Category Archives: singer songwriter

DANIEL TASHIAN – Arthur

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Following the release of the third Silver Seas album ‘Chateau Revenge!’ in July 2010, frontman Daniel Tashian must have worked solidly over the following year. The Silver Seas released an acoustic counterpart to that aforementioned album and played various live shows, while Tashian’s second solo release – the semi-acoustic EP ‘The Lights of Town’ – was also released. By the summer of 2011, Tashian had recorded and released another solo record. ‘Arthur’ brings together nine songs, supposedly themed around the movie of the same name, although naturally, they’re capable of standing alone as individual compositions.

‘When You’re Gone’ is brimming with seventies pop goodness, the kind which sits at the heart of Tashian’s best compositions. It may feature some sharp guitar chords in places, but a harmony vocal, warm bass and soft electric piano lend a strong sense of melody. It’s a number which showcases Tashian’s gift for arrangement. As good as it is, maybe it could have done with being a tad longer… By the time you really get a feel for this track, it’s gone. Equally top-notch Tashian, ‘Tigerlily’ combines acoustic guitars and a smooth electric piano. The lead vocal is also suitably smooth, as the track ambles in a way which evokes a warm summer evening, with its friendly, yet slightly downbeat vibes. Its retroness makes it feel at once very familiar, but never in a way which would suggest Tashian is recycling previously used ideas. The acoustic based ‘Lighthouse’ is pure lounge-pop; it’s not bad by any means – Tashian’s voice is strong and the slide guitar lends a certain mood, but the slight samba rhythm leans on the side of just a little too easy. Still, if the intention here was to capture the feeling of the sea and drifting, it’s certainly successful.

‘Nightmarch’ finds Tashian in a rockier mood than usual, as he cries out above a jangling rhythm guitar, augmented by slightly edgy lead guitar work. The drums are fairly crashy here, too, and the bass appears unobtrusive yet rather busy in its overall approach. There’s a reasonable chorus on show, but it’s a number which requires a few plays before you’ll realise how good it is. ‘Swimming Against The Tide’ opts for a mood that’s almost disco-pop. Tashian’s vocal is strong, but unless you’re really into stuff which sounds like a Bee Gees demo sketch dressed in a Jeff Lynne cloak, it’s just a little too retro. Still, if that’s your bag, you’ll find a really funky bassline (which sounds like it was powered from a keyboard) and a generally tight arrangement here. For those who’ve spent a lot of time with The Silver Seas’ ‘High Society’ or ‘Chateau Revenge!’ there’s a possibility you’ll end up feeling that this number could’ve been the basis for something better.

‘Anna’ is an equal match for ‘Tigerlily’ in terms of greatness. Musically, it sits other end of the scale, being this album’s most feelgood number. An upfront bassline leads the way with a warm riff, which sounds incredibly effective when pitched against occasional electric piano and ringing guitar chords. Tashian’s vocal moves between whispered verses and sung choruses; the contrast between the two styles is effective. His soulful approach on a what is a very enjoyable chorus should have been this track’s big draw, but Tashian takes things a step farther… An occasional string sting tops things off excellently, reminding the listener of this artist’s obvious love for ELO and all things 70s AM radio. While this sounds a little like a ‘Chateau Revenge!’ leftover at times (mostly through its use of electric piano), it’s not second division in quality – and for those who’ve already fallen in love with The Silver Seas sound, this will likely be the number which – unsurprisingly – stands out on ‘Arthur’.

‘Arthur’ contains some enjoyable material which, in a couple of places, finds Tashian branching out a little. Since it doesn’t always reach the dizzy heights of some of the best Silver Seas stuff, it may not be the best entry point to Daniel Tashian’s work. As you’d expect from a great songwriter, though, ‘Arthur’ isn’t without a few genuine gems.

September 2011

KURT SHANKS – Seven Flights Up EP

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Kurt Shanks is a singer-songwriter from Auckland, New Zealand.  He was previously the bassist with the band Stellar*.   His debut solo EP ‘Seven Flights Up’ isn’t a release that’s easy to pigeonhole since its five numbers cross different musical boundaries, but the core of his sound is most often rooted in alternative rock.  If you’ve been looking for someone with a bit of edge, look no further, since Kurt’s debut EP has moments of sheer brilliance.

The EP’s title cut isn’t far short of being absolutely immense. The drum sound is big, which alone grabs the attention.  The drums collide with muted guitar strings played in a seventies cop show style and then – BANG! – the bass kicks in…and its rolling nature has the potential to crush everything in its path.  Occasionally the guitars break into shimmering chords and a little organ fills out the sound, but most of the presence comes from the dominant rhythm section.  Shanks’s vocal is a little breathy, but somehow he maintains a presence within the barrage of sounds.  These elements would have made a great arrangement alone, but Shanks tops everything off with a semi-aggressive guitar solo full of wah-wah and blues rock tendencies.  In just under four minutes, ‘Seven Flights Up’ rewrites the book on how to make an impression.

Unsurprisingly, a couple of the following numbers veer rather more towards the ordinary, but are still good in their own way.  ‘We Shall Have Another Day’ is musically much safer, but on the plus side, comes with a bigger hook.  It’s a decent piece of jangly pop/rock, where Shanks blends tuneful electric guitar work with mandolin, with the end result sounding very radio friendly.  ‘Where Would You Go’ has a more 80s feel with its use of synths and muted chords, while Shanks’s softer vocal has a hint of Karl Wallinger and World Party.  While a world away from the opening track of this EP, it’s still very strong.   These two numbers are the ones which showcase “Kurt Shanks the songwriter” as opposed to “Kurt Shanks the musician and arranger”, and since they demonstrate a different side of his talent, they still have a very welcome place here.

‘Shoot To Kill’ is a little unexpected, casting Shanks in the role of a trashy rocker.  Here, he spouts anti-religious lyrics against a rousing arrangement which pulls together the best elements of The Replacements, Coyote Shivers and a pinch of glam (in a Beat Angels/Ryan Roxie style).  His band is tight, with a heavy focus on the guitars, pulling together a hefty twang and crashy chords.  Disposable it may be, but it’s hugely enjoyable, especially with Lani Purkis’s shouty backing vocal.  For trashy rock, this scores very highly indeed.  The EP finishes of with a short acoustic tune which mixes acoustic guitars and mandolin, over which Shanks’s voice is deep and soft.  It’s a number which sells itself a little short, since it ends just as you think it’s going for a chorus or climax of some sort.  It’s the EP’s filler, but it winds things up nicely.

In approximately fifteen minutes, Shanks demonstrates a variety of styles, and while it’s his more aggressive tones which prove to be the most thrilling, he pulls off each style with relative ease.  While a bit of a mixed bag stylistically, everything on this EP is well played and really well produced, making ‘Seven Flights Up’ a fantastic release overall.

August 2011

LINDSEY BUCKINGHAM – Seeds We Sow

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Following 1992’s ‘Out of The Cradle’, Lindsey Buckingham continued to write new material, but largely stayed out of the spotlight. In the early 00’s he had almost completed a solo album, provisionally entitled ‘Gift Of Screws’, when destiny called and he rejoined Fleetwood Mac. A few songs scheduled for ‘Gift of Screws’ were reworked with Fleetwood Mac and eventually surfaced on their 2003 release ‘Say You Will’.

After touring for that record, Buckingham resumed his solo career and released the intimate acoustic record ‘Under The Skin’ in 2006, followed by a finished, partially different ‘Gift of Screws’ in 2008. As 2011’s ‘Seeds We Sow’ is Buckingham’s third solo release in five years, it marks his most prolific period in some time. It’s a very home-spun recording, with a lot of programmed mechanical elements, but that’s certainly not to say it sounds hurried or remotely slapdash compared to works on which he spent three times longer.

Despite the drum loops, ‘Gone Too Far’ has a pop purity, which with a little tweak would be worthy of inclusion on a Fleetwood Mac disc, with pleading lead vocals and a plethora of backing voices. Musically, it’s much simpler than some of Buckingham’s works, but it stands up well. The vocals alone would carry most of the number, but a few plays in, the unobtrusive guitar solo stands out as being particularly noteworthy, capturing a very clean and distinctive sound. ‘In Our Time’ is a superb off-kilter pop number which Buckingham very much makes his own. Not just with a plethora of finger plucked moments, but the addition of staccato keyboard strings for emphasis hints at the anger of a couple of his ‘Tusk’ performances. Almost a complete opposite ‘When She Comes Down’ is rich with harmony vocals. The music is relatively simple, but Buckingham is acutely aware that a strong hook and stronger vocal will win out. It’s enough to make you wonder how this would have sounded with the embellishment of Stevie Nicks and Christine McVie… [‘Seeds We Sow’ may be rather mechanical on the whole, but even after a few plays, it’s so obvious that most of these songs are vastly superior to those which filled Mac’s ‘Say You Will’, which was let down in part by Christine McVie’s absence].

‘That’s The Way That Love Goes’ is credited as featuring other musicians (everything else is arranged and recorded by Buckingham alone), but even so, it doesn’t sound much more natural than the other cuts. The drums come with a clipped march, the bass only slightly warmer than on other numbers and the keyboards add little interest overall. As expected with a Lindsey Buckingham recording, however, this track is still very much “The Lindsey Buckingham Show” – and frankly, his contributions are almost beyond criticism. His vocal retains exactly the same presence as it has always had -as if barely any time has passed since those drug-fuelled ‘Tusk’ sessions and days of excess – while the music contains a few slightly more angular moments. ‘One Take’ is the album’s most urgent cut, both musically and lyrically. The bass notes rumble as Buckingham settles for a far less showy guitar style. Clanging rhythm chords provide most of the focus, but the two instrumental breaks are where it’s at; each one brimming with fury – a sharp reminder of the man who played the screaming solo at the end of ‘The Chain’. Combined with Lindsey spitting lyrics like “I have no reputation and I’m not on any list / That’s because I got a publicist who covers up the avarice and where I put my fist”, it’s certainly the closest ‘Seeds We Sow’ comes to presenting anything resembling an angry rocker. Placed alongside some of the more refined numbers – particularly those with a strong bias towards finger-picked guitar – stylistically, this feels a little shoe-horned in. On the other hand, it comes loaded with a chorus that’ll stay with you after three or four plays, so it’s still a really great track.

It’s with the solo number ‘Rock Away Blind’ ‘Seeds We Sow’ unleashes what is unquestionably it’s most amazing piece. Buckingham’s voice has a pop musician’s purity, and as such is extremely admirable, but looking beyond that, his guitar work is just astounding. His voice compliments a furiously plucked acoustic guitar which is subjected to an appropriate studio shine (and possibly some kind of delay). The blanket of notes is mesmerizing – this is every reason Buckingham is revered as a musician as well as song writer. With this track, he captures the essence and brilliance of that performance of Fleetwood’s ‘Big Love’ (the one featured on ‘The Dance’) on a studio recording. It’s a track which can be played on a loop and never lose any of its sparkle. Similarly, the cover of The Rolling Stones’ ‘She Smiled Sweetly’ – which wraps things up – proves a fantastic showcase for Buckingham’s sounds of wood and strings pitched against breathy vocals. A track so subtle, yet brimming with professional brilliance, this provides a most appropriate ending.

Although this album stretches Buckingham’s work into a couple of new places stylistically and isn’t always as polished as some of his previous outings, his voice retains a heart-warming familiarity which will keep most listeners coming back time and again. And while some musicians would sound cheap surrounded by drum machines and programmed elements, throughout ‘Seeds We Sow’, Buckingham’s song writing runs rings around most and that – combined with his superb voice – is enough to make ‘Seeds We Sow’ a fantastic listening experience.

September 2011

STEPHIN MERRITT – Obscurities

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For the uninitiated, Stephin Merritt is one of New York’s best songwriters.  His combination of wry wit and baritone voice makes him the Stateside equivalent of Neil Hannon and his Divine Comedy.

Despite years of hard work, it was only with The Magnetic Fields’ 2001’s sprawling triple set he gained a wider press, and while that album has little quality control, half the joy with regard to that release comes from discovering the sparkly diamonds among the trash.

‘Obscurities’ pulls together fourteen rarities (a bunch of stuff from 7”s and other oddities, but most importantly five previously unreleased cuts) from Merritt’s pre-2001 breakthrough; tracks from various projects, but each one essentially containing the sparks of genius you’ve come to love from Merritt’s musical theatre, alternating between sneering, wistful and occasionally high camp.

An early Magnetic Fields number ‘Beach-a-Boop-Boop’ combines a lo-fi guitar and youthful sounding vocal with a tune that sounds rather a lot like Cat Stevens’s ‘Here Comes My Baby’ and as such, it’s easy to see why it’s languished in obscurity.  As is often the case with Merritt, though, it still has charm…and an annoying tendency to wedge itself inside your head. Further back in the time capsule, Buffalo Rome’s ‘Plant White Roses’ is a simple acoustic based country-folk hybrid, made more whimsical by Shirley Simms’s vocal.  So much more mature than ‘Beach’, but perhaps more importantly, easier to digest than the futurist electronica of a couple of the featured numbers. It’s testament to Merritt’s gift from writing songs in different styles, if nothing else.

‘Riot In The Sun’ (credited to The 6ths) is one of the collection’s clear standouts, even though the aggressive programmed electronic elements, at first, sound as if they’re going to be impenetrable.  After a few bars, they prove otherwise and once Merritt’s deep croon finds a home among the noises, everything works well.  The track is a short tribute to the man’s perverse genius and ability to blend styles that really shouldn’t be blended. [Other previously released works by The 6ths feature a host of guest vocalists, including Lou Barlow, Bob Mould, Gary Numan and Marc Almond].

‘When I’m Not Looking, You’re Not There’ is an unreleased cut from The Magnetic Fields, and unusually, it’s one of the tracks here which ought to have stayed buried.  Yes, Merritt’s baritone oozes its usual self-assured charm, but the music…the music is a collection of disjointed electronic bleeps which frustrate more than they entertain.  Similarly, an alternate cut of that band’s ‘I Don’t Believe You’ is comprised of electronic nothingness, spoiling what is one of Merritt’s best ever songs.  Thankfully, he later went back to the drawing board and came up with a gorgeous folk-pop arrangement for this number (as heard on the finished version, released on ‘i’ a few years later).

Utilising dark synths and a liberal dose of oddball song writing, The Gothic Archies’ ‘You Are Not My Mother and I Want To Go Home’ is an unreleased track written for an audiobook of Neil Gaiman’s ‘Coraline’.  It is somewhat unsettling.  The synth loop is one which doesn’t break from its initial pattern and this becomes rather threatening, especially after a minute or so.  Over the drones, Merritt muses “…you want me to be your garden gnome…”  Okay then.  Occasionally, though, the electronic edges are used brilliantly. ‘Rats In The Garbage of the Western World’ is such a moment, where Merritt takes on a very new wave mantle.  Musically, it transports the listener back to 1981 and the works of bands like Visage and Landscape, all the while dressed in Merritt’s own vision.  The sneer is present and at first it sounds scathing, but there’s a typically twisted pay-off line: “We’re rats in the garbage of the western world…so let’s dance!”.    Bubbling synths and an Art Of Noise-esque sampled voice provide the base of ‘Song of Venus’, a song from an unfinished musical by Merritt and Lemony Snickett.  As expected, a throwaway lyric means it’s not got the charisma of some of Merritt’s better works, but as is so oft the case, his vocal has a huge confidence and that alone pulls the listener in.  Very few people bring such charm to the absurd.

Other high points include the unreleased  ‘When You’re Young and In Love’, which showcases Merritt’s semi-acoustic side, which revels in its relatively simple arrangement and ‘Take Ecstasy With Me’, another Magnetic Fields rarity, which cleverly blends heavy world music style drumming with some keyboard vibes which would befit Vince Clarke.  The drums drown out the vocal on occasion, but overall it’s a number which works, even if to provide the most obvious respite from the dominant synths on a few of the other tracks.

Usually, such a ragbag collection of leftovers would be purely for longtime fans (see Tom Waits’s ‘Orphans’ for the best/worst example ever), but Merritt’s work is often of a very varied style; that alone makes this feel more coherent than perhaps it should.  No matter whom he collaborates with – be it The Magnetic Fields, The Gothic Archies or any of his other projects – it’s always Merritt’s distinctive song writing at the fore.   His many fans will welcome the release of ‘Obscurities’ for sure; those yet to take the plunge into Merritt’s world, meanwhile, should still glean some enjoyment from the album’s fourteen leftovers.  It may be inconsistent, but Merritt’s hit and miss approach is what often fuels his brilliance.

August 2011

DOM LIBERATI – The Good Hurt

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domFollowing on from his first two self-released discs (‘Humans’ in 2007 and the acoustic ‘Frailty EP’ in 2008), Dom Liberati’s third release takes the sounds of his previous work and tightens them considerably, while bringing in some extra punch. Combining great hooks with a commercial alt-rock edge, ‘The Good Hurt’ is an album which captivates the listener from the first listen.

The lead track ‘We Own The Night’ begins with a jangly acoustic intro before kicking in to an alternative rock arrangement which has a bouncy air. The track has a very radio friendly quality and is a mix of influences – from new wave keyboard bleeps, to alternative rock moments in the vein of Goo Goo Dolls. Liberati’s vocal style has a tunefulness which often makes him sound at ease with this guitar driven alt-rock; however, for the chorus, Liberati’s vocals aren’t quite as restrained – their carefree manner tips the hat to Kings of Leon mouthpiece Caleb Followill [all the goodwill in the world still prevents me from calling that man a singer]. The simple hook and effective use of a ‘whooah’ make it a tune which sticks in the head. As such, it starts ‘The Good Hurt’ with a strong number.

‘Love Holds It Down’ has a bigger groove, due to a prominent bass line and a crunchy riff. Again, the hook is a very strong one, but it’s from this point on, it becomes clear that although Liberati is gifted as a songwriter, it’s his arrangements which really shine. The rhythm guitars are sharp – though never outdone by the fantastic bass work – and the drum parts are quirky, occasionally in a way which would make Stewart Copeland proud. ‘Burn’ takes those Police influences and makes them as obvious as a fist in the face. It’s a number full of hi-hats and tight drumming, which alone would be enough to warrant being likened to The Police in places, but once the track weaves its way around a fantastic bass line that’s more than reminiscent of ‘Driven To Tears’, those influences and comparisons become so, so unavoidable. Frankly, though, as far as influences go, Liberati could do far worse! The chorus brings an upbeat, jangly guitar riff, over which Liberati’s vocals are hard sounding without being aggressive.

‘Next To You’ offers something softer, with acoustic vibes overlaid with subtle electric leads. Liberati’s hushed tones have a slight Americana leaning against an atmospheric arrangement. The electric guitars and drums have a great amount of reverb and the electric piano compliments them well. The hushed vocal tones are at the other end of the scale to Dom’s louder performances on ‘We Own The Night’, but this change sits rather well among the rockier numbers. ‘Lookin’ Around’ comes with a similar laid-back quality, here capturing Liberati in a mood which would suit the under-rated Pete Droge. It’s a number which rarely breaks from an easy groove, with both Liberati’s under-stated vocal and a slide guitar solo providing the high points.

‘Won’t Let You Down’ is a mid-paced number full of staccato rhythms on the verses, which settle into fairly generic chiming guitars on the chorus. The musical approach lends itself to another Kings of Leon comparison. It’s safe, stadium rock approach makes it one of ‘The Good Hurt’s more predictable numbers, but even then, a ringing lead guitar part towards the track’s end and a rumbling bass provide some appeal on a number absolutely designed for radio. For ‘Meltdown’ a greater focus is put up on the drums with their pounding approach; over the drums, the guitars have a simple, yet fairly dominant twang. Vocally, Liberati keeps things restrained and manages not to slip into those Kings of Leon-isms on the louder moments, often being joined by a blanket of backing voices. The uber-dominant bass returns for ‘The Solution’, a number which features a great vocal, a better chorus and even better bassline, as Liberati offers something which mixes the sound of 21st century alt-rock with the quirks of late 80s hi-tech rock in the vein of Baxter Robertson (specifically the backing vocals) and ‘Power Windows’ era Rush (there’s more than a hint of Geddy Lee’s bass style throughout).

With no duff tracks and nothing which could especially be called filler material, ‘The Good Hurt’ is a very accomplished release; one which showcases a brave mix of styles without ever becoming overly flashy or outlandish. Although it plays host to plenty of top notch songs, it’s often the level of musicianship – particularly those busy basslines – which makes ‘The Good Hurt’ so good. A highly recommended listen.

May 2011