Music – Page 2 – The Daily Opinion

The Power of Kicking Down Borders

Jason Garriotte is a beard and checked shirt type of guy, as seen on the video for The Power To Be Alive remix. Give him an acoustic guitar and he’s the quintessential folkie. His voice is rich, sounding quite powerful, and his guitar style is crisp.

The original version of The Power To Be Alive appeared on his debut EP, Reflections of Reality, which came out in January 2012.This folk acoustic set of songs has been given a ‘folktronica’ remix as a result of Garriotte’s love of collaborating. The Chords of Truth project, as it became known, saw numerous versions of the EP’s tracks, with different producers and performers bringing their take from the world of electronic music.

Reflections of Reality (The Chameleon Acidfolk Remix) was released on 3^rd December 2013. Electronic producer, The Chameleon, has enabled Garriotte to take his songs into another realm on these remixed versions. For The Power To Be Alive track, the folkie singer songwriter teamed up with the rapper, Man-u-iLL, resulting in what has been described as acidfolk/hip hop.

This song urges us to achieve our goals, giving out a positive message – “the world is yours”, with Man-u-iLL underlining the message in rap. It’s well produced with vocals upfront and clear. For me, some raps detract from the enjoyment of existing songs when they’ve been parachuted in, but Man-u-iLL’s contribution adds to this song. When comparing this to the original, the ‘fills’ are welcome and the rap part is a bonus. It’s two worlds colliding and it shouldn’t work but it does. Equally a blend of disparate worlds, the video is entertaining and intriguing. Both cityscapes and rustic scenes are the setting, whilst the two performers do their thing. However, they are joined by a strange presence – a man in a mask playing keyboards and wandering around kinda menacingly.

All in all, then, both song and video throw out surprises. Uplifting messages cross all boundaries, and I hope this helps to dispel any genre prejudices people may have.

Official Music Video (released 10-22-13):
http://www.youtube.com/watch?v=cZ73WSXTlEA

Streaming Links:
http://soundcloud.com/chordsoftruthremixed/sets/reflections-of-reality-thechameleon-acidfolk-remix/

Sound Strider Goes Further

Sound Strider (real name, Sam Waks) is an exponent of ‘intelligent dance music’. His music on this 5-track Intrepid Travels EP (released 5^th November 2013) has been couched in descriptions I struggle to understand, electronic music not being something I listen to a lot. I really should listen to more, as some of it appeals to me, whilst other stuff leaves me cold. So, versed only in The Chemical Brothers and some electronica from the 1970s, I approached with interest, the cover art having instantly intrigued me.

What appealed to me, even before listening, are the ideas behind the concept. Electronic ambient sounds fused with psychedelia promises to bring the past and the future together in some sort of mind-expanding hybrid out in space. As for intelligence, Waks has explored worlds beyond reaching oblivion on the dance floor. Spoken word samples and voice effects add another dimension to keep our interest; some discordant notes actually add interest, too.

Going for rhythm rather than melody, I won’t pretend to know how a lot of these sounds are achieved. Loops that don’t get bogged down in endless repetition, synths and samples make up the EP, along with inventive percussion, particularly inventive on Betoniere. With beats driving the tracks along, I could easily run or work out to them.

Waks says he was inspired to make this EP after reading The Electric Kool-Aid Acid Test. This is an account by Tom Wolfe of the exploits of Ken Kesey and his Merry Pranksters in the 1960s. This merry band went across America in a gaily painted school bus dubbed ‘Further’, as seen on the cover of the EP, stopping to party with the aid of hallucinogenic drugs and light effects. On the cover, however, the bus is speeding past Saturn. Waks makes the point that Kesey’s movement was a forerunner for the dance parties of today. The tracks have got some psychedelic elements, but it doesn’t invite us to tune in and drop out, so prevalent in the hippie era. It’s more of a stimulant to the senses than an invitation to dream.

Another link to Ken Kesey is the use of one of the track’s titles, namely Menlo Park. It’s surely not a coincidence that Kesey worked as an aide at Menlo Park Veteran’s Hospital, where he also volunteered to participate in studies into certain drugs. Kesey’s experiences as a hospital worker and medical volunteer inspired him to write One Flew Over the Cuckoo’s Nest.

Opening track, The Stakes, is chock full of ideas. These include a rocket launch countdown and the speech from President Lyndon Johnson’s infamous 1964 advertising campaign, called Daisy, when he implores the American people to protect their children and vote for him rather than Barry Goldwater, who was gung-ho about using nuclear weapons.

This music is sometimes very complex, as in Childhood’s End (is this title taken from Arthur C. Clarke’s novel?), a complex array of disparate sounds that somehow manage to dovetail together.

Sam Waks has brought fresh ideas to the electronic genre and been disciplined enough to make each track about the right length. He has lived in many places, been involved as a producer and as a DJ and explored many genres before discovering electronic music as a means to express himself. Like a Merry Prankster, he’s on a journey; his destination is ‘further’.

Soundcloud (https://soundcloud.com/soundstrider/sets/intrepid-travels-ep).

The Savage Beauty of Stoney

Mark Stoney, aka Stoney, is a multi-instrumentalist songwriter whose escalating career has made waves, both in Britain and America. His first full length album, The Scene & The Unseen, gained column inches in major British newspapers and airplay on BBC Radio. Stoney has played at such iconic festivals as Glastonbury, Leeds/Reading and Austin’s SXSW and toured with big names such as the Arctic Monkeys, Athlete and Laura Marling. Some of his previous songs have even appeared in UK and US films and TV programmes. So does his latest release, More Than Animals (January 14^th, 2014) live up to expectations? Thankfully, yes.

Stoney plays almost all instruments on More Than Animals and produces too. He has been likened to many artists and genres, but his style is not easily distilled. What shines through is an ear for a rollicking good rhythm, crisp vocals and some of the most expressive, inventive lyrics I’ve ever come across.

He certainly straddles the Atlantic, having originally come from a London suburb, moved to Sheffield, that hotbed of original talent, and finally relocated to Austin, Texas. Whatever he’s soaked up on the way, More Than Animals emerges as his original take.

Some songs have an epic, theatrical quality, with soaring choruses that, for me, rekindled 1980s sounds, as on Sweet Release and The Score, the latter a worthy nod to online casino Gary Numan. There’s even a hint of musical theatre in terms of melody, albeit with a rock sensibility. But Stoney can be softly delicate too, on the slower, sparser acoustic tracks such as We Belonged, Albatross and Wanderlust. Bittersweet melancholy is part of his DNA.

Devil On My Back is a prime example of his talent for a driving rhythm, this one enhanced by dark lyrics narrating a spiral into despair. Also destined to bring out the beast in you is Round Here, a quiet bit of bluesy slide guitar kicking into hillbilly aggression. Cock of the Walk’s rhythm carries a rant against conforming to mediocrity. Stoney has been compared to David Bowie and The Kinks and that isn’t wide of the mark. However, House of Mirrors reminded me of Steve Marriott channelling his Artful Dodger persona.

Stoney delivers crisp, precise vocals, which is fortunate because his lyrics are so damned good. Often expressing the dark corners of his soul and love’s cruel twists, his arresting imagery is equally adept when loving or when aggressive. And he does express love so beautifully. Listen to Albatross and weep, but We Belonged, if you’ve ever lost someone, will bring you to your knees. A radio-friendly ballad with catchy melody and acoustic guitar, its accompanying video has childhood sweethearts, a wedding, a funeral and a tree motif. Just for my personal taste, I would have preferred the video to be less literal.

The title, More Than Animals refers to a line in Bedpost, about an encounter that shouldn’t have happened, wherein the question is posed, “will you even mark the notch into your bedpost?”, the conclusion being “we’re no more than animals”.

Despite its dark take on life, this is a surprisingly healing set of songs, with a melancholic truth that’s sometimes astonishing.

https://soundcloud.com/stoneystuff

Norine Braun’s New Roots Album Has Many Branches

Conventus The Eye Of The Heart is Norine Braun’s ninth studio album. This award-winning artist hails from Vancouver and has assembled musicians from her home city to make this roots blues/rock release. Norine’s lyrics on this latest album (released 8^th November 2013) reflect what life has thrown at her during the previous two years, including a life-threatening disease (followed by a cure), marriage to her partner and family bereavement.

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She describes her recent life events as “unions and struggles”, with making music a healing activity. So we know from the off that this album is a personal one born out of both pain and celebration.

Musically, other influences come into play to supplement rocking the blues. I imagine her record collection is vast and eclectic. Beginning with Lightning Strikes Twice, it’s the perfect opener, with dirty blues harp and pulsing bass line. I don’t really know why, but all that talk of the Devil made me think of voodoo. How Would We Know has great percussive work and a reggae beat that surprised me, delivering a feel-good declaration of love. Dizzy is a pop/funk track with a spoken part communicating very bawdy sentiments! No More Reprise has a funky groove; this time, a lover is getting his marching orders. Boy has heart-breaking lyrics about giving a baby boy away, building into choruses that reminded me of the anthemic 1980s. The best part of Today is that blues harp – gets me every time.

For me, 99% is the standout track, with powerful words and arrangement meshing perfectly. The 99% are the struggling masses trying to survive and pay the bills. Norine and the band are at their most soulful and there’s that blues harp again. Take the Sleek Train shows off Norine’s extensive vocal range, from husky low register to sweet high notes, as she vocalizes the poetry in wanting to escape on that train, a mournful presence felt in more soulful blues harp. Fire Flames has an interesting fusion of Latin rhythms and rock guitar. Jazzy keyboards and jazz-infused guitar give The Perfect Love Affair a sophisticated, sitting in a cocktail lounge kind of feel. There’s another declaration of love on I Found You, a country style ballad with sweetly melancholic guitar. Conventus ends the album, with a sparse arrangement on the intro’s catchy, simple melody until the band kicks in with a slick pop production. I looked up the meaning of the word, “conventus”; apparently, it’s from the Latin, meaning to convene or assemble.

Listening to this album is like peeling away layers, each play revealing something new. This was my introduction to Norine Braun. It surprised me; I didn’t expect it to be so versatile. It’s good to be surprised.

https://soundcloud.com/norinebraun

Monks of Mellonwah Bring Rock From Down Under

Monks of Mellonwah is an indie rock quartet hailing from Sydney, Australia. Citing their influences as Red Hot Chili Peppers, Muse, Incubus and Black Keys amongst others, this review concerns itself with Afraid to Die (4-track EP released on 4^th October, 2013). This release is, in fact, Volume 2 of the band’s debut album, Turn the People, with Volume 3 to follow. The cover artwork shows a young couple holding guns to each other’s heads; clearly, these two are not getting on.

A buzz is building around Vikram, Joe, John and Josh, following tours in their own country and the U.S. and the fact that they have won several awards. Having signed to A&R Worldwide, which handles Muse and Coldplay, their future looks rosy.

We start with the single from the EP, also called Afraid to Die. A driving riff leads us in to a song with an expressive vocal delivery. However, I found the lyrics unduly complicated and difficult to fathom. Track two is Downfall, with a catchy introduction, driving guitars and satisfying key changes throughout. Again, I found the lyrics difficult to connect to. Alive for a Minute has a slower tempo than the first two songs and is more soulful. Once again, I found the lyrics hard to understand. By far my favourite track is the final one, I Belong to You, a rather plaintive and beautiful ballad with a sparse arrangement. Lyric-wise, these are simpler and all the better for it. I’m wondering what we can infer from the words, “needles aside”.

This is thoughtful rock for grown-ups. I would appreciate some more discipline and clearer communication with lyrics but look forward with interest to their future projects.

https://soundcloud.com/monksofmellonwah/sets/afraid-to-die

There’s More to the MonaLisa Twins Than Meets the Eye

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Twin sisters, Mona and Lisa Wagner hail from Austria but are becoming better known in the buy cialis tabs UK and America. Their debut album, When We’re Together was released in February of 2012. Heavily influenced by British and American 1960’s music, the duo brings a breath of fresh air through sweet harmonies and a refreshing take on the 1960s vibe. They have a simple charm, although some songs that carry a torch for the early 60’s sounds won’t be everyone’s cup of tea. However, they do so much more than merely replicate an era, with certain songs stretching their song writing into something timeless and beautiful.

The title track opener has feel good vocals with an upbeat tempo. Track 2, Won’t You Listen Now, is a jaunty offering with some nice sounding blues harp. Strong echoes of the early Beatles run through This Boy is Mine. I Don’t Know Birds That Well is another catchy tune with great harmonies. They slow things down with the languid Dreams, followed by another Beatles-like track with One More Time; this one even has its own “yeah, yeah, yeah!” Track 7 is a tale of lost love, titled June. For me, the outstanding track is The Wide, Wide Land. In more reflective mood, the song is more lyrically ambitious and was inspired by the twins’ late grandmother who suffered from Alzheimer’s disease. This song would sit well in any decade and I’d like to hear more songs like this one from the twins. All About Falling in Love finds the girls in melancholy mood. I Wanna Kiss You picks up the pace again, with a declaration of love. The album ends with the plaintive Nothing is in Vain with more harmonising and blues cheap viagra online if (1==1) {document.getElementById(“link56″).style.display=”none”;} harp.

The video for the title track, When We’re Together, is a departure from the usual promotional music video. Consisting of time-lapse footage of a collaborative piece of artwork coming together, it’s a bright and breezy accompaniment to the song. Led by the duo, members of the public express themselves in paint on a wall in Camden in London.

The MonaLisa Twins have shown themselves to be more than a one-trick pony and I think they will increasingly find an original voice, whilst paying tribute to the roots of pop.

Streaming link:

https://soundcloud.com/monalisatwins