Carl Sandburg Visits Me In A Dream

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“

The last time I wrote about Irish troubadour Damien Dempsey, I received a great deal of flack (and that’s an understatement).  What I said then, and I will continue to say now, is that Dempsey is certainly the most talented Damien to come out of Ireland.  Dempsey’s remarkably strong voice is so entirely captivating that the musical arrangements are often overshadowed by his vocal prowess.  Dempsey combines contemporary folk music with his Irish heritage–when you listen to Dempsey, you don’t feel like you’re listening to the product of record company machinations.  Dempsey is genuine in his effort to fuse the past with the present.  His new album Rocky Road is perhaps not as ambitious as his excellent To Hell or Barbados, but it nonetheless shows a maturing Dempsey who is becoming even more comfortable with his sound/style.

Everything about Dempsey’s affect reflects is everymaness….that is, except for his voice.  Almost unearthly in its crispness and its clarity, it sounds as though his voice almost compels his backing instrumentation to play. But I don’t want to disparage The Dubliners, who add their wonderful native Irish touch (and more than that!).  “A Rainy Night in Soho” is a sweet serenade showcasing Dempsey’s Irish brogue.  “Kelly from Killan/Teetotaler” is a rolling-prarie of a song, an absolute delight that is sure to go well with a pint of Guinness!

Get a copy of Rocky Road.

Listen to “A Rainy Night in Soho”

Listen to “Kelly from Killan/Teetotaler“

Dr. Dog is no veterniarian extraordinaire, but rather a Philadelphian-based collective that crafts freakfolk (I hate the term, but it’s spot on) tunes that would be comparable to those of Devendra Banhardt.  To be truthful, I had never really been aware of Dr. Dog until very recently, but I have been so pleasantly surprised by their new album Fate that I have to share my thoughts with you.  This album is  so excitingly fresh and decidedly different in its approach to folk-rock, and the character of this band comes across as clear as the production qualities.  “Uncovering the Old” sounds like Thom Yorke and that band of his took up an optimisitic theme for once.  “Hang On” disguises its soul influences behind a groovy piano riff and a banjo solo.  “The Rabbit, The Bat, and the Reindeer” begins as a staccatoed beauty, but soon explodes into a stringed-backed masterpiece. There’s a lot here for all tastes and preferences, so have a listen to Dr. Dog’s Fate.

Listen to “The Rabbit, The Bat, and the Reindeer”

Listen to “Hang On“

As you may well know, CSV does not highlight many hip-hop-oriented artists.  In an effort to stay somewhat balanced, I wanted to highlight the new album from Hint Driven from Distractions.  From what I can tell (including my own hopes), there is a good deal of anticipation for the first LP-follow up to Hint’s Portakabin Fever.  Six years later, Hint’s style has deviated into a more danceable type of electro-hip-hop.  “Keep Your Shirt On”, featuring the vocal stylings of Laura Vane, is an insanely groovy track.  Vane continues to impress on “One Woman Army” as she sings over strong synths from the hand of Hint’s Jonathan James.

Check out Driven from Distraction.

Listen to “One Woman Army (feat. Laura Vane)”

Listen to “Keep Your Shirt On (feat. Laura Vane)“

They’re just so dreamy!! But seriously, find me the human being that can resist the tempting Siren Song of The Clientele and I will show you a heartless (wo)man.  That said, the third EP of a trilogic set That Night, A Forest Grew has been released, and there are some wonderful tracks to be heard.  Here are two.  Please enjoy.

Get a copy of God Save the Clientele

Get a copy of That Night, A Forest Grew

Listen to “Share the Night”

Listen to “Retiro Park“

Wade Alin and Lauren Cheatham came together in 2004 to combine downtempo rhythms and silky sweet vocals under the name Atomica Project. Add a drummer and bassist, and this full-fledged band comes across like Portishead….without all the dreariness. Despite the coldness that electronica often embodies, the songs on Atomica Project’s sophomore release Grayscale are dually warm and embracing.  Cheatham entices with her come-hither vocals that reminds me of something so familiar, yet I can’t quite place it.  And that’s precisely what’s so great about Atomica Project–the sounds are unique but comfortable.  Bands like Naomi or Zero 7 come to mind when I listen to Grayscale, and it’s likely that these sentiments come to mind because of their comforting sounds.

Grayscale is a wonderful mix of electronically derived beats, complemented by more natural sounding melodies.  This other-worldly sound brings the listener “Afraid” has a warm tungsten feel to it, with its organic rhythms and graceful vocals.  The trip-hop track “Losing Sleep” features cacophonous claps and a wonderful drum-driven backbeat that is as smooth as it is scrumptious. 

Purchase Grayscale, you’ll be glad you did.

Listen to “Afraid“

Listen to “Losing Sleep“

Not Dylan this time, but a neat interpretation of the Rolling Stones’ “Sympathy for the Devil” by the Neptunes.  It’s also featured on the trailer of the new movie “Righteous Kill”.

Listen to The Rolling Stones - “Sympathy for the Devil (Neptunes Remix)“