Nevermind The Posers

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Men at Work Lose Song Plagiarism Appeal April 12, 2011

Filed under: Can You Believe This?!,Music Questions,Too Cool for a Category — NVMP @ 4:54 PM
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Thoughts by TNT

Men at Work may come from a land down under, but after a recent court hearing, the band will have to pay royalties after the judge ruled their hit single from 1982 “Down Under” was partly copied from popular folk song “Kookaburra Sits In The Old Gum Tree” by Marion Sinclair.  It was a portion of the flute riff that mimics the classic tune.  Can you hear the similarities?

“Fact of the matter is that it went unrecognized for 27 years because it was unconscious, it was innocuous, naive” states Colin Hay

Now, as I can clearly hear the Kookaburra tune in the flute riff, I wouldn’t call this copyright infringement, especially since it went unrecognized for 27 years.  Marion Sinclair, a school teach from Australia, wrote this song in 1932 and it was copyrighted in 1934.  Ms. Sinclair passed away in 1988 and the rights to her song were renewed, or better yet, purchased by Larrikin Music in 1989 for $6,100.  The owners of the copyright saw an episode of ABC’s Spicks and Specks (an Australian music-themed comedic television quiz show) in 2007 and it prompted legal action against the band for the similarities.  Copyright laws state that the original composer gets life plus 70 years.  I’m sure none of this would have happened if Larrikin Music did not have the rights, and this is why I find the case to be unfair and unjust.  Men at Work was ordered to pay just 5% of royalties from the hit song dating back to 2002 and of course future royalties, which is better than the original asking of 40-60% of ALL royalties since the creation of “Down Under”.  Poor Colin Hay and Ron Strykert.  What do you think about this case?  Is this fair or unjust?

Anyone know what the song is about?  Apparently, “Down Under” paints the picture of an Australian backpacker touring the world, making references to chunder, Vegemite sandwiches and beer.  Wanna laugh?  Think about myself or anyone taking these dance moves to a club today (1 minute and 35 seconds into the video, second guy from the left).
 

Protest the Hero’s New Album Scurrilous April 11, 2011

Filed under: CD Reviews — NVMP @ 7:49 PM
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Review by Zach Hannon
I’ve been a fan of Protest the Hero ever since a buddy introduced me to their music back in 2008, so I was overly excited when I heard they were releasing a new album this year.  Scurrilous (2011), the new disc, is more like their first major studio album Kezia (2005) and features work that will definitely interest current fans, maybe even turn some new heads.  This album might just be Protest the Hero’s best yet.

With this new release, the band maintained their commitment to their music that fans have come to expect.  Guitarists Tim Millar and Luke Hoskin really deliver on the guitar tracks, while singer Rody Walker provides great vocals.  Bassist Arif Mirabdolbaghi and Drummer Moe Carlson give great rhythms that back the songs up with a distinct sound, reminding you that even though these are the musicians you’ve come to know and love, they still have a few tricks up their sleeves that we haven’t seen yet.  While this album may not be as hard as their 2008 release Fortress, it still delivers what I believe the fans want to hear and definitely will not disappoint.

All of the songs on this album are simply amazing; the vocals paint vivid stories with deep moments of meaning, while the instrumentals are constant and solid.  This is what Protest The Hero does, make a great album and have fun while doing it.  Scurrilous is my favorite album yet, and to give you a preview of the sound of this new album, I would suggest that it might be a good idea to take a listen to some of the key tracks from Kezia: “Heretics & Killers”, “Blindfolds Aside” and “The Divine Suicide of K.”  While the songs are hard for the most part they tend to be soft in just the right moments for that distinct sound.  When you remember the tracks on the Kezia album that featured Canadian country star Jadea Kelly on back-up vocals, especially when she played the role of “Kezia”, you immediately recognize her contribution on the sophomore track of Scurrilous.  My favorite tracks off this latest offering are “C’est La Vie”, their iTunes single, “Hair-Trigger” and “Termites.”

This is Protest the Hero’s third major studio album and serves as a reminder that the band is able to maintain their individual voice among the New-Age-Pop garbage that is ruining the music industry.  I say that Protest needs to keep up the good work and stay ahead of the game. Scurrilous features ten tracks, with vocals written by singer Rody Walker and bassist Arif Mirabdolbaghi, and the album artwork was painted by Arif’s grandfather, Jafar Petgar, 60 years ago.  I recommend giving this album a listen then if you like it buy it, like the Protest the Hero Facebook page and listen to their old stuff if you haven’t already.  Protest The Hero will be launching a tour through out Canada and the U.S. starting March 23rd.

 

The Bloody Muffs at Local 269 in NYC March 18, 2011 April 3, 2011

Filed under: Concert Reviews,Music You've Been Missing — NVMP @ 5:12 PM
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By Angela Blasi

Off East Houston St. in NYC lies a club that deems itself, “The Last Bastion of Great Live Music in NYC.”  A small club with just enough room for a bar and a few tables and chairs (mainly standing room only), one could tell frills were not something of a major concern to the owner.  No, instead a simple back line and a whole bunch of punk rock bands held my attention for the evening.  Primarily, it was the Bloody Muffs.  A trio made up of drummer Kat Kaos, lead vocalist/guitarist Jonesy and bassist Jessica, the group doesn’t waste much time with fancy bio’s or elaborate songs.  Rather, it seems they put all efforts into the DIY mentality; straight and to the point, giving it all they’ve got on every song.

Although their set was short that night at Local 269, I have to say it was a good one that I enjoyed.  Maybe they aren’t taking on politics and challenging the government with each verse and chorus, but I can not deny how much fun singing an entire chorus of “Fuck Your Mom” can be.  With songs about various whores, people sucking, drunken sex and feeling alright no matter what happens, I found myself laughing and simply enjoying the music all night.

Despite technical difficulties in the first number, the band carried on effortlessly, letting the mistakes roll off their backs like seasoned professionals.  I liked their inclusion of all three members on vocals, adding texture and a conversational nature to many of the songs that gave for a sense of inclusion and light heartedness.  I also must add, that as a group they were musically solid.  I particularly enjoyed the song, “Love Me Like A Drug” where each pause and blast beat were seamlessly integrated into the music, all members executing the rhythms perfectly.  Sure, a seasoned eye can catch mistakes from any player but the errors are not important so much as it is the performer’s ability to overcome them and keep going.

I’d recommend this band for anyone who isn’t into taking themselves too seriously and enjoys punk rock that does the same.  A great band to go see, have a beer and hang out with, the Bloody Muffs are a good time live.  For your listening pleasure, check out their two albums Heavy Flow and Sloppy Seconds, both available on Amazon.com and iTunes.

 

What You’ve Been Missing – Brendan Perry March 27, 2011

Filed under: Music You've Been Missing — NVMP @ 11:58 PM
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by Mark B.

For the better part of a 30+ year musical career, he has been known as one half of the mystifying group Dead Can Dance, known for masterfully arranging unique soundscapes from blending numerous musical genres and movements (Chant, Irish folk, African poly rhythms, Medieval, Renaissance, Middle Eastern and Punk, to name a few).   Co-led by his distinctive style of chant singing, Perry provided a powerful presence with a radiant counterbalance to partner Lisa Gerrard’s booming mystical voice, helping to guide the listener through beautiful poetic verses entwined within world influences.  But the world of musical wonders was not to last forever, as DCD decided to call it quits not long after the release of their final album in 1996.   Fortunately this would not be the last we would hear from the cathedral voiced musician, as he chose to continue with the release of his debut solo effort Eye of the Hunter (1999).

For fans, one of the biggest issues when a hugely influential group breaks up is whether any solo career is worth following.  Will the solo efforts be any good?   Will the new works be a stretching of their musical abilities or will they simply rehash their previous groups for years to come?  Most thankfully, Eye of the Hunter turns out to be a finely executed debut, managing to explore new musical ground and allowing Perry to vocally stretch his wings, successfully avoiding a complete rehash of DCD.   It is a beautifully ethereal, folk inspired experience featuring acoustic based arrangements, orchestral electronics and sparse instrumentation.  The tracks seamlessly shift between hopeful and melancholy with each passing track without ever becoming a cheap copy of DCD.   As the capacity to grow as a new solo artist continues after a long period of inactivity, he finally returned with his most recent release Ark (2010).  Featuring predominantly electronic arrangements and lyrics which could only be described as inward gazing outward, he manages to flesh out a more haunting, yet strangely uplifting sound without falling victim to the ever clichéd Emo-misery and gloom.  When it comes to finding beauty within the empty or experiencing the gloom without the doom, Brendan Perry is definitely an artist that you can count on to deliver, regardless of what incarnation he exists in.

Required Listening
With only 2 albums having been released since 1999, the best way to truly experience solo Brendan Perry is to get a hold of both Eye of the Hunter and Ark.  Get to it!

Six Ways To Experience Brendan Perry
6. “Inferno” – from the album Ark – An intense and otherworldly song which cries of longing.
5. “Severance” – from the album The Serpent’s Egg­­ by Dead Can Dance,
4. “The Trial”- from the album Dead Can Dance by Dead Can Dance – A fast paced world music tinged almost punk song that gives glimpses of Perry’s roots in the Punk scene of Australia.
3. “Anywhere Out of the World” – from the album Within the Realm of a Dying Sun by Dead Can Dance – Music for the world-weary romantic dreamer.
2. “Medusa” – from the album Eye of the Hunter – A dreamy Waltz through the tale of seductress.
1. “Utopia” – from the album Ark – A glimmer of hope from someone who has been overwhelmed by all the hardships of life, and is still standing.


 

Hail, Hail, The Gang’s All Here! March 23, 2011

Filed under: Uncategorized — NVMP @ 12:43 AM
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The Dropkick Murphys Rocked NYC Boston Style With A Night Of Punk At Roseland Ballroom

Review by Angela Blasi / Pictures by James Padden

On March 11, 2011, I got the chance to celebrate the culmination of all things punk rock, Irish and drunken Dropkick Murphys fanatics at Roseland Ballroom.  As winter slowly loses its grasp on the East Coast, St. Patrick’s Day come and gone, plenty of college kids home for spring break, the timing of this show in addition to the anticipation of seeing a band known for its live performance sets me up for one hell of a night.  Here’s my story.

The only time I had ever been able to see Dropkick Murphys live was way back in my high school days, when they did an in-store signing and acoustic performance at the Menlo Park Mall for their album “Sing Loud, Sing Proud.”  That being said, this upcoming performance, a real live show at Roseland Ballroom, was years in the making for me.  I am pleased to tell you that the band stood and delivered flawlessly.

Fade to black, the ceiling is flickering with lights and the room is flooded with music, inching its way to climax and take the audiences eager ears along for the ride, all focused on that one moment.  Cue the simple click of two drumsticks over a snare drum only to explode into cheers that came from every side of the room like fireworks.  The evening’s set was led by single guitar riff and screams of title track “Hang ‘Em High” off their latest endeavor Going Out In Style.  Dropkick Murphy’s did not disappoint, moving into fan favorites like “Bar Room Hero” and “The Gang’s All Here” early in the set.  Appreciative and charismatic, I could tell the group was having a fantastic time on stage performing for their fans.  Watching and hearing the different elements of sound from instruments like the banjo and violin was a great experience.  The stage was full of musicians at all times, creating this rich, full sound while also giving the audience a visual display of the unity, so often embedded in Dropkick’s music.  In addition, I have to admit, the sound quality was excellent.  Not just from the in-house monitors (they do have a sound guy for these things) but the vocals were that perfect blend of grit and melody I had come to expect.

I think my favorite part of the evening was the latter half.  Rounding out the show with just the right blend of feel good, swaying with an arm around a stranger, drunken ballad sing-a-longs complete with ladies on stage during “Kiss Me, I’m Shitfaced” hammering into “Shipping Up to Boston,” where everyone who could got up and stage, followed by my own moshing endeavors in the pit during a personal favorite “Boys on the Docks,” one can easily see why the last part of the show hammered this live performance home.

Moving along with the sea of bodies clad in green and wreaking of beer while chanting “Lets Go Murhpys” for a night, I finally understood the concept of the Dropkick Murphys albums.  All the chanting and choral vocals met with the in-your-face punk rock energy on every track, simple as it may be, is not done justice by simply listening alone.  Rather, it is the experience of the band on stage as well as being part of that very crowd, feeding off the energy while crying out lyric after lyric as if they were one’s own personal decree.  That makes this band great and is how the music was seemingly intended to be shared.  Being a casual listener is not enough if you really want to get the full effect of their sound and style.  Though I may not have been crazy about their latest album, I am absolutely thrilled with their live show and can’t wait for another opportunity to be a part of the next one.

 

What Are Your Thoughts On The Guitar/Band Series Coming To An End? March 19, 2011

Filed under: Uncategorized — NVMP @ 10:29 PM

What Are Your Thoughts On The Guitar/Band Series Coming To An End?

TNT
It’s a shame to see it go, but also not unexpected.  Quite honestly, I don’t really care.  All things bright are soon to fade, so was the fad of Guitar Band.  If you already have the equipment and the games, it’s not going anywhere; you can still play when you want.  Its downfall was it was the cost.  When updates and new equipment became available or even necessary, I found it to be overwhelming.

Mark
I don’t have much of an opinion towards the decline.  When it first came out, I was just as on board as the rest of the public, excited to try something different.  It was a unique twist on karaoke without the embarrassment, added cool points for making me feel like a living room rock star with my mini-plastic guitar, as I got to form dozens of mini-bands while constantly rotating members with my friends.  But alas, the novelty wore off fairly quick, as being in a real band was more fun for me.  I will say that the series will be missed, even the one that I didn’t try (DJ Hero).  It’s a shame that businesses are that incompetent, as they are “people” who don’t seem to understand that constant updates and over saturation of the market with similar new products and numerous expansions will lead to people getting bored easily, and thus financial ruin.  But in the very near future, the products will become hot commodity vintage items being swapped all over eBay and the cycle will continue.

Klone
First of all, making that full-band set-kit-thing of instruments, both for the Rock Band series and the Guitar Hero series, costing $200 was insane.  I think that hurt sales for the franchise once the games all expanded beyond a single instrument and became geared towards group play.  Personally, when that happened I felt that the franchise jumped the gun on trying to milk its fans.  I remember the big rage really kicking in world-wide with Guitar Hero III: Legends of Rock.  I know that’s when my interest was piqued.  Back then it was the game and the guitar, that’s all.  No drums, no vocals, just shredding.  The price of the game and guitar controller did cause a bit of pause, but it was easy to digest.  When Guitar Hero: World Tour, and Rock Band 1 & 2 came out shortly after, the playing field changed because your price to play was more than doubled.  So, why is anyone surprised that sales tanked along with the economy?  I think that we should all remember when we first thought these games were cool, reminisce from time to time and maybe even pull out and dust off the good old ensemble of instruments and rock-out for a New Year’s or Birthday every now and again, but let’s also remember that fads and passing trends eventually fade away like Rock Band and Guitar Hero did.

Angela
Hearing about the fall of the guitar band series brings about two reactions, one of disappointment and the other of jaded expectation; even the mighty must fall.  As an avid player of guitar hero and rock band, I really enjoy these video games.  I found they were a good way to include multiple players and even families (we played a lot around holiday season at family gatherings) and really have some simple fun.  Playing my favorite songs and improving my manual dexterity all at the same time, its one of the few games you can play at home by yourself, with a group of drunks at a party or go to tournaments at local bars.  However, its been some time and I know there are only so many times you can re-invent the wheel.  More than just a passing fad, I think the guitar band series offered something real to gaming and it will be missed.  I still own an Xbox and a copy of Guitar Hero 3 and you can bet I’m still going to be playing it.

Hoverbee
I don’t mind that the Guitar Hero series is coming to an end as a video game.  We’ve had five years and 14 different versions of Guitar Hero.  They say that the popularity of music-themed video games has gone down and it’s too expensive to produce them.  I can’t say if this is true or not; I know beans about it.  Activision Blizzard won’t be making any new versions of Guitar Hero, but will continue to sell and support its catalog of Guitar Hero titles.  I think it sucks that 500 people are out of a job because of it.

Daniel-Edward
It feels like the end of an era about the end of the Guitar/Band/DJ Hero series.  I’m not musically inclined, and being able to play some of my favorite songs on plastic instruments felt as close to being a rock star as I’m going to get.  All those plastic instruments were a blast to break out during parties, and were always a crowd pleaser.  The music genre itself was a nice breath of fresh air from the same old Halo and Call of Duty games that come out yearly.  Who knows, with peripherals like Kinect we might not even need the plastic instruments someday soon.

 

March Is The Month Of Green March 14, 2011

Filed under: Uncategorized — NVMP @ 8:16 AM
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by Gregory Swindasz
March is the month of green – and sometimes the end of February too.  Flogging Molly came to the east coast again for their Annual Green 17 Tour, this time playing at the iconic House of Blues at the Showboat casino in Atlantic City, NJ.

The crowd was the usual Molly troupe, guys with news-boy caps, couples on a beer filled night of fun and of course many Irish people.  It was a sea of green in the dimly lit and industrial style music hall.  However, this year the merry Floggers in the crowd seemed a little subdued, less moshing and more swaying.  Maybe it was the venue’s always present security staff.

By the time Dave King began the hearty thump of “Rebels of the Sacred Heart,” the crowd was ready to be deluged with Irish punk dreams of rolling green hills, the sorrow of loss and the immutability of being one’s self.  A high point of the show for me was “Tobacco Island.”  The visuals of swaying palms and the transition to acoustic really set the mood and made a lasting memory.

It was a great night, and a great show.  For many people this band, this tour makes their March, hell maybe even their whole spring.  Happy St. Patrick’s Day to all, and to all a Drunken Lullaby.

 

If You Could Go To Any Music Festival In The World, Which One Would It Be? March 11, 2011

Filed under: Music Questions — NVMP @ 12:49 AM
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If you could go to any music festival in the WORLD, which one would it be and who would you see in 2011?

Tina
It’s a toss-up between Coachella and SXSW, but from looking at the rosters, I’d have to go with Coachella.  Not only do I love the idea of only being able to buy a 3 day pass (which I believe is reasonably priced), but that you have the option of camping out.   The bands I would check out at the festival this year would be Cee Lo Green, Flogging Molly, Interpol, The Aquabats!, Titus Andronicus, Broken Social Scene, Cage the Elephant, Freelance Whales, Mumford and Sons, The New Pornographers and The Strokes.  Unfortunately I am on the opposite coast and air-fare alone would kill my budget, but I vow to make it over there one year.  The same goes for SXSW.

Mark
If I could visit any music festival in the world, I would venture off to the UK to attend one of the world’s largest electronic music festivals, Creamfields.  A summertime home to some of the best DJ’s and electronic acts from all over the globe, it is the international equivalent of Woodstock, minus the hippies and lame protest songs.  Although the line-up hasn’t been announced, I would hope to see appearances from Paul Oakenfold, Sasha and Way Out West.

Klone
Just because I’ve seen so many excerpts of this festival from earlier years on digital cable (thank you, FiOs), I’d have to say this year’s Glastonbury Festival, the UK equivalent of Woodstock, would be the one I’d definitely make sure I got to.  This year’s line-up includes U2, Coldplay and Beyonce as headliners, as well as appearances by B.B. King, The Chemical Brothers, Mumford & Sons, Local Natives, Snoop Dogg, Gorilaz, Willie Nelson, Muse, Coheed & Cambria, MGMT, Orbital and many more.
The Awesome: the sheer size of the line-up and several stages are mind-boggling, offering a smorgasbord of musical offerings for any palate.  One would be hard-pressed to NOT find a lot to love during the course of the four-day festival.
The Not-So-Awesome: the sheer size of the line-up and several stages are mind-boggling, and means you’re going to have to meticulously track your day to catch every act you want to see.  Inevitably there will have to be sacrifices made, and they will be painful.  Plus, you’re going to be hot, sweaty, stinky, most likely sticky and ready to kill someone from dehydration at the exact moment you realize you took too long checking out George Clinton and the P. Funk All-stars and have already missed 20 minutes of Local Natives’ set, and realize you miss them EVERY TIME they come around to NYC.  Sometimes those are the risks that come with the territory, and that’s the price you have to pay.

Angela
When I had to figure out what one festival in the world I would love to attend, the first thing that came to mind was Rock In Rio.  Not only has this festival been able to bear the title of one of the largest festivals in the entire world, with attendance reaching into the millions, but I’ve always been a fan of the lineups. Silverchair is the main reason I ever even heard of this festival, but upon delving deeper, Rock in Rio consistently books amazing artists and can see the magnitude of a crowd all united for music.  How could I not want to be a part of that?  I remember seeing pictures of Silverchair on stage at Rock in Rio and seeing thousands upon thousands of faces all looking back at them.  It’s so diverse and appealing to so many people, I would love the opportunity to be a part of a show this amazing.

Hoverbee
While researching 2011 festivals all over the world to pick one I’d like to attend, I realized that many of them had not yet announced a lineup.  So in light of this, I’ll have to go with Coachella.  Since this is my fantasy, I’ll be in attendance on all three days and plan to see (regardless of stage/time restraints) The Black Keys, Raphael Saadiq, The Chemical Brothers, Ms. Lauryn Hill, Kings of Leon, Interpol, Cee Lo Green, Brandon Flowers, Animal Collective, Big Audio Dynamite, Cage the Elephant, Erykah Badu, Gogol Bordello, Mumford & Sons, Duran Duran, Neon Trees, PJ Harvey, The Strokes and check out bands I’ve never heard in between.

Daniel-Edward
If I could hit any music festival in 2011, it would be Bonnaroo.  I’ve never been to a massive, multi-day festival before, and Bonnaroo has such a broad swathe of musical genres and artists that it seems like you’d have to try really hard not to enjoy yourself.  From The Strokes to Robyn to Eminem to Girl Talk, it seems like every genre is represented over the four-day festival.

 

Dropkick Murphy’s New Album ‘Going Out In Style’ March 6, 2011

Filed under: CD Reviews — NVMP @ 10:41 PM
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Review by Angela Blasi
I got myself a sneak peek into Dropkick Murphy’s latest installment in a series of raw punk rock charged, Boston beer-drinking, “Irish Eyes Are Smiling”- type albums.  A band that was introduced to me back in high school, I’ve always loved the use of traditional Irish culture and its brash and brawny fusion with Boston charm.  Their seventh album to date, Going Out In Style features 13 tracks of everything you would ever expect from the band.  Except, that seems to be my very problem with it.

Kicking off the disc and bearing the sole responsibility of carrying and setting the tone for the entire album is a track titled “Hang ‘Em High.”  The song begins with a great drum beat on a floor tom, slowly gaining strength with the addition of choral style vocals, all chiming in unison with gusto “hang “em high!”  Cue the bag pipes, gritty vocals, catchy hooks and riffs.  Other tracks, such as “Memorial Day.” seem to offer a slight variation on the previous theme.  As is so characteristic to Dropkick’s sound, traditional Celtic sounds are fused with clean yet edgy uptempo guitar riffs and lyrics, begging the listener through voice, drink and song to join the celebration.  I feel like no matter what album I’ve ever listened to by this band, I always get the same few variations on the same themes.  Be it a solo instrument intro that is gradually joined by other instruments only to drop the hook into this full-bodied energy that simply forces the taste of every St. Patrick’s Day you’ve ever taken the “Irish for a Day” thing too seriously back into your mouth or the 1-2-3-4 thirty-second note shred of a punk rock guitar, the call to arms of men and who can forget the teary-eyed mournful cry of the ballad.  I feel like each album is simply a mathematical formula stated and restated in a few different ways.  Two people can take the same equation and do completely different work, but still end up with the same result.  It seems as though they refine the production and beef up the sound with every passing album.  It’s like going through the filtration process to turn Popov into Grey Goose; either way you’re still drinking vodka.

Admittedly, I still like the band.  Much like the culture itself, the band captures the spirit of storytelling as it is passed down from generation to generation.  This is why they are able to keep making album after album in the same vein.  Something about it always manages to strike at the core of humanity as the songs they compose are not intricate orchestral pieces, but simply the group being the only people they know how to be while having the courage to do it flawlessly without wavering or compromising their passion.

To be honest, half way through the album I lost interest.  I got bored with each passing track, try as I might to labor through each one.  Then again, one shouldn’t have to labor through an album.  I crave change, growth and experimentation; adaptability in the face of an evolving music scene and punk rock’s ever uncertain niche in it.  I mean, hey, if you’re going for one thing and one thing only, then you might as well be the best at it.  That is, of course, unless you start talking to Flogging Molly fans.  The band’s fifteen year history has seen changes in the lineup, yet I feel there has been little change to the music.  And while many fans of bands everywhere often lament “I wish they  sounded like they did on their first album,” I can promise you they do not.  I want to know what was so different or great about Going Out in Style besides the fact that Bruce Springsteen lends his vocals on the song “Peg O’ My Heart.”  Surely, fellas, in all this time you’ve had to have had some experiences and heard other sounds from new and different places and artists that might translate into inspiration on your latest endeavors.

I’m not saying the album is bad by any means.  In fact, for what the band is known for doing, they do it extremely well.  You can’t argue with the fact that their live shows are solid in-your-face sets; evenings of inclusion where the entire audience embodies the lighthearted, yet hard-working wisdom of the Irish culture in song either.

All in all, as a fan it left me wanting more and feeling a bit disappointed.  I can say this album is not one that will be making its way into my personal collection any time soon.

 

Sandi Thom February 23, 2011

Filed under: Music You've Been Missing — NVMP @ 9:13 AM
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By Angela Blasi
I have to say, technology sometimes serves its purpose.  I was just trolling the pages of YouTube for Sandi Thom’s “I Wish I Was A Punk Rocker (With Flowers in my Hair)”, when I decided to delve deeper.  I have to tell you, I like what I hear.  This may be the most random artist review I’ll ever do, but it needed to be done.  I had no idea she was classified as a blues/rock artist, but as I take on track after track, I can hear the blue notes she touches and it gives her music powerful melodies as well as character.  A trend I’ve come to notice in the singer’s artwork is the beauty in its simplicity.  It is so refreshing to hear a track stripped of fancy production edits, punches and the dreaded autotune.  Thom’s voice, with all its unique accouterments’, is the most colorful and alluring part of the piece.  I fell so in love with her hit single partly because of its simplicity.  Through the first 30 seconds of the track, you are flooded with nothing but her voice; a voice that washes over you with the force of a tidal wave yet rocks you slowly like the bay.  The entire song retains that crisp cleanliness of sound as the natural groove of her voice is accented perfectly by the one-two punch of a kick drum that grabs you by the heart-strings, forcing it to beat simultaneously with every pitch and note.  Other tracks such as “Superman” retain that very haunting simplicity.  Slower track, “Superman” cries with the sweet sadness of your first honest broken heart.

In the trend of Sandi Thom, simply stated, she carries a powerful instrument in her soul expressing it beautifully in a tirade of melodies and harmonies that delve deep inside the listener.  Accentuated charmingly without ever losing it’s focus, Sandi Thom’s songs brilliantly shine track after track.