Carl Sandburg Visits Me In A Dream

The critically acclaimed, clean-shaven, San Diegoan Greg Laswell has woken from his sleepy coastal disposition and released a dazzling sophomore album.  Admittedly, I was rather underwhelmed by his debut Through Toledo, despite the attention it was given.  So you may understand why I was hesitant to even pick up Laswell’s new album.  But I’m a man who gives second chances, and I’m glad I gave Laswell one.

In Spanish, alto nido means “high nest”.  As I was listening to this spectacular album, I kept thinking about this phrase.  What does it mean be three flights from a high nest?  Is he aspiring to something greater?  Is he acknowledging that it will take a great deal to reach this high nest (the three flights)?  But the answer became all the more clearer as the record began to play. The opening track “That it Moves” features what appears to be Laswell’s signature pop-piano technique as he hypnotizingly asks, ‘Do you like the way that it moves?’.  The answer is yes, I do like the way.  The slower ballad “Comes and Goes (in Waves)” showcases his rather wide vocal range and establishes him as a full blown troubadour.  The definite highlight of the album “How the Day Sounds” has a pounding piano riff that only emphasizes Laswell’s enhanced pop sensibilties, while the finale track “And Then You” begins ever so gently only to rise in a crescendo of high-pitched pianos.  As a body of work, it does seem to me that Laswell is trying to create a sound bigger than himself, that relates to an audience that is much wider than that of his first album.  In essence, this is what appears to be his ‘high nest’, and indeed it seems as though he’s well on his way.

Go and get a copy of Three Flights from Alto Nido.

Listen to “How the Day Sounds”

Listen to “That it Moves“

Norwegian pop queen Annie has returned after what seems like a rather large hiatus from the music scene.  Coming from a place more known for its skiing than its music, Annie’s debut Anniemal was an unexpected pop masterpiece that certainly showed her one-name moniker was apt indeed.  She shows the spunk of a Madonna, and like the latter, she delivers musical goodies that mix genres and styles.  But the similarities aren’t totally consistent.

Her sophomore album (to be released October 6th) Don’t Stop is a real work of pop deliciousness.  Beginning with “My Love is Better”, where Franz Ferdinand’s Alex Kapranos adds his own nifty guitar work, Annie shows that she’s honed her rock sensibilities to near perfection.  Though the other tracks on the album don’t top the first, there’s much to enjoy here.  “I Know UR Girlfriend Hates Me” is a ridiculously infectious tune that is pure saccharine fun, while “Sweet” could’ve been sung by Madonna with its lilting chorus of ’sweet’s and high-charged rhythms (you’ve also got to hear “Loco”!).

Go and get your copy of Don’t Stop.

Listen to “My Love is Better”

Listen to “Loco“

Eclectic electro-jazz-funk groover Mr. Scruff has become more and more aptly titled as he presents his unbridled style of jazztronica fusion.   His new EP Music Takes Me Up centers around the title track sung by Alice Russell as she ponders what life would be like without music.  I’ve always thought that Senor Scruff has been on the verge of making every song of his a hit, but he somehow always seems to just miss the boat.  What usually does Scruff in is his inability to avoid redundancy.  But nevertheless, “Music Takes Me Up” is a delightful ditty….

Listen to Mr. Scruff - “Music Takes Me Up (Radio Edit)”

AND, AS A RANDOM BONUS: Jackson Browne - “Doctor My Eyes“

Many of you may be aware of my absolute obsession with all things Andrew Bird.  His Birdness continues to produce both sonically and visually magnificent works of art.  He recently (2 weeks ago, and I’ve been negligent!) performed at a free concert at Millennium Park in downtown Chicago. The stunning ‘bandshell’ designed renowned architect Frank Gehry was the perfect eclectic backdrop for the one of the most eclectic, engaging, captivating artists I know.  This was my third time seeing Bird, and I have to say it was my favorite.  He was as intense as ever (his socks off and bow flailing) but he had this unmistakable moxie to him that made him even more affable.  The LED screens on and beside the stage also added to the allure, as they showed live footage of Bird from multiple angles.  Martin Dosh and the rest of Bird’s crew was also in attendance-on stage, that is-and together they put on an electric show.  As a long-time fan of Bird’s, the most amazing moment for me was towards the end when the people in the way back (you have to come on time, my friends!!) rushed to the front of the stage to sing along with Bird. It seemed the culmination of long journey for Bird as a musician-and a musician in Chicago.  To have such an enthusiastic outpouring of support must have been an incredible experience for him, and Bird looked obviously honored and touched.

Faronheit is so awesome, for they actually recorded the concert in excellently quality for you to enjoy!  And I’m sure they spelled Fahrenheit wrong on purpose…

For readers of CSV, the Jacksonville-based band JJ Grey & Mofro should be a familiar name.  I featured their soulful Country Ghetto about a year ago, and I come to you now with their recent project Orange Blossoms.  Though it may not seem prudent to analyze an album starting from the end of it, the last track “I Believe (In Everything)” makes sense of what Orange Blossoms is all about.  That bluesy, folky ballad features the band crooning “I believe in everything / I’m a believer”, and after listening to this album, I can indeed verify that statement.

Being a ‘believer’ means to have a profound appreciation for ways of both mother and human nature, and how these come together comprise fate.  So whether JG&M are singing about “Orange Blossoms” and their evocative scents (albeit with a amazing southern-rock rhythm to boot), or whether it’s the swampy, bass-happy way they sing about a girl whose looks give her the appearance that she’s colloquially “On Fire”, JG&M are ‘believers’ bent on bringing the south alive.  Be sure to listen for saxophones (at the end of “I Believe” especially) and some gospel choir singing (”Everything Good is Bad” and “Move it On”).  Whether you’re buying my interpretation or not, the bottom line is that you’ve got to get off your tush and get this album.

Buy a copy of Orange Blossoms.

Listen to “I Believe (in Everything)”

Listen to “Wylef“

Just wanted to share this with you, a site that tracks the popularity of first names (in the US) since 1880.  It’s definitely one of the top 1,000 things I’ve ever seen in my life.

Imagine a dimly lit room–a classically melodramatic setting for the next humdrum, male singer-songwriter to make his debut.  But this time, the acoustic guitar is accompanied by a wonderful harmonica that sounds as if it comes straight out of the mouth of a Western pioneer with thousands of wagon-driven miles under his belt.  But the only desert that this performer has trekked is the Negev in Israel.  The delicate lilting voice belongs to Tel Aviv native Idan Rabinovici.  Only twenty-four years young, Rabinovici illustrates incredible musical prowess, backed by his all-Israeli band that plays anything from harmonica to trumpet to saxophone.

Rabinovici’s debut album Bedroom Folk is as much a mission statement for the burgeoning artist as it is an homage to his vast number of influences.  Having traveled a great deal between Israel and the United States during his childhood, Rabinovici developed a fascination with all things music, dabbling in blues, jazz, folk, and rock and roll.  Bedroom Folk shows an individual seeking to make sense out of a world that is constantly changing around him.  Rabinovici has experienced his share of journeying and the emotional peaks and troughs that accompany it, but he shares his morsels of wisdom in a humble way that avoids wanton self-aggrandizement.

“Pretty Hard to Tell” commences with a wonderfully magical sitar-laden prelude that seamlessly leads into an achingly sweet folk song about the singer’s insecurities.  “Jungle Man” lies in nearly perfect contrast, as Rabinovici finds himself singling in a comically low baritone that is excellently complemented by the rich trumpet.  The fire-roasting “Ol’ Wooden Bench” is lovingly adorned with the cacophony of harmonicas and pianos that turn this nostalgic song into a more urgently beautiful country-folk track.  “Thinking Cap” drips with thinly veiled references to the Israeli-Palestinian conflict, as Rabinovici expresses his weariness with the continued fighting. As Rabinovici somewhat ironically says, “After so many shipwrecks, someone’s bound to keep afloat.” His debut has shown that he has indeed found a way to stay afloat–now it is his time to find what lies beyond the horizon.

Get a copy of Bedroom Folk.

Listen to “Jungle Man”

Listen to “Pretty Hard to Tell“

Israeli singer-songwriter Noa Babayof has released quite an interesting album titled From a Window to a Wall, and I wanted to give you a song that is so chillingly beautiful that I’m not even sure myself how I feel about this song.  Let me know what you think.

Listen to “Them That Are Writing These Songs“

Once upon a time there was a woman named Emiliana Torrini, a name so intensely Italian-sounding that listeners were clearly going to become spellbound by her gentle Mediterranean, feminine rasp.  Once upon a time, Torrini released an album called Fisherman’s Woman, an ironic title for a female singer-songwriter that sang with such authority and power.  And that was only when she was just being noticed.  Only 31, and with her third full length album Me and Armini pending release on September 9th, this Italian-Icelandic singer songwriter continues to impress and prove that the fairy tale is indeed real.

Torrini’s (full name: Emilíana Torrini Davíðsdóttir) most obvious asset is her own unEarthly voice-a croon so exquisite and delicate (cute?) that surely she could not be from this planet.  Yet her lyrics focusing on love, nature, and the sea couldn’t sound more human.  On Me and Armini, Torrini takes her abilities to a new level, as she incorporates more instrumentation (basslines!!)  and contemporary folk sensibilities into her already developed lyrical style.  The Sting-esque “Heard it All Before” is the most upbeat number, filled with hand-clapping and an organ-guitar fusion.  “Fireheads” opens up the album with a catchy bassline that quickly becomes infectious with the sound of Torrini’s voice.  The title track “Me and Armini” is a reggae-influenced arrangement that showcases her impressive versatility, while “Birds” harkens back to Fisherman’s Woman with the slow-rolling seductiveness of Torrini.  “Big Jumps” has Emiliana at her ‘cutest’; you may just have to listen to understand how talented she really is!  Indeed, sometimes fairy tales only exist in books and movies; but why not real life? Or, at least in music.

Get your copy of Me and Armini.

Listen to “Big Jumps”

Listen to “Heard it all Before“

Born in Royal Oak, Michigan, Boggia entered this world blind in his left eye and with diminished vision in his right eye.  Though his musician father encouraged him to pick up the guitar even at age 5, Boggia’s love and talent for music didn’t manifest itself into an occupation until after he worked at a high tech studio equipment company.  And thank goodness he chose to explore his knack for guitar riffs and pop rhythms-indeed it seems as though he has an extraordinary sense for crafting folk-pop songs that are both enthralling and reflective.

With two rather successful albums behind him, Boggia released his third Misadventures in Stereo under the bluhammock label.  Beginning with the song that is sure accompany the fading summer, “Johnnie’s Going Down” showcases a Boggia ‘misadventuring’ to excellent effect with horns blazing behind his jovial guitar.  “Nothing’s Changed” illustrates Boggia’s sonic diversity, as his vocals take the lead on this ballad (of sorts).  If you’re looking for 70s-rock influence that invokes Elton John (?), “8 Track” is as short (2:46) as it is deliciously retro–down to the intensity on the pianos!  The easy-listening “Listening to NRBQ” shows Boggia’s sense of humor as he begins this love song with ‘We started dating during Watergate / We would stay up late / Trashing Nixon’.  I’ve only had the chance here to cut the surface (okay, maybe I’ve gone a little deeper), and there’s certainly a great deal of delicious music for all tastes on Misadventures in Stereo.

So what are you waiting for?  Get a copy of Misadventures in Stereo.

Chcek out bluhammock’s website for more information

Listen to “Johnnie’s Going Down”

Listen to “8 Track“