Little Diamonds - New Orleans Bound

Little Diamonds - New Orleans Bound 

URL: http://littlediamondsmusicllc.com/ 

Little Diamonds, since his 2010 recording debut, has received a flood of justified praise from critics and audiences alike. His modern take on traditional American music definitely works within the singer/songwriter vein and wears its influences on its sleeve, but he transmutes those traditions through his own strong personality and infuses the twelve songs on his second album with an unique identity. These aren’t merely tributes to old music or greater talents. This is the work of a young artist who has adopted an older form as a viable vehicle for self-expression. New Orleans Bound is a substantive musical work that hangs together without a single lull and has an across the board lyrical consistency. Despite his Minnesota upbringing, Little Diamonds can pull off a credible southern accent that invests the songs with some added atmosphere that never risks tackiness.

There are two full band songs on the album. The first, “12-12-12”, is a humorous yarn about the end of the world seemingly manifesting itself in a variety of ways and the narrator’s bemused contending with it all. Little Diamonds handles finding his place amid the added instrumentation with sure instincts and knows just how to pitch his voice against the other players. The drums present in this song really make a difference and give the song a shape that the solo numbers lack. The album’s second full band track, the title song, is the broadest number musically. Little Diamonds brings a jazzy influence, via the Big Easy, to bear on the arrangement and it creates a dramatic contrast with the steel guitars present in the song. Little Diamonds sounds genuinely inspired to be singing against this backing track and his voice jumps with the same liveliness he puts into the songwriting.  

The remainder of the album is divided between solo performances featuring Diamonds, his acoustic guitar work, and occasional harmonica sitting alongside other performances that normally feature fiddle in accompaniment with occasional fills from other stringed instruments. The opening tandem of “I Don’t Know About You” and “Never Met You at All” sound like pages ripped from the autobiography of bad relationships and Diamonds gives great performances on both songs that never play their somewhat bitter lyrical content with too heavy of a hand. “Lord, Come Down” is one of the strongest solo performances thanks to the intense lyrical clarity and the focus Little Diamonds brings to both his playing and vocal performance.  

Two of the most important songs on New Orleans Bound are character studies. “Duluth Grandma” and “Old Man Al” are supremely detailed distillations of character and highlight Diamonds’ storytelling abilities. The musical backing on both of these songs is written cognizant of the importance of the words, but they aren’t merely ornamental. The former song has particularly melodic guitar work. New Orleans Bound is one of the best traditional albums to emerge from the Americana scene in recent memory and deserves a wide audience. Little Diamonds is a multi-faceted talent who will only continue growing from here.  

9 out of 10 stars 

YOU TUBE: https://www.youtube.com/watch?v=qan0WhVZ3e4 

Michael Saulman

 

Erica Sunshine Lee – Elixir

Erica Sunshine Lee – Elixir 

URL: https://www.ericasunshinelee.com/ 

If listeners expect Erica Sunshine Lee to be slowing down after seven albums, they are quite mistaken. Her seventh studio release Elixir is a fifteen song set that finds her as inspired and committed to great music as ever before. Her voice has an imposing amount of gusto on every song and it isn’t difficult to imagine her wanting to slump into a deep chair and rest, covered in sweat, after every performance. This sort of commitment to getting a song across to the audience and communicating isn’t easy to find in the modern landscape. Erica Sunshine Lee sounds like she is with every word on Elixir and, regardless if she’s singing about Jesus or drinking, she brings a tremendous amount of passion to bear and more than a little musicality. The result is a collection that’s sure to entertain longtime fans of the genre, but likewise will reach across the musical boundaries and draw fans into the music who might not otherwise listen to country or its rock influenced variations.  

The album’s first song, “Shut Up Heart”, carries some of that rock and roll spirit, but it’s predominantly country in approach. It isn’t entirely accurate to cite this as a example of the current school of thought in favor with the genre, but it definitely wouldn’t sound like a poor fit in a radio playlist focusing on that style. The second track “The Bottle Ain’t Enough” is a brawling track full of loud electric guitars, a big chorus, and an unabashed depiction of longing that no amount of liquor can quell. The first muted moment on the album comes with the track “Karma” and there’s some storytelling and comedic aspects to her songwriting talents that get an entertaining work out here. Elixir’s first big peak comes with the piano driven ballad “My Favorite Word” and the impassioned vocal Lee brings to the instrumental track helps push it to even greater heights. She may rely on a number of familiar things in the country genre, but she handles these devices with such creativity and artfulness that you’ll easily forgive her taking place in a long tradition.  

“Medicated” is the sort of damn the torpedoes, honest as a heart attack rocker with country flavor that few artists of any ilk have the nerve to tackle nowadays. Erica Sunshine Lee tears into the lyric completely and gloriously oblivious to its similarity with a half dozen other songs, at least, and you end up loving her for the devil may care attitude rather quickly. The fatalistic edge characterizing songs like this disappears on the bitter reflection of “Pills and Booze” – it’s the hand shaking aftermath of Sunday morning and the realization that something else has taken control of your life. She, appropriately, turns the songwriting in a spiritual direction on the tune immediately following it. “Jesus and Georgia” is a song, at its heart, that’s about connections and how the abiding ones in our life are invariably those that most clearly define us. “Mustard Seed” deals with spiritual matters as well, but its thrust is more in the direction of testimony and it pulls that off without ever sounding pretentious or hamfisted.  Elixir has a lot of different faces, musically and lyrically, and a vocalist at its heart who is capable of tackling any sort of tune. It might run a little long for some, but there’s never a second of it that falls flat.  

9 out of 10 stars 

FACEBOOK: https://www.facebook.com/EricaSunshineLeeMusic/ 

David Shouse

StonerPop - Self titled

StonerPop - Self titled  

URL: http://www.stonerpopculture.com/ 

Electro pop often takes an unbalanced approach. The artists in the genre frequently place more importance on their keyboards and synthesizers and reduce the important role vocals and lyrics can play to something akin to an afterthought tacked on for consumers. StonerPop doesn’t follow this logic. The five songs on their debut EP aim to provide listeners with an involving musical and lyrical experience. Vocalist and co-songwriter Maudie Michelle gives her audience a variety of “looks” over the course of her four singing performances and the different poses she strikes never ring false. She proves herself quite capable of holding up her end of each cut she’s featured on. Her artistic cohort Jimmie Maneuva contributes occasional vocals, but his musical arrangements are crucial for giving Michelle an attention holding platform for her to stretch her talents. 

She keeps her vocal presence on the first song “Preachers” every bit as understated as her musical accompaniment. There’s a lot of space in a song like this and some passages literally drop out of nowhere, with little preamble, exert their influence over the song, then disappear just as quickly. It isn’t an arbitrary thing, however. It becomes apparent rather quickly that there is a definable structure to the song that’s quite inventive, referencing the familiar while still delivering the unexpected. The duo dials the intensity up a few notches on the second song “Running”. Maneuva’s musical contributions invoke the song title artfully and there’s just the right amount of post production effects to give this a pleasing theatrical turn. The song is a little more packed with musical action than the opener, but StonerPop shows off here the same talent for orchestrating the elements of electro pop in mature, artistically useful ways. “You’re Never Listening (Get Over Yourself)” has a lot of the attitude detectable in its title, but StonerPop is never obvious about it. They opt, instead, for giving shape to those emotions with sharply defined synth lines and the right amount of ambient sound effects to hang omnipresent over the audience. This song and the one preceding are, far and away, the most intense musical turns StonerPop take on the EP and reflect their songwriting at its most challenging thus far. 

They finish their debut up with much more optimistic, cheerful fare. “Monsters” has a rather dramatic lyric exploring childhood memories and other themes, but it is a much more elegiac and approachable song musically than its lyrics would suggest. Michelle definitely gives listeners her most impassioned vocal performance yet, but it isn’t any sort of hollow pyrotechnic display – the most satisfying thing about her singing on this track is the obvious attention she pays to every line. The final song “Fox” has an even more pronounced commercial edge, but it never quite crosses over thanks to the sometimes fragmented nature of StonerPop’s often lovely melodies. They do what any great musical unit should do – filter their influences through their own personalities and create stylistically distinctive work that no one will mistake for anyone else. StonerPop have accomplished that five songs into their career and can now start work on expanding the scope of their achievement even further. 

9 out of 10 stars 

LAST FM: http://www.last.fm/tag/stoner+pop

Joshua Stryde

Jesse Eplan – Dreams

Jesse Eplan – Dreams 

URL: http://info62103.wixsite.com/jesseeplan 

Jesse Eplan identifies his particular style of music as “rop” – a personal anagram of his R&B, rap, hip hop, and pop influences that come together on every track with a signature feel that no one else can claim as their own. His musical trip commenced at seven years old with the discovering of bands like The Beatles and Led Zeppelin who inspired him to pick up a musical instrument for the first time. Eplan soon discovered he possessed the unique ability to master any instrument he picked up and this continued to be the case as Eplan further spread his wings and applied himself to instruments like guitar and bass. One of the most important discoveries he made, his talent for perfect pitch, has helped set his musical endeavors apart from most because Eplan has the ability to make a deep impact as a solo artist despite relishing a desire to collaborate with others. The avowed guiding principle, however, behind Eplan’s art comes through in every minute of the song – he delivers an inspired performance intent on inspiring his audience. “Dreams” fits the bill quite nicely.  

The backing track is solidly R&B from the outset. It achieves a great groove despite the electronic instruments thinks to how tightly its wound the arrangement is while still retaining a stylish and tasteful push. Some might long for more definitive percussion, perhaps even live drums, but the electronic percussion still sets a tone along with the scattered fat bass notes. The keys and synth lines fill the song with a lot of color as well without ever descending into the mechanical lifelessness so prevalent in electronica. 

Much of what gives it that life is Eplan’s vocal. He shows a lot of patience here as a singer and the phrasing has variety and subtle turns that engages his target audience. Eplan seems to look within, smirk, and turn his eyes downward throughout the entirety of the performance, but he gives a variety of emotional looks to the listener that make this quite a memorable outing. There isn’t a single needless word in the lyrical content and not one wasted moment in the vocal melody. Lyrics should serve the song first and foremost without regard to their ability to stand on their own and “Dreams” is no exception. The words are a perfect fit for the musical arrangement and Eplan knows where to place them for maximum effect. 

Eplan’s forays into the musical world have gained him an immense amount of attention and efforts like this ensure that attention will only expand. As he gathers momentum, Eplan has gathered a team around him to help highlight his talents and push him to the next level faster than ever before. “Dreams” is a profoundly personal work that provides a high entertainment value for fans of the genre and has such great quality that it is quite capable of winning over even people who normally don’t flock to this musical style.  

YOU TUBE: https://www.youtube.com/watch?v=GpytYBp5_QA 

Montey Zike

Big Tribe - In This Together

Big Tribe - In This Together 

URL: http://www.bigtribemusic.com/ 

Second albums pose all sorts of difficulties. Does a band double down on what made the debut work so well, do they expand their creative horizons, or is it advisable to find some sort of middle ground between those two options? Big Tribe opts for the latter choice and it pays off on their sophomore release In This Together. Peter Panyon and his band mates Bonnie Eyler and Joe Heutte sound comfortable on every song, but the dozen songs on this release also find them pushing their creativity in often thrilling new directions. This is songwriting that’s not bound by any set rules or expectations and, working with that sort of personal freedom, it never strikes a false note even on the lesser compositions. Instead, no matter where their creative focus falls on a particular song, Big Tribe sounds confident and makes full use of their skill set within the context of each track.  

“Martha” is a fine way to begin the album and lets listeners know that this is far from business as usual. The lyrical content is open to multiple possible interpretations, but there’s a clarity here that allows various takes thanks to the specific details that Paynon works into his lyrics. The song certainly hints at a strong Dylan influence, but there isn’t an arbitrary line in the whole song – everything has a purpose rather than just a writer groping for a rhyme. The album’s quasi title song, “All in This Together”, marries rich vocal harmonies with a rock rhythm section that grabs listeners by the lapel and shakes them hard. Panyon’s distinctive vocals are in the lead role on this track, like the opener, and give it a character and tone that sets the band’s music apart from similar efforts in the field. Bonnie Eyler’s voice steps out for the first time, solo, on the song “10,000 Years”. This is one of the underrated gems of the album and the acoustic, low volume arrangement really gives the focus over to her beautiful voice. The writing, likewise, defies easy categorization – this is a song about many things, possibly, and it’s to songwriter Peter Panyon’s credit that its meaning isn’t easily parsed or pinned down. 

“The Final Boat Out” is another of the album’s best tracks thanks to its coupling of singer/songwriter, slightly folky, musical textures with shots of pure rock guitar bubbling out of the mix. The lyrics might remind some, thematically, of the first track, but Panyon takes this in a much stronger direction than we heard in “Martha”. “How the Mind Wanders” finds Eyler delivering what’s arguably the album’s most attention-grabbing vocal. This is thanks, in no small part, to the exceptional lyric that sounds like something Panyon lived through, perhaps numerous times, rather than some imaginative exercise. The album’s longest track, “Just a Boy”, has Eyler and Panyon alternating lead vocals to a spectacularly inviting effect. This is one of the warmest songs on the album and, despite covering familiar ground in terms of subject, it has its own take on the matter quite unlike other bands working in this vein. In This Together closes with a bit of a jokey, albeit quite affection, song entitled “The Boys of Autumn”. It’s a clever ode to Panyon’s love for baseball and the warmth and regard with which he holds the game comes through in a playful way. Big Tribe shows listeners a variety of musical faces on this release and they all hang together with coherence and musical quality. In This Together is a great follow up to their debut and sets the stage for Big Tribe’s continued evolution in the years to come. 

9 out of 10 stars 

SPOTIFY: https://play.spotify.com/album/5PIgaZ9AfLDXre3nF5QRAO?play=true&utm_source=open.spotify.com&utm_medium=open 

Scott Wigley 

The Cavalry - Build Your Own Empire

 

The Cavalry - Build Your Own Empire

URL: http://www.thecavalry.fm/ 

Nashville Rock, a mix of bluesy Southern Rock poses coupled with pop inclination and a assortment of traditional country tropes, has been one of the major commercial movers in the music industry over the last decade. The tide shows no signs of abetting, but we’ve fortunately been blessed to encounter a number of talented vocalists, songwriters, and bands who have enough artistry to elevate AOR radio’s natural heir far above their commercial level and closer to something resembling anthem-inclined high pop. The production on efforts such as this is usually top notch and Build Your Own Empire is no exception. The Cavalry’s first recording is a five song collection that, in turns, highlights songwriter and singer Tristan Jackson’s talents in each of the genre’s styles. He’s a full-throated rock singer, nuanced balladeer, and melodic performer who carries enough charisma that inhabiting any track isn’t much of a challenge. The band is largely a one-man affair, but Jackson shows the astute sense to surround himself with a capable cast of collaborators and co-writers.  

 

“Don’t Mean You’re Gone” is the album’s first full song and completely embodies The Cavalry’s approach to Nashville Rock. There are a number of guitar fills with considerable bite that enliven the track while the muscular drumming sets an authoritative tone that dramatically contrasts with the melodic virtues. The genre requires a bit of a musical balancing act that The Cavalry pulls off extraordinarily well. “Wake Up Call” has a ethereal mid-tempo lift and abundant vocal harmonies, but shares a lot with the other songs on this release. The instrumentation takes a resolutely compositional approach to song creation; each part dovetails into the next and no one player ever takes center stage for a self-indulgent display of their virtuosity. Another highly stylized track is “When the Radio’s Gone”, but it is clear that if there are two songs aimed almost exclusively for radio play it’s this and the EP’s last cut. “When the Radio’s Gone” gains much of its impetus from how the song smartly manipulates its tempo at just the right moments and, once again, from musicians’ far more in tune with when not to play rather than weighing down the song with needless fat. 
 

The concluding song, “Red, White, and Blue Jeans”, is pure Nashville Rock that takes aim for radio play and will likely score it in abundance. Naturally, given its title, the song has a much more anthem-like sound than those preceding it, but it never descends into cheesiness and over-exertion to achieve its effects. This final song on Build Your Own Empire is an emphatic exclamation point on the album as a whole and shows that Tristan Jackson, as The Cavalry, is operating on a different level altogether than many of his contemporaries. This is as good as an debut EP as anyone, any genre, has a right to expect. It is abundantly clear that Jackson entered the studio with a solid vision for what he wanted to achieve and he, along with the aid of his collaborators, hits all of his marks with room to spare. 

9 out of 10 stars
 

FACEBOOK: https://www.facebook.com/TheCavalryNation/

Aaron Ellis 

Uncle Frank – Fountains

Uncle Frank – Fountains 

URL: http://www.unclefrankband.com/ 

Produced by the Uncle Frank Band and mixed by award winning mixer and producer Tim Latham, renowned for his work with A Tribe Called Quest and The Rolling Stones among others, the first single from Uncle Frank’s second album has hit and promises to build enormous anticipation for its upcoming release. “Fountains” is a clear evolution for the band over the fantastic songs on their 2015 debut Maximum Respect. This is a band who clearly knows that the best dance pop is constructed around solid grooves and it will be difficult for any listener, even those not fond of this genre, to not find themselves physically inspired by this song. There isn’t one wasted note in the entire track. Instead, the song comes out swinging and romping and Frank Benbini, the band’s namesake, commands attention with his stylish and musically attuned vocals.  

It is far more than just some vacant dance pop number about having a good time. This song has a definite message that the lyrics clearly express and will strike some listeners as more akin to singer/songwriter oriented material. The music might have persistent intensity from beginning to end, but the lyric has an uniquely optimistic turn despite the fact that the singer clearly regards himself as someone facing obstacles in life. The opening line refers to the world as a madhouse, but the remainder of the song poses all sorts of ways how the listener and singer alike might escape that pressure. The great themes of transcendence and redemption have always been a big part of what makes some of the best pop music work and, in the hands of these superior musicians and songwriters, “Fountains” is sure to become one of the more memorable entries in recent memory touching on those concerns.  

Benbini’s time as part of the band Fun Lovin’ Criminals means he is an experienced singer with tremendous technique and personality that adds a lot to the band’s material. He never pushes the envelope too hard and, instead, relies on a tasteful approach that still swings every bit as much as the massive rhythm section grooving behind him. The song runs just over two and half minutes long but it plays like a complete experience and Benbini takes control of the allotted sonic space in a way few performers working in this mode are capable of. His collaborators, including producer/guitarist Naim Cortazzi, bassist Luke Bryan, drummer Junior Benbini, and keyboardist Jay Lynz are a huge part of why this song so completely succeeds, but its chances of reaching the desired audience ultimately rests on Frank’s broad shoulders. He’s quite up to the task. “Fountains” is an extraordinarily, multi-faceted offering from a band capable of endless invention and they will likely continue on this upwards trajectory for some time to come. Get ready world because, for fans of this type of pop, 2017 will get off to quite a memorable start thanks to Uncle Frank and his cohorts.  

I-TUNES: https://itunes.apple.com/us/album/fountains-single/id1170071577 

Lance Wright