material with Cockeyed Ghost, but other efforts like “Learning the Ropes” and the fantastic “Standing in Chicago” are fresh and entirely innovative. What really makes Go West a great album is how it basically encompasses four different decades of music, even though Marsland has been around for barely over one. But between the infectious electro, fresh power-pop, ’70s piano ditties, and thumping alternative, there is plenty on Go West for everyone.

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Adam Marsland – Standing in Chicago

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Adam Marsland – Learning the Ropes

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Adam Marsland – I Don’t Wanna Dance With You

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Official Web Site

MySpace

BUY

The post Adam Marsland Goes West appeared first on Obscure Sound: Indie Music Blog.

It is nice to see a talented artist receive recognition, even if it is in one of the dullest forms of advertising. Car commercials are possibly the most repetitive line of advertisements on television, with it being difficult to differentiate between brands due to their similar presentations: a car is driving along a road with some “hip” background music, usually followed by text or a booming voice attempting to sell its allure. The purpose seems driven toward audible and visual compatibility more than anything, so its generic tendencies are usually dominated by eye candy. As a result though, music plays an important role as it does with any form of visual-based advertising, having the potential to attract viewers that are not drawn to the repetitive visuals that encompass most car commercials. This is the single reason why the new Volvo XC60 commercial caught my eye, or more appropriately my ears. Over some simple footage, I heard a song that sounded familiar yet fresh and exciting. The vocals were so distinctive with their nasally elegance, lamenting over twinkles of synths and bursts of orchestral brilliance that sounded too irresistible for me to pass up. Its familiarity caused me to look up the song in the commercial, only to found out that it was someone who I had featured over two years ago. Not only had Volvo made me remember the name of a product I would have otherwise disregarded, but it also allowed me to stumble upon a new album from an artist I had featured, loved, and foolishly neglected following up on two years later.

As I wrote two years ago, Salem Al Fakir’s debut full-length, This Is Who I Am, was one of the most enjoyable albums of 2007. It was a debut that sounded like it was crafted with decade’s worth of experience, staying true to the clever vein of Swedish pop that the native Al Fakir appeared to flawlessly grasp. Even in that accessible realm though, the album showcased a wonderful display of worldly influences as Al Fakir successfully integrated soul, blues, and psychedelic-pop into a sound that could be most aptly described as orchestral chamber-pop with dabs of nostalgic throwbacks. Retro-y synths and showtune-like orchestral accompaniments often set the stage for large presentations that Al Fakir’s soaring voice and confident presence fit perfectly in. With most Swedish pop, the hooks were unavoidable and the style was appropriate. It is a difficult debut to follow up on, as there is such little to improve. But, unsurprisingly in regard to a musician of Al Fakir’s talented nature, he has accomplished something extraordinary by becoming more stylistically ambitious without sacrificing the accessibility of his earlier material. Al Fakir has cut off his last name from the release, but Salem’s new album, Astronaut, is unmistakably from the same talented artist that put out one of 2007’s best.

As Salem explores territory uncharted to him and most surveyors of pop, Astronaut is a fitting choice for a second album that finds Al Fakir resorting to a fuller sound that showcases his pop intellect more precisely and without hesitation. Also in accordance with the album’s title, Astronaut features many songs that are futuristic in their composure, whether they pertain to the evolving genre of dance or orchestral-pop. Since Salem already showed he could successfully interpret the ‘70s and ‘80s on his debut, it only makes sense for him to gravitate toward the future. Perhaps this is why Volvo was so enthused with his music. The song featured in their commercial, “It’s Only You, Part II”, blends minimalism with full-bodied orchestral experimentation, the former being present in the constantly rhythmic use of keys and the latter arriving in the song’s explosive chorus. Here, Salem beautifully erupts “I need to figure out how this can be so hard for me when it shouldn’t be,” over a boisterous chorus of strings. “To get you off my mind, it’s only you I think about.” The track seems to sparkle in grace as it plays, constantly evolving from its minimalistic basis to an intricately woven gem.

The narrative allure of “Astronaut” and “Black Sun Black Moon” retell similar stories of orchestral heartbreak, but apart from that Astronaut is a pretty excitable release that is dominanted by pulses of synths, heavy percussion, and even glam-rockers. “Twelve Fingers” mixes arena-rock with synth-pop, sporting an excellent bridge where an exotic synth line cohesively ushers in the subsequent guitars. “One of the Others” and “Bluest Eyes” both succeed in the realm of blue-eyed soul tremendously, with the latter’s country-ish twang being one instance of Salem’s tendencies to unconventionally mix and match different genres. Unlike most of the other tracks on the album, “Cold Shower” has no counterpart in its piano-pop. The dominance of keys and Salem’s flamboyant demeanor awakens comparisons to Elton John, and Salem’s undeniable ability causes “Cold Shower” to sound like a lost hit from the ‘70s. Just try and listen to the reggae-inspired chorus without grinning in delight. Another interestingly rewarding track is the phenomenal “Purple Lady”, a sprawling beauty of an effort that is also the most downtrodden on the album. The sheer darkness and oddness of the track seems to bring out a Stravinsky influence, either that or film music if Disney ever made a horror movie. One has to commend Salem for including a track this dark on an album full of excitable oddities in pop; this is a track that epitomizes Al Fakir’s ambitious strides.

Apart from the brooding orchestral ballads, blue-eyed soul, and synth-pop minimalism, Astronaut is even an album that contains some stylistic mockery. Its second single, “Roxy”, seems to take pride in its cheesiness. “I feel a burning sensation in the region below,” is how Salem begins the song, establishing its purpose in being more humorous than musically impressive. If you can remember how The Darkness spoofed ‘80s hard-rock then this should sound familiar, complete with the falsettos and predictable choruses. I am not sure why the weakest track musically on the album is being chosen as the second single, especially since showcases style that is distant from everything else on this fantastic release. The dramatic charges of synth in “Twelve Fingers” or the infectious indie-pop of “Mirror” would be more appropriate, as would the graceful “It’s Only You (Part II)” or the irresistible “Cold Shower”. Regardless, the only track lacking in complete and utter infectiousness on Astronaut is one that is intended purely as a mockery, providing indication of this album’s greatness. Al Fakir has followed up one of the best debuts of 2007 with an album that is undoubtedly one of 2009’s best. This is a must-buy for any fan of pop music; there is something on here for everyone. 8.5/10

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Salem – It’s Only You (Part II)

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Salem – Cold Shower

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Salem – Twelve Fingers

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Official Web Site

MySpace

BUY: iTunes, Ginza

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I don’t even know how to use it yet, but Obscure Sound is on Twitter here. Same thing as a RSS feed, I guess.

The post Salem – Astronaut (2009) appeared first on Obscure Sound: Indie Music Blog.

Anti-normative behavior is expected from most successful artists. There is little reason for them to pay much attention to the Top 40, since worthwhile artists do not derive their material from popular opinion. It may seem like a bold statement, but there is little purpose in devoting a large amount of time to a songwriter who sounds like everyone else on the radio. Listeners come to expect innovation but there is often a personal struggle for artists that wish to find the middle ground between accustomed accessibility and staggering innovation. This process often cannot be resolved through practice though, as the proper ideology appears to be embedded within the talented scope of an artist whether it is before they start writing songs or not. If one has a tendency to gravitate toward the unconventional in the early stages of their life, it can provide good indication of such an embedded ideology. When Julian Velard was in his teens and started to become wildly interested in music, one can imagine the social circumstances that surrounded him. Unlike today’s auto-tuned R&B and subliminally linear pop music, the 29-year-old experienced the likes of Pavement, Nirvana, and the Pixies when music began to first tickle his ears. He enjoyed the emerging genres of grunge and indie-rock but, unlike his peers, much of Velard’s attention was diverted elsewhere: cabaret-style pop music.

While Velard’s similar adoration for stylistically contrasting groups like XTC, Hall & Oates, and Rage Against the Machine is indicative of his eclectic persona, his favoritism for piano-based cabaret pop in the vein of Elton John and Randy Newman shows most prominently in his music. However, Velard is not guilty of exploiting the past, as he allows his steady influences to be effected by components of contemporary pop music in order to ease the transition for his modernistic audience. Similarly to Rufus Wainwright, Velard’s demanding presence as a performer, vocalist, and songwriter is a simultaneous force that appears both on record and on stage. Hearkening back to the days of cabaret, he is a multi-instrumental whiz who uses his highly melodic vocals, engaging storytelling ability, and key-based instrumentation to construct a wide arsenal of uplifting pop hooks and melancholic ballads. In Velard’s case, this force is also inherent behind his webcam. Success has never been immediate for the NYC-based songwriter, but his practice of recording cover songs by the likes of Madonna, Michael Jackson, and Kings of Leon has provided him with nearly one million views on YouTube, being very symbolic of Velard’s method of obtaining success thus far. Although he has yet to attain substantial recognition in the US, Velard’s online fanbase continues to grow both domestically and internationally due to his personable online presence.

It was through Velard’s digitalized awareness that he has become a very recognizable name in the UK. One of the many spectators of Velard’s covers on YouTube and his online cult following were a few British music executives that eventually landed Velard a deal with EMI in 2007. Detecting that the British audience would be more receptive to his style of cabaret-pop, Velard moved to the UK and began writing material for his new album, The Planeteer. Prior to this, Velard had self-released three albums that were well-polished but went mainly overlooked. In the UK, however, the opposite was true. There are just certain groups (The Jam come to mind) who find momentous success in the UK and not in the US, and Velard’s case is fascinating since the US is actually his country of origin. Even so, it perplexes me as to how no American labels took notice of Velard before EMI picked him up. His style is distinctively accessible, enough so that his twinkling keys and impressive vocals craft hooks that are instantly prevalent and very radio-friendly. If I were to guess though, The Planeteer should be explosive for Velard’s stateside recognition. Apart from being his first release on a major label, it finds his excellent pop songwriting chops refined by sharper production, an increase in confidence, and less pressure due to his previous accomplishments (signing with EMI, touring with the likes of Goldfrapp and Ben Kweller, etc.). If both EMI and Velard accomplish what they have the potential to, The Planeteer could be one of the most prominent breakthrough albums of 2009.

Now that Velard has finally been given the opportunity to widely distribute his material, it is hardly a surprise that a few fan favorites are re-appearing on The Planeteer. Both “Jimmy Dean & Steve McQueen” and “Joni” appeared on 2006’s The Movies Without You, but they are certainly memorable enough to warrant placement on his first major release. “Jimmy Dean & Steve McQueen” is an irresistible ode to Velard’s appreciation of film and the idolized actors in them. Whether he sings of plastic surgery or unrealistic nostalgia, the loss of innocence relayed in “Jimmy Dean & Steve McQueen” is the perfect example of Velard’s delivery with its entertaining lyrical quips and assortment of saxophones, guitars, and keyboards. “Joni” is another particularly engaging pop song, being somewhat reminiscent to Ted Leo’s “Timorous Me” in its reflectively romanticized approach. The chorus here is marvelous, using an effective assortment of sparkling keys and swift strings to construct what has the potential to be Velard’s first stateside “hit.” Velard’s lyrical content is never particularly complex or thought-provoking, but his words are fun and his infectious melodies supplement them beautifully. As seen on any of these tracks, Velard has an astute ability to judge a pop song. His songs never stray too long or end too abruptly; they are always filled with enough melodic alterations to hook the listener from start to finish. It is a rare skill among modern songwriters and producers alike, and it is likely one that will finally carry Velard to success on a national level.

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Julian Velard – Jimmy Dean & Steve McQueen

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Julian Velard – Joni

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Julian Velard – Love Again for the First Time

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Official Web Site (this site won awards for a good reason — check it out)

MySpace

BUY

The post Julian Velard Is The Planeteer appeared first on Obscure Sound: Indie Music Blog.

Usually above this text, there is a picture of an artist or band posing ceremoniously for a photographer with the intent of public distribution. You will be hard-pressed to find any photos like this of Thom Bell. A photo of him accepting a prestigious award is more than symbolic of his career. Much like the career of this masterful producer, arranger, and songwriter, the preference for substance over style resounds in his own unforgettable musical legacy. Though he was never found on stage crooning fervent soul classics like Marvin Gaye or Otis Redding, Bell’s work behind the scenes made him arguably the most important figure of soul music throughout the 1970s. Born in Jamaica but raised in Philadelphia, Bell found his love for music very early in life while studying classical piano at the age of 5. Working diligently throughout his childhood, Bell’s recognition rose fast and he was conducting and arranging songs for local groups by his late teens. When Bell caught his first break and a major label (Cameo Records) came calling in 1967, he was only 24 years old. While Marvin Gaye, James Brown, and Sam Cooke among many others had popularized their own form of soul music before Bell’s national inception, Bell introduced a style to the world that would later be dubbed “Philly Soul”. Seeking solace in sweeping strings, endearing horns, and other grandiose orchestral arrangements, this smooth stylistic innovation brought enormous success to Bell’s name throughout the 3 major groups he worked with: The Delfonics, The Stylistics, and The Spinners.

When Cameo Records approached Bell with the intentions to produce the then-aspiring The Delfonics, he was a mere session pianist for the label. However, upon seeing his impeccable grasp regarding production and arranging, the label knew that Bell was the right man for the job. Almost immediately, Bell and The Delfonics’ manager, Stan Watson, formed the Philly Groove label in association with Bell Records (no relation to Thom Bell). Under the label, Bell produced The Delfonics’ classic debut album, La La Means I Love You, in 1968 and introduced his form of Philly Soul to a wide range of audiences. Under Bell, The Delfonics later went on to become one of the most memorable soul acts of the decade. Though they never quite echoed the sales of The Stylistics, The Spinners, or The O’Jays, their cult following continues to grow and brilliant gems like “I’m Sorry” and “Didn’t I (Blow Your Mind This Time)” are absolutely irresistible, the latter receiving a bit of revived exposure in 1997 when Quentin Tarantino used it as a focal song in his entertaining film, Jackie Brown. Bell produced and wrote three albums for The Delfonics from 1968 to 1970, all of them being fantastic. I recommend all three wholeheartedly, or at least their greatest hits. Like all three of the soul acts Bell primarily worked with during his career, they declined after Bell left. Despite The Delfonics’ brief time in the spotlight, their success gave Bell the vehicle to expose his irresistible style of suave soul to the world. This led to bigger and brighter things, establishing Bell in the early ’70s as one of the most sought-after songwriters and producers in the music industry.

After the The Delfonics’ finesse started to faded, Bell moved onto another freshly aspiring soul group. Like The Delfonics, Bell discovered The Stylistics out of local hype and after being personally impressed with lead vocalist Russell Thompkins, Jr.’s spine-tingling falsetto and the backing band’s melodic capabilities. When Bell and fellow songwriter Linda Creed produced and released The Stylistics’ self-titled debut in 1971, it garnered immediate attention. When the debuting single, “You’re a Big Girl Now”, dabbled in the charts at #73, it proved as only a tease. The prom floor classic, “You Are Everything”, was one of the many great moments on the debut. From Thompkins Jr.’s rich falsetto to the brilliant electric sitar over Creed’s simplistically powerful lyrics, it is a flawless soul classic. Though you have likely heard it before (either at a prom, in a movie, or as a cover), this is the type of song that simply never gets old. Though it reached #9 and went gold, The Stylistics’ most popular song still had yet to come. Naturally, the exceptional “You Make Me Feel Brand New” was also written by Bell. Reaching #2 both in the US and UK, it was one of the best songs of 1974 with its sheer beauty and delicate arrangements. It also proved as a farewell for Bell, as he left The Stylistics that same year. Similar but even more dramatically impacting than his work with The Delfonics, Bell had made The Stylistics into stars with their first three albums. Though they had marginal success after Bell’s departure with commendable songs like “Na Na Is the Saddest Word”, their success and originality was undoubtedly never the same.

When Bell left The Stylistics, he appeared to be looking for a challenge when he decided to produce The Spinners for Atlantic Records. Unlike Bell’s first two projects, The Spinners were hardly a rookie band. They had been around since 1957 while Bell was still a teenager, going by virtually unnoticed for 15 years before Bell decided to lend a hand. The Spinners always had the proper tools in place, they just never knew how to execute their style properly. Bell provided his magic touch and, predictably enough, The Spinners became one of the most successful soul bands of the ’70s. In fact, many respected critics consider The Spinners to be the greatest soul group of the early ’70s; the exact period in which Bell took the wheel. Considering the abundance of blossoming soul artists during that time period, it is a remarkable lasting impression to leave behind. The Spinners would eventually chart dozens of Top 100 singles, with five coming off of Bell’s first production with the band in 1972’s The Spinners. The Spinners’ finest album, it featured era-defining classics like “I’ll Be Around” and “Ghetto Child”. When Bell left The Spinners in the late ’70s, he was responsible for molding three wildly influential bands in a timespan of just over 10 years. Though Bell also produced artists like The BeeGees, Johnny Mathis, and even Elton John for a short while, he will always be remembered for his unforgettable impact on the genre of soul music.

Thom Bell is one of those rare songwriters that comes across once every 20 or 30 years. He defines a genre, perfects it, and leaves memorable examples to influence later artists in all enduring forms. Though he is still alive and well at the age of 64, he continues to live a life away from the spotlight. I can hardly blame him. After all, this legend has nothing more to prove.

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The Delfonics – Didn’t I (Blow Your Mind This Time)

The Delfonics – I’m Sorry

The Delfonics – Break Your Promise

VIDEO: La La Means I Love You (live)

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The Stylistics – You Make Me Feel Brand New

The Stylistics – You Are Everything

The Stylistics – Betcha By Golly, Wow

Check out a recent video of Thompkins Jr. singing “Betcha By Golly, Wow”. He still sounds great.

VIDEO: Rockin’ Roll Baby (yes, Bell can write blues too)

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The Spinners – I’ll Be Around

The Spinners – Ghetto Child

The Spinners – I’m Coming Home

VIDEO: Wake Up Susan

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BUY: The Delfonics, The Stylistics, The Spinners

If you wish to jump right into it and purchase the best-of compilations, I fully recommend La La Means I Love You: The Definitive Collection (The Delfonics), Ultimate Collection (The Stylistics), and A One of a Kind Love Affair: The Anthology (The Spinners).

The post Soul Music’s Genius Sculptor: Thom Bell appeared first on Obscure Sound: Indie Music Blog.

In the world of music, a musician’s originative location is often irrelevant. As long as you can play an instrument or write songs, that is all that matters. Though the past has seen discriminatory causes where an artist is ignorantly grouped in with others of the same birthplace, modern times have auspiciously ceased such ignorance significantly. With thanks to growing media and rapid technological standards, you could now find an artist hailing from California who plays country-folk just as easily as you could find a songwriter from Nebraska performing surf-rock. While small towns may have suffered from a lack of exposure several decades ago, the age of internet has opened people’s eyes to a bustling variety of music. Actually, come to think of it, that is my sole intention in keeping this web site active and engaging. If it were not for recommendations and helpful suggestions, music would be too dull and repetitive for it to even carry a fan base. Holding such philosophies close to their heart, some bands have a better grasp on it than others. The five members in Tiny Dancers all grew up in small towns in England’s West Yorkshire countryside. Though they all describe their towns as a nurturing place for a child to grow up, they willingly admit that it was not the greatest place to find the latest and greatest musical acts. In fact, they considered music to be an escape from the countryside upon traveling to the more urban venues of Manchester and Leeds when expressing the desire to abandon familiar sights, if only for a few hours. As vocalist David Kay recalls, it was a stunning sight for a boy from the countryside. “I was just amazed at the size of the buildings and stuff. It just seemed so big! I was all wide-eyed.”

Like most young kids growing up in the UK, the members in Tiny Dancers grew up idolizing traditionally British acts like The Beatles, David Bowie, the Rolling Stones, and XTC, throwing in occasional foreign treasures like the Beach Boys and Talking Heads into the mix. While the elders residing in their small towns most likely would have no clue who the majority of those artists are, the brash and curious nature of kids allowed the young five-piece to engage in artists who were (and are) considered to be the epitomes of musical success. When vocalist David Kay, guitarist Ev Etherington, bassist Dez Wathey, muti-instrumentalist Glover, and drummer Zed Morrison finally met, they were all fairly familiar with one another. They had all been involved in the local music scene to some degree since the ages of 12 and 13, playing in a variety of bands throughout the West Yorkshire area. After their formation, they hit it off immediately. “Rehearsals quite often turn into spontaneous disco dance sessions,” Glover said of the band’s primitive stages. “From the start we felt we were doing something genuinely new, that we weren’t trying to emulate anything else out there.” After having fun with a variety of cover songs (notably the Beach Boys), the five-piece began writing their own material. When they released their debut five-song EP, Lions and Tigers and Lions, last November, it drew critical acclaim from the few who got their lucky hands on it. To much anticipation, they released their debut full-length, Free School Milk, on June 18th.

Older fans of the band should immediately find a sense of familiarity with the album. Four of the twelve songs were previously released throughout the debut EP and the single for “I Will Wait For You”. Even with this in mind, the greatest song on Free School Milk is entirely new. “Hannah We Know” is the band’s second single from the album and it should raise their already acclaimed status quite a bit. Kay delivers a breathtaking vocal performance that is staggeringly reminiscent of the late Grant McLennan, an immediate aspect that sent a chill up my spine. Though the band does not publicly list them as a main influence, the inspiration that The Go-Betweens had on Free School Milk is blatant. The instrumentation is tender and endearing on each track, carefully crafted with a vocalist that brings the best out of a superbly executed melody. “Hannah We Know” demonstrates the band’s ability well, sprinkling an assortment of radiant keys over a distant acoustic guitar and a steady rhythm section. As an additional electric guitar illuminates a sensationally fervent chorus, Kay does not skip a beat. He continues to deliver impeccably, drawing applause both in the form of stylistic delivery and melodic comprehension.

While “Hannah We Know” is the obvious central highlight of the album, the other tracks do hold up respectably well. “I Will Wait For You” and “Baby Love” are both bouncy pop gems that manage to juggle both catchiness and ingenuity with ease, resulting in a form of success that is hard to come by. Free School Milk also allows room for a bit of country twang, as tracks like “Ashes and Diamonds” and “Baby Love” exhibit an enjoyable stylistic form that British bands are rarely seen to conquer. Tiny Dancers does it with ease and sincerity, carried largely by the constantly transitioning vocals of David Kay. In addition, this is also a largely upbeat release, showcasing songs with a sense of harmonic capability that renders perfectly suitable for the summer months. Free School Milk is an elaborately stunning debut album, one that emphasizes a form of maturity which is rarely seen by bands as fresh as Tiny Dancers. The hooks in this album are countless and each one is invigorating, providing a sense of powerful emotional rapture through exceptional songwriting. It is hardly surprising that they have already signed to a major label (Parlophone), as Tiny Dancers are poised to hit the big time. Perhaps growing up in a small town is not such a bad thing for a musician after all.

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Tiny Dancers – Hannah We Know

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Tiny Dancers – Baby Love

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Tiny Dancers – I Will Wait For You

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Official Web Site

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The post No. They Are Not Named After the Elton John Song. appeared first on Obscure Sound: Indie Music Blog.

I suppose that you could say that Gerald Collier is aware of what most men want. On the cover of his newest release, How Can There Be Another Day?, is a photo of a young woman who is in the complete nude, sensually lounged back on a couch, a cigarette in her mouth. Such a cover should cause an uproar in most record stores, but I do not think Gerald Collier minds much. Taken by famed Russian erotic photographer Igor Amelkovich (who finds women’s nude bodies to be understandably “beautiful and unique”), Collier must find the photo and style of art to be particularly touching as well. I am not studied in the style of that specific art-form, though I can certainly understand how it will catch the eye of those perusing the record stores who actually allow it. Still, this tactic should be considered anything but menacing, as all proceeds from How Can There Be Another Day? are generously being donated to charity. Even though the album is a collection of demos and b-sides spanning Collier’s twelve-year solo career, it is still quite enjoyable to new and old fans alike, featuring six original songs and six cover songs apiece. After all, Collier has the sufficient amount of enjoyable albums and fans to compensate for any commercial loss, also recognizing that at this point in his career, he should be proud that he was never the result of an automated corporate machine. Over the past fifteen years, Collier has uplifted his quiet but durable status within two main projects. Collier made his debut with the Seattle-based rock quartet the Best Kissers in the World in the early 90s. The group found early success, signing with the then relatively unknown Sub Pop in 1991 and releasing a self-titled EP. The EP was touted enough to score them a major label deal with MCA, as they released the Puddin’ EP and their debut full-length, Been There, in 1993 under the label. Been There was an enjoyable assortment of alternative power-pop, also featuring a witty sense of humor with track titles like “She Won’t Get Under Me Till I Get Over You”. Collier was the chief songwriter for the Best Kissers in the World, writing the majority of their songs until the demise of their short-lived career in 1995. The band actually had their second full-length album, Yellow Brick Roadkill, recorded and mastered at the time when MCA dropped them from the label, causing the album to be forever unreleased. Frustrated, the band called it quits. One year after the collapse of the Best Kissers in the World, Collier released his debut solo album, I Had to Laugh Like Hell. In a different approach to his previous releases, I Had to Laugh Like Hell had a more focused emphasis on country-alternative, showcasing Collier’s influences more coherently. An admiration was visible for Willie Nelson and Leonard Cohen, with Collier even describing the release sounding like “Pink Floyd as a country band”. I suppose he was largely crediting his cover of Pink Floyd’s “Fearless”, his first in a very successful string of covers. Collier’s best release came in 1998 with his self-titled solo release, Gerald Collier, featuring eleven songs that were packed with emotion and artistic vigor. While it was an expected continuation of his alt-country approach, the songs were respectably solid with an impacting diverseness also being present, featuring a fair amount of catchy pop swipes and slow-moving rock ballads. For those who were not convinced of Collier’s songwriting talent with his previous releases, his self-titled release proved most skeptics wrong. In the following years, Collier released Low Tar Taste in 1999, took a short break and formed Deer Whistle with Dave Swafford and Tom Nurse in 2001, broke up the band a year later, and then followed it up with his fourth solo album, Breakin’ Down, in 2003. Low Tar Taste and Breakin’ Down were both commendable albums that pleased fans but did not find much in the form of a new audience.

All of the songs on How Can There Be Another Day? were recorded in either 1997 or 1998, during Collier’s creative peak. However, the specific album was just released this year under In Music We Trust in hopes to shine a new light on the largely undiscovered Gerald Collier. At the moment, Collier’s musical future is up in the air, though he hopes to record his fifth solo album shortly. “I’ve confused people with every release. I Had to Laugh Like Hell was a major curveball and Deer Whistle was a curveball too,” Collier said, still sharp with his sense of humor. “I keep telling Joseph to expect a reggae record in two years.” In short, How Can There Be Another Day? should satisfy fans for a short while until the next hopeful release. The album’s birth and original concept came when Collier’s former guitar player, William Bernhard, discovered a bunch of unreleased demos left behind after Collier and his wife had moved to Oregon. Bernhard, also living in Oregon at the time, had dinner with Collier and his wife to show them the newly discovered recordings. The three liked the demos and outtakes so much that they decided to turn it into compilation, equating into How Can There Be Another Day?. On the album, Collier’s covers includes the likes of Leonard Cohen’s “Is This What You Wanted”, Elton John’s “Rocket Man”, The Rolling Stones’ “Jigsaw Puzzle”, and Steve Earle’s “Sometimes She Forgets”. Whether Collier finds satisfaction in it or not, most of the covers outshine Collier’s originals. The cover of “Is This What You Wanted” is nearly spot on and though no one can compare to the raspy and legendary voice of Leonard Cohen, Collier comes pretty damn close. Showing a talent for imitation, Collier appears to be attempting a different vocal approach in each cover, trying to sound like the original artist to the best of his abilities. Either way, the instrumentation and melodic shifts are accurate and memorable, while several particular sections, such as the haunting chorus on “Is This What You Wanted”, makes them certainly worthwhile. “Rocket Man” is one of those covers that does not stray far from the original but still manages to maintain the fun factor and catchiness of the original, being a song that nearly everyone knows and can sing along to. “One Clear Shot” is an original song from Collier, being a good example of what his solo material sounds like. With several hooks and an aggressive vocal output, it is a very enjoyable song (especially for a b-side), though it does not nearly compare to the material on his self-titled solo release. While the covers on How Can There Be Another Day? make up for most of the enjoyable songs on the album, it’s worth the buy and listen, both for personal enjoyment and the $15 donation to charity. This release shows in living color what we were all about,” Collier says of the album. “If you were a fan of our material at all, you must appreciate this offering.”

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Gerald Collier – Is This What You Wanted? (Leonard Cohen cover)

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Gerald Collier – Rocket Man (Elton John cover)

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Gerald Collier – One Clear Shot

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It is impossible for most artists to avoid comparisons to their past influences. After all, complete innovation is not something to be taken lightly. So, if one compared David Vandervelde to Marc Bolan, Scott Walker, and John Lennon, it would be no surprise to see the majority of listeners give Vandervelde a listen based on the mere association alone. After all, songwriters like those three come along once in a blue moon and are a few of the vital inspirations to the majority of accomplished artists today. What struck me immediately about David Vandervelde was his vocal star power, calling back on the days when frontmen like Robert Plant, David Bowie, and Bolan all set the atmosphere alone using their powerful vocals and boisterous stage presence. But even Vandervelde’s vocals are not the aspect that makes his debut album The Moonstation House Band one of the greatest albums I have heard so far this year. No, it’s his talented songcrafting abilities and knack for a great melody that keeps pulling me back for more. At the ripe young age of 22, this young songwriter from Chicago seems to be destined for the spotlight. For another display of his talent, keep in mind he plays almost all the instruments on The Moonstation House Band, besides a few bass lines done by Wilco’s Jay Bennett, who also lended a hand in the production. His work seems to mostly echo the energetic pop of ‘Can’t See Your Face No More’. Also, the beautiful strings done in such tracks as ‘Corduroy Blues’ and ‘Wisdom From A Tree’ were done by Beck’s father, the legendary Canadian composer David Campbell, who has worked with the likes of Leonard Cohen, Elton John, and Rod Stewart. Much like Joanna Newsom and Van Dyke Parks, the duo of Vadervelde and Campbell work flawlessly together. Campbell’s involved work most reminds me of Scott Walker’s early career, particulary the Walker Brothers and his early solo albums. Vandervelde signed to Secretly Canadian last year, releasing the 7″ single ‘Jacket’ in November. The Moonstation House Band releases on January 23rd and, as I said before, it is the best album that I have heard so far in 2007.

While the album is indeed short (eight tracks including an instrumental), the time involved in extremely memorable. The opener ‘Nothin’ No’ is a dirty rock ‘n’ roll backlash, arguably being the best example of Vandervelde’s distinct vocal presence. Vandervelde comes off as a pleading young man, who while enjoys pleasures such as “getting high out on the front porch”, begins to recognize that life is not all fun and games, particulary when it involves relationships. Despite the vague morals involved, the song remains as an anthem of troubled youth, in one case being parental abuse after getting caught drunk while attempting to “put the drinks under the deck”. Towards the conclusion, Vandervelde recognizes that love is often clouded by uncontrollable forces and hidden emotions, repeating the undeniably catchy chorus with, “I’m tired of countin’ all the tears that you hide, you know I’m dyin’ just to lay by your side”. This exciting opener serves as representation of a child becoming a man, doing so decidedly. ‘Jacket’ and ‘Feet Of A Liar’ both send haunting echoes of Marc Bolan and T. Rex. You’ll likely see a T. Rex reference in every article you read about Vandervelde this year, so get used to it. The similarities are particulary the case in ‘Feet Of A Liar’, where Vandervelde masks his voice over a soaked reverb, just like Bolan did in ‘Ballrooms of Mars’. The track lifts a quick change during the chorus when Vandevelde is matched well with an assortment of sparkling keys. Concerning the the string compositions of David Campbell, they also account for my favorite two tracks on the album, ‘Corduroy Blues’ and ‘Wisdom From A Tree’. ‘Corduroy Blues’ is magical, playing like even the best McCartney ballad. “And nothing in this world can change the way I feel about you,” is examplatory of the emotion displayed in the song, with brilliant songwriting and musicianship on each side you look at it. While serving as a pure definition of melancholy and regret, it is also a good showing of Vandervelde’s musical and emotional range. The string work is simply extraordinary as Campbell adds another impressive song to his already impressive résumé. ‘Wisdom From A Tree’ is another definitive highlight, displaying a more frantic style of cellos and violins as they continue to be effective. The repetitious manner in which the strings operate proves to eventually be effective, as the sudden change in the second chorus works for great dramatic closure. Honestly, The Moonstation House Band is the first album of the year that I can listen to thoroughly without feeling the urge to skip a track. You can catch Vandervelde on tour starting in February, with a large live band consisting of three guitarists, a bassist, a keyboardist, a drummer, and possibly a violinist. They are apparently a great live band of seemingly accomplished musicians, so I would recommend looking into that as well.

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David Vandervelde – Nothin’ No

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David Vandervelde – Jacket

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