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CD REVIEWS
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distributor. If you do not, please see our New Music Critiques section.
Eva Cassidy
The Best of Eva Cassidy
Blix Street Records
Producer: Chris Biondo
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Boys Like Girls
Crazy World
Columbia Records
Producer: Martin Johnson
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Alexander Spit
A Breathtaking Trip to that Otherside
Deacon
Producer: Alexander Spit
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Whitehorse
The Fate of the World Depends
on This Kiss
Six Shooter Records/Warner
Music Canada
Producer: Luke Doucet
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Before her untimely death at 33, Eva
Cassidy, not widely known at the time,
had already demonstrated great artistry.
This compilation unites Cassidy’s
broad body of work showcasing her
enormous range and depth of expression.
From the bluesy, gospel-like
“Wade in the Water” to ballads like
“Autumn Leaves” and “I Know You by
Heart,” Cassidy proves she is a talent
to be reckoned with. Her prophetic
rendition of Sting’s “Fields of Gold”
surpasses his version while “Over the
Rainbow” creates excitement through
vocal arrangement and unique interpretation.
Although Cassidy didn’t live
to see her huge success, her gift to the
world has rendered her an international
treasure. ——Ellen Woloshin
Crazy World is Boys Like Girls’ first
release since their short hiatus, which
began in February 2011. The album
is peppered with a number of angstheavy
songs counterbalanced with
a fair offering of more upbeat, lighthearted
tunes that have the potential
to incite arena sing-alongs. Standouts
include “Life Of The Party,” a jaunty
ditty sounding not unlike Paul Simon.
“Leaving California” launches with
a contemplative, nearly melancholy
piano riff but overall manages to avoid
darker, more downcast waters. Crazy
World starts and ends with the more
sanguine songs framing the dirge-like
material that tends to weigh down the
middle.
——Rob Putnam
Johnny Depp eat your heart out, or
puke your mushrooms out, because this
S.F.-raised/L.A.-based rapper/producer
is all up on your Hunter S. Thompson
tip; he’s borrowing the idea of a
psychedelic roadtrip as a thematic
device (a la Fear And Loathing), and
he’s eating shrooms, drinking Jack and
driving in the desert. We don’t know if
he really was DUI, though it sounds
and appears that way in a new video
helmed by Deacon co-founder, Jason
Goldwatch. You’ll appreciate a rapper
that cites Thompson and Charles Bukowski
along with his anti-gangster
bravado. You’ll also recognize that he
doesn’t date the album by submitting to
the dubstep craze, but keeps the beats
fierce and dubby. ——Daniel Siwek
Luke Doucet and Melissa McClelland
have established solo careers in their
own right, with Juno Award nominations
and a collaborative/backing vocalist
stint with Sarah McLachlan, respectively.
So when the husband and
wife decided to team up to form Whitehorse,
it was destined to evolve into
something bigger than the both of them.
Their sound spans the gamut from the
darkly seductive “Achilles’ Desire” to
the serene and poetic “Mismatched
Eyes.” The disc is a travelogue down
a myriad of avenues through alt-country,
new-age folk and bluesy pop. And
the mash up of acoustic-meets-digital
recalls ‘80s new wavers Timbuk 3
crossed with the artistry of a Richard
Thompson. ——Eric A. Harabadian
Kate Earl
Stronger
Downtown Records
Producer: Various
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Geri King
Masquerade
Khepera Records
Producer: Various
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Coheed And Cambria
The Aftermath: Ascension
Everything Evil/Hundred Handed
Producer: Various
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Robert DeLong
Just Movement
Glassnote Records
Producer: Robert DeLong
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Uplifting yet heartbreaking, inspirational
yet wandering, Stronger follows Kate
Earl’s passionate soul as it embarks on
an enlightening voyage of life and love.
Influenced by the lyrical brilliance of
Brett Dennen, Earl resonates the raw,
folksy sound of iconic poetic muses
(think Linda Ronstadt on “California,”
early Joni Mitchell on “Stronger”) while
infusing a rustic pop-rock/indie vibe all
her own. With this release Earl emotionally
expands her artistic boundaries
as a hopeful, free-spirited American
Girl searching for abandoned compassion
(“Raven”). A lyrical journey backed
by catchy acoustics and crisp, soothing
vocals, Earl eventually discovers some
life obstacles are simply “Not the End
of the World.” ——Danica Bellini
This renowned entrepreneur and
Grammy and Dove Award nominee
has enjoyed four Top 10 hits on Australian
radio and gold/platinum sales
in over seven countries. With its blend
of vulnerability, romance and female
empowerment in the face of faithless
lovers, King’s fourth full-length set
could be the one to push her over the
top Stateside. Beautiful backing vocals
behind her sweet yet sassy Patti
Austin-like emotional lead voice, she
throws up a colorful mix that’s grounded
in classic R&B yet includes splashes
of jazz, hip-hop and electronic.
She’s going for a worldwide release—
no doubt pleasing her longtime fans
as her infectious vibe instantly creates
new ones. ——Jonathan Widran
The days of indie Coheed and Cambria
are over. However, the first half of this
double feature (remember when labels
actually released two-part CDs at once?),
The Aftermath: Ascension, may bring
vintage fans back to future shows. With
Josh Eppard returning to the kit—where
he belongs (nothing against the talented
Chris Pennie)—and the addition of bassist
Zach Cooper, the album begins with
a conversation between astronaut and
supercomputer (think Sigourney Weaver
in Alien). We are then faded into the epic
tale of “Domino the Destitute” before
settling into “The Aftermath.” Similar to
Year of the Black Rainbow, listeners will
obsess over one hook only to mildly enjoy
the next, but understand the big picture
nonetheless. ——Andy Mesecher
Robert Delong isn’t always a bummer;
on a few tracks he’s actually rocking the
party (even if the party is just the two of
you in the car on the way to Coachella).
And on another, “Few Years Make,” he’s
the Paul Simon of electronica, using his
sweet voice to give us vignettes of a love
story. One of DeLong’s favorite movies
is 2001: A Space Odyssey, which
explains why many of his rhythms start
out primal only to be match-cut with the
technologically sublime; and yet, deep
down, no matter how mechanical, like
HAL, it’s got soul. Many of his sounds
come from his interaction with a series
of video game systems (especially the
Wii) which, no matter how artificially
blissful, is comfort food for our generation’s
ears. ——Daniel ——Daniel Siwek Siwek
48 January 2013 www.musicconnection.com