Album Reviews | The Oomph Music Blog

Churchill “Happy/Sad” Drops Today

Feb 082011

A few weeks ago, I talked about the anticipation I’ve had about Churchill‘s long-anticipated release Happy/Sad. After getting hold of the full recording, I’m “happy” to say the songs have more than met my expectations. (Read a review here.) I’m even happier to say that as of today, you can get the record on iTunes–or if you’re a Denver local, you can pick up a hard copy at Twist and Shout Records.

Denver hometown boys The Fray graciously lent their personal recording studio for the tracking of Happy/Sad, which (as the album title suggests) explores the range of human emotions, particularly in the context of relationships. Besides the overall sound and chemistry of the band (of which I was already a fan), what I like best about this record is the songwriting. Creative lyrics and catchy melodies that stick in your head. After listening to this record just once, for several days afterward I woke up in the morning with several of these songs playing in my brain’s auto-shuffle. Along the first single “Miles” which I shared here, personal faves are “We Used to Be Happy,” “Loud,” “The President,” and “Think It Over.” The song “Burn It Down” is also heading to the top of my list. But really, imho, there’s not a bad song on the record.

Here’s another tune from Happy/Sad which I think you’ll enjoy. If you like it, go download the record from iTunes. And if you’re in the Denver area this Friday, Feb. 11, be sure to check out their CD release party at the Hi-Dive.

Churchill “We Used To Be Happy”

Download Happy/Sad on iTunes:

The Raven and The Writing Desk: Musical Literature

bands 1 Response »

Jan 282011

Sometimes what you name something is important.

The Raven and The Writing Desk. When I first read the name of this haunting indie-pop band, my attention was immediately arrested. Instantly my brain created associations with Edgar Allen Poe, C.S. Lewis, and that old video game Myst. What an interesting name; it suggests what you’re about to hear would be best listened to while sitting in an old wood-paneled library, smoking a pipe.

Turns out the name fits the band’s sound quite well. Their record Recidivist is described on the band’s MySpace page described as a concept album in which the songs “center around tragic characters who have fallen victim to their cyclical existences.” (The word “recidivist” refers to a criminal who continues to repeat the offense, so the title fits, as well.) I heard the record before reading the description, and that vibe was very easy to pick up. It isn’t just that the songs tell a story; the sound tells the story. An interesting blend of the familiar and the experimental, this is piano-driven indie-pop overlaid with haunting violin and guitar, providing an almost theatrical backdrop for frontwoman Julia LiBissi’s emotional, expressive vocals.

I don’t think I’ve ever used the term “literary” to describe a band’s sound, but to me there’s no better word to describe The Raven and The Writing Desk. When I listen to them, it sounds like musical literature. The music is an experience in itself, taking you into another time and place. Not bad for a band who is barely a year old.

I’ve put up the first track here, but being a concept record, Recidivist is best listened to in full. So if you like the opening act, go to iTunes and pick up the record.

The Raven and The Writing Desk: “Somnambulist”

Buy Recidivist on iTunes:

Katey Laurel: Growing “From Here”

artists 2 Responses »

Jan 152011

With all the music I listen to in my role as a blogger, one thing I truly enjoy is observing the growth of an artist–to see how a musician progresses from one record to the next. I love it when the new record is better than the last.

Take Denver-based singer/songwriter Katey Laurel, for instance. I haven’t reviewed her music before now on this blog, but this new record From Here isn’t the first time I’ve heard her. We first connected about a year ago, when she sent me a copy of her record Upstairs Downstairs, which at that time was already a couple of years old. The songs and the record’s production value were presentable enough, but when she mentioned she was working on some new stuff, I decided to wait to hear what she did next, and review her more current material.

The amount of artistic growth reflected in this new record, compared to the previous one, is nothing short of remarkable. If these two records were pencil marks on the wall, Katey Laurel just grew a foot. The songwriting has taken a quantum leap forward, with well-crafted lyrics and solid melody lines. The arrangements are current. The production value is excellent. But all that is not even the best part.

Katey Laurel has one of those unmistakable voices that is instantly recognized–a huge plus for any artist, but it can be a double-edged sword, because like a diamond, it really has to be placed in the right setting in order for it to shine. For me, the most satisfying element of this record is that each of the eight songs on it is an excellent setting for her voice. Katey’s producer did a fantastic job of making sure her greatest qualities as an artist–both as a vocalist and as a songwriter–have been placed front and center. The result is a set of songs that could easily be pitched for radio airplay.

The songs on From Here are pretty solidly in the AAA market–mainly love songs with a hint of country and even an occasional splash of jazz–so don’t go looking for anything wildly experimental, because that’s not the record’s intent, anyhow. But in my humble opinion, this record marks a personal artistic breakthrough for the artist. Katey Laurel has taken it to the next level.

Katey Laurel: “Begin Again”

Buy From Here on iTunes:

Bern & the Brights: Swing Shift Maisies

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Oct 202010

Here’s an indie band that’s been getting a lot of attention in their part of the world–which just happens to be New Jersey. In fact, Bern & the Brights has been nominated locally for two Hoboken Music Awards, for Outstanding Band and Outstanding EP.

The EP for which they’ve been nominated, Swing Shift Maisies, was released back in July. I’ve had a chance to listen to it, and I can see to some extent what the stir is about. Bern & the Brights have a distinctive sound, with elements of roots, rock and progressive country, overlaid with lead singer Bernadette Malavarca’s eclectic vocal quality. Their sound sets them apart from the pack, and is definitely their strongest asset.

Perhaps the one weakness I found with Swing Shift Maisies is that although there are definitely catchy moments on the record, there was also some melodic “dead space”–times when their amazing sound actually didn’t seem to be going anywhere due to a bland melodic line. It wasn’t that I felt the band lacks potential–more like I felt there were places where the potential wasn’t fully reached. Bern & the Brights is definitely a promising band; what they need to take them over the top, IMHO, is simply a few more strong songs in their arsenal to carry their distinct sound.

That said, this is a band well on their way. Take a listen and see what you think.

Bern & the Brights:
Bernadette Malavarca – lead guitar/vocals/percussion
Catherine McGowan – acoustic guitar/vocals
Nicole Scorsone – violin
Shawn Fafara – bass
Jose Ulloa – drums

Bern & the Brights: “Sangria Peaches”

Buy the EP on itunes:

The Starlings and Their Bright Light

bands 1 Response »

Sep 112010

There seem to be two distinct camps these days for the Americana/folk genre, with very little middle ground. There is no basic “current” form of it; if it’s modern, it’s “alt-country,” and if it’s just regular Americana, it sounds almost retro, pretty much the same as it has for decades. And today’s country? Fuggedaboutit. Today’s country is basically rock with a twang. Not saying that’s bad or anything; just saying.

Listening to The Starlings new record Bright Light, released this past summer, I’d have to place them in the second category, the “old school” brand of Americana/folk. Again, not saying that’s bad, because what they do, they actually do quite well. This 14-song CD is well-produced and well-played–about as good a recording as any indie project could be without the financial backing of a major label.

At first glance, it might seem a bit unlikely that this band is playing this kind of music. First of all, we’re not talking about the deep south or the dusty western plains; this band is from Seattle. (However, two of the bandmates migrated there from Iowa, so that might explain things a bit.) Second, Joy Mills, the band’s main songwriter and vocalist, has a voice reminiscent of Neko Case–which, of course, suggests perhaps a leaning toward the alt-country category. But no; this band is solid old-school Americana/folk, with a sound that is more “country” than even modern “country” has become. And like I said–they are good at it. Their sound conveys you to a different place, maybe even a different time when things weren’t quite so hectic. It’s the kind of sound that makes you want to sit on the back porch with a beer and just watch the sun go down.

Of the fourteen songs on the record, two are standouts for me–and they represent the two emotional poles of the record. “Blue Dog”, sung by Tom Parker (the only male in the four-piece band), is a fun, tongue-in-cheek singalong tune, while “Aloysius” sung by Joy Mills is a haunting ballad. I’ve included both below for you to sample.

If you like their stuff and want to hear more, you can buy their record from their website, or below through iTunes. If you live in the Denver area, you can check them out live as they come through town this weekend on tour. They’ll be joining locals The Hollyfelds at the Hi-Dive on South Broadway on Thursday, Sept. 16, starting at 9:00 PM.

The Starlings: “Blue Dog”

The Starlings: “Aloysius”

Eric Forsyth Lays It On Thick. Or Thin.

album reviews 1 Response »

Sep 082010

The Thin of Thick Things. Say that five times fast.

No, don’t.

Boulder pop-folk singer/songwriter Eric Forsyth is releasing his second project on September 21, a six-song EP called The Thin of Thick Things. My advance copy has been in my ipod shuffle rotation for a few weeks now, and when one of Forsyth’s songs comes up, it is one of those moments when I go, “Wait…what song is that??” Eric Forsyth’s sound is comprised of an intriguing blend of impressive acoustic-roots-folk guitar work underneath, overlaid with Forsyth’s surprisingly smooth, soulful vocals. It isn’t what I’d call groundbreaking, but it’s just plain good music.

So…is it thick, or is it thin?

Well, both, actually.

On the arrangement side, it’s thin–meaning sparse, not substance-less. The tracks are mostly acoustic guitar and vocals, with the occasional bit of mandolin–and while it would do just as well with bass and drums, the sparse instrumentation carries it off just fine.

On the emotional and lyrical side, it’s a little more thick–but not too thick. Sometimes whimsical, occasionally reflective–autobiographical, even–Forsyth has drawn from both positive and negative recent life experiences to craft the lyrics of the record. His honest writing gives the recording a decent amount of depth for a six-song effort.

So, yeah, it’s both thick and thin. A pretty good balance, actually.

If you’re in the Denver/Boulder area, you’ll get the chance to experience the thin and thick for yourself. Forsyth will be doing a CD release show on Saturday, September 25, at The Laughing Goat on Pearl Street in Boulder. Helping him out will be the new duo formed by Megan Burtt and Ayo Awosika, Travel | By | Skylark.

Eric Forsyth: “Good Days”

Regret Night Steps Up

album reviews, pure narcissism No Responses »

Mar 072010

This post is supplementary to my article on Examiner.com.

When you first start writing about a local music scene, you are, in a sense, late to the party. You find yourself running to catch up becuase all you have to go on is what you see in front of you, and you have to try and make sense of it without the advantage of previous history.

The first time I saw local powerpop band Regret Night do a show, I wrote a less-than-flattering review of them based entirely on their performance, with a peek at their MySpace page for a frame of reference. That show was a fundraiser to help them fund the recording of their new EP. I could tell from that first show that Regret Night had a fairly solid fan base, which told me there must be something to them–but that night there just wasn’t a lot of substance behind the hype. So I wrote what I saw, trying to give the band the benefit of the doubt for what I hadn’t seen, and throwing in some suggestions for how they could step it up.

A few weeks later, I received a gracious email from Regret Night (whom I’d not told about my review), thanking me for my candor and telling me they were taking my suggestions to heart–and inviting me to review their new EP when it came out. Just the fact that they took the time to respond (instead of react) and invited me to give my opinion again said a lot to me about them. After all, for all I knew, they’d just had one bad night.

It would be presumptuous to think they were acting on my advice alone (or at all), but since that email conversation I’ve watched from a distance while Regret Night has seemingly been doing several of the things I had put on my list of suggestions. When I found out that they were finally releasing their EP, Living the Night Life, at a concert at the Marquis Theater last Friday, I felt I owed it to them to see them again and to give their new project a spin.

I’m happy to say that Regret Night did step it up, both with the EP and their concert. The recording has catchy tunes and great production value, and their live performance (though riddled with technical difficulties which must have been frustrating) was definitely an improvement over the last time I saw them. And the bands they had with them on the ticket did them proud as well–which was one of the things I really harped on in my previous review. Best of all, I was able to see some of the elements of their appeal that has won them their fan base, the things I knew must be there but couldn’t see the first time I saw them.

It would be dishonest to say Regret Night doesn’t still have some growing to do. But kudos are definitely in order for these guys, for several reasons. First of all, behind their carefree party persona, it’s apparent the band hasn’t always had an easy time of it, especially in getting this EP done. The fact that they pressed through their obstacles to get it done–and did it so well–says they are serious. Second–simply put, they have grown, likely as a result of their perseverance. And third, and possibly most important–Regret Night accepted with grace the criticism of a newcomer-upstart and took it seriously. And that is why I know they will continue to grow–because for bands with that attitude, growth is inevitable.

Way to go, guys.

Hey Stupid
Build Me Up

Living The Night Life EP on Amazon

Album Review: Megan Burtt “It Ain’t Love”

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Feb 152010

"It Ain't Love" by Megan Burtt

This post is supplementary to my article on Examiner.com.

I’m definitely a fan of local talent, and always appreciate the opportunity to check out new material. But to be honest, now that pretty much everyone and their uncle can make a record, I usually start out not expecting too much. Even among the stuff that isn’t “bad”, there’s so much to compete with that it all sort of blends into a sea of “okay” material, and it takes a little more oomph to rise above the noise.

So when Denver roots-rock singer Megan Burtt‘s new release It Ain’t Love showed up in my mailbox, I put the CD in the car stereo (yes, I’m still early ’90s that way) and drove around, running my errands, half-listening and half-thinking about my errands, to see if anything would arrest my attention.

I got out of the car and went into the store…and I noticed the song I’d been was listening to was still playing in my head. Good sign.

I kept listening. While style-wise there wasn’t much I hadn’t heard before, still these moments of promise kept happening–a powerful lyric, a captivating vocal, an interesting guitar riff. I’d put the CD back on and listen some more. And some more. It wasn’t a lightning-bolt-from-heaven kind of thing; it was more like a slow burn that grew on me…enough to keep me listening, drawing me in. I kept finding these treasure-moments, and I’d go back and listen to those moments again. Yeah, she’s got it, I thought. There’s definitely something there.

It really is a solid recording, well-engineered, musically consistent, good arrangements of the tunes–and it doesn’t sound like it was recorded in someone’s closet. Burtt shows a lot of range, both as a vocalist and a songwriter. Dealing mainly with the darker aspects of love and relationships, the album has a bit of a brooding tone, sometimes angry, sometimes reflective, sometimes cyncial. It plays like a coming-to-grips record, an honest processing of disappointment and pain.

For me, personally, the second half of the record is stronger than the first. The early cuts aren’t turn-offs or anything…just not as much there to hook you, just enough to maybe keep you listening. It’s like the record really starts taking off around the fourth song; and from that point on, you start seeing a lot more of what Megan Burtt is capable of. Surprisingly, the standout moment of the record for me is the middle ballad, “Moves.” Sparse arrangements, passionate-yet-controlled vocals, and a memorable lyric come together and create this sort of magical moment. If all the tracks captured this combination of artistry and passion, the record could easily be a Grammy contender. More, please.

All told, I think It Ain’t Love is a strong showing for a singer-songwriter with lots of promise. Take a listen for yourself, go buy the record, and sit with it awhile, like I did. It will make you a fan. It will be exciting to watch and see what Megan Burtt does next.

Oomph scale: 8.5

Megan Burtt: “It Ain’t Love”
Megan Burtt: “Moves”

Download the album on Amazon

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