Monday, March 25, 2019

Francine Honey - To Be Continued LP


URL: https://francinehoney.com/

You can hear some of the former civil servant in Francine Honey’s latest collection To Be Continued… coming through in her intense interest in our humanity and the suggestion of community overarching much of her material. Many of the album’s eleven songs are lit internally by the implication Honey is sharing her personal experiences with us, how they changed her, and inviting us to glean what we might in hearing them. This willingness to shed shields so others might know our secret hearts is often one of the defining elements of great art. Francine Honey is a more than capable entertainer, but there are numerous moments on To Be Continued… revealing her as much more than a mere “song and dance woman”. Those moments come in songs clearly reaching beyond the purview of popular song and attempting to make a lasting statement of what she has seen, how it made her feel, and how it transformed her.

“Snowflakes in My Eyelashes” is one of the earliest examples of that artistry at work. Essentially a poem set to music, the imagery is pinpoint and never clichéd, though Honey skillfully invokes a set of familiar emotions. The slow build of the arrangement never weighs down the song – the sparse placement of instrumentation gives Honey plenty of space to weave her vocal magic. Her clear attentiveness to every line helps make her stand out in the modern music world, few show such across the board discipline, but Honey makes each line matter in a way that makes the stakes seem higher than they might otherwise. “Stay” is an expert weave of country weeper with some rock guitar tossed in for good measure. The guitar work largely restricts itself to biting or emotional fills dropped in throughout the song’s duration, but there are a couple of occasions where the six string rips out some piercing lead work that punctuates the tune. Piano, a mainstay instrument on To Be Continued…, leaves a melodic mark on the song as well.

You can’t say the title song is any one thing. It has aspects of a folk song and packs a ton of narrative into less than five minutes, but the light touches of horn haunting the backdrop of its mix and moody piano contributions place it in another realm entirely. In the end, “To Be Continued” is a superbly written song with a satisfying literary bent, yet never pretentious or stilted. Honey uncovers the meaning of her reflections and listeners are invited to witness her discoveries but, ultimately, you will relate for your own past and the seeming promises of years long gone by. “Honey” changes things up with a rolling blues rife with specific details that make it burn even hotter for listeners. It’s a real pleasure to hear how Honey leans into the chorus vocal and achieves everything she wants without ever coming off hamfisted. There’s some real subtlety in the songwriting for attentive listeners.

“Shacked-Up Sweetie” is a package deal, including both the recording and an accompanying music video, but the song stands on its own as a first piece slice of country rock with a blues flourish. The arrangement keeps “its head down” for the most part, charging ahead in a straight forward fashion, and the piano underpinning the rhythm guitar gives it some extra bounce. Lead guitar flashes to life at all the right points and Honey wisely underplays the vocal a little rather than attacking it in a bucket of blood blues queen style. Make no mistake, however, the video more than serves its purpose – it gives the song a visual story to link with the recording and stands on its own, as well, as an appealing promotional clip for the album.


Rebecca Beasley 

Monday, March 18, 2019

Stephanie Rose Sprout (EP) and Luxury (Single)


“Sprout” the title song for Stephanie Rose’s second studio release, gets her sophomore effort off to a rousing start while going places many of her peers wouldn’t dare follow. She’s definitely reaching for an old school vibe during the song’s first half, but she’s venturing elsewhere soon enough by incorporating brass into the song’s arrangement. What might sound, on initial impression, as being woefully out of place on a country album actually works as an astonishing stab towards a new sound for the genre. Longtime fans of the form will recall that, as far back as Western Swing music and Johnny Cash’s “Ring of Fire”, horns can make a difference in a style not often known for that sound. “Rusted Love” is much more business as usual, in some ways, but Rose is equal to revitalizing this style as well – her take on classic country flavored AOR rock has a physical, involving sound and the song’s arrangement coupled with her lyrics has an almost cinematic air.


“Sprout” bristles and bounds with life. It’s a nice feature of Rose’s music that, even when she’s singing about very adult topics, her vocals and music alike are embracing life and an upbeat swing throughout. There is one notable exception to this and even that approaches the same aesthetic, albeit from a different angle. It’s hard to consistently pull off a marriage of serious material with such vibrant musicality, but the best can do and even the understated musical touches in this song, like organ, end up only enhancing its soulfulness.

“Rusted Love” is another great lyric with an accompanying great arrangement. Rose, on this one, goes a much different way than the EP opener but nonetheless keeps close to her roots – the same spirit inhabiting the first song gives this one life as well. She is more than capable of making her voice work within a rock influenced arrangement, but Rose doesn’t go too far – the connections to her country background still shine through.

She shines in a much different way with the track “Luxury” and it raises an already excellent EP up several notches alone. Piano and violin are the critical musical pieces making this arrangement fly and they find a more than worthy performance partner in Rose’s best vocal on Sprout. Her voice encompasses worlds. There is passion, heartache, enormous empathy, and even a sense of victory glowing throughout her vocal and it lights the song up with inspired life.

“Old Soul” has a fat bass pulse at its center that gives the song an irrepressible heartbeat and the rhythm section, as a whole, provides Rose with the platform she needs for one of Sprout’s most likable vocals. The lyrics have a lot of charm as well, especially some well chosen rhymes, but there’s self-knowledge and wisdom underlying the song as well.

“Same Old Same Old” concludes Stephanie Rose’s second EP release in a restrained, thoughtful way, but it isn’t difficult to hear the playfulness in this performance. She makes great use of harmonica in this song without ever steering the track into any specific musical camp and it’s tailored to just the right length without a single identifiable wasted word or note. It’s well nigh impossible to dislike this release. Stephanie Rose may be at the start of her career, but she writes and performs like someone born to follow this path and you’ll find yourself happy to make the trip with her

I-TUNES: https://itunes.apple.com/ca/album/sprout-ep/1436694108

Rebecca Beasley

Friday, January 25, 2019

Chris Ruben Band - Stomach Coil


URL: http://www.thechrisrubenband.com/

The production of the Chris Ruben Band’s new single “Stomach Coil” helps an already great song stand out even more. The upstate New York based act has made their mark on the Big Apple live music scene in short order and their debut EP, Fortune Favors the Bold, announced their arrival as more than just talented players – the band boasts first class songwriting as well. Their latest single “Stomach Coil” shows off their continuing evolution as songwriters with a fully realized effort that checks off all the boxes – Ruben’s guitar playing veers from the understated to unabashed fire while the rhythm section of bassist Brendan Allan and drummer Russ Benjamin provide the track with a fluid, yet precise, foundation everything else builds from. It’s a relatively brief song, running over just three minutes long, but listeners will never feel cheated.

Ruben’s vocals may be the most underrated part of the band’s package. He has the ability to unwind light, melodic lyrical passages while still being able to bring emotional grit to the song’s stormier passages. He’s an attentive vocalist – it’s very satisfying to hear how his voice responds to the song’s various upswings and downturns of intensity, yet it all comes together in a coherent way. He, likewise, brings just the right amount of velocity to his vocal – the raucous parts get his full throated passion while the aforementioned lighter sections show his deft touch. His guitar work is tuned to the same wavelength and there’s a logical progression to how the guitar transforms in character throughout the course of the track.


He’s accompanied by a stellar band. The aforementioned rhythm section of Allan and Benjamin pop from the first but show off the same discernment we hear from Ruben’s own guitar work. Benjamin, in particular, steers the song through its rock/funk sections into the slower and more melodic parts without ever losing the thread. It is completely grounded in a live sound providing an interesting contrast with the light sound manipulations stretching and coloring Ruben’s guitar sound, but these post production effects are felt with his vocal as well. These effects, however, never dilute or obscure the instrumental or vocal impact of the band.

“Stomach Coil” represents the next logical and compelling step into the future for The Chris Ruben Band’s songwriting. It’s a well constructed and thought out track with something for everyone and doesn’t sport any identifiable influences – Ruben and his band mates avoid imitation and self indulgence alike while still delivering a recognizable slice of rock/funk that lingers in your memory long after the final note fades. If we can consider this song a harbinger of the band’s future work, the Chris Ruben Band continues proving that fortune does, indeed, favor the bold. “Stomach Coil” is a cracking musical trip that carries you away from the first and you’ll wish there was more by the time the song concludes. You can definitely hear the band’s live chops burning through, but the band is far more than just a stage act.

I-HEART RADIO: https://www.iheart.com/artist/the-chris-ruben-band-32002655/songs/stomach-coil-63830941/?autoplay=true

Scottie Carlito

Friday, December 28, 2018

Ted Hajnasiewicz – This is What I Do (LP)


URL: https://www.tedhtunes.com/

Singer/songwriter Ted Hajnasiewicz blends country twang, rock n’ roll volume and folk simplicity in his new album This Is What I Do, an 11 song collection of his most popular songs to date. Spanning years of songwriting, This Is What I Do packs a robust, well-rounded punch that is tempered by the smooth vocals of Hajnasiewicz and the contemplative lyrics they dispense in such classics as “Wedding Coat,” “My Heart is in Memphis,” “If I Could Leave This Place Tomorrow” and “Burning Bridges.” In these songs he takes us on a journey into his heart and through all of the treachery that has forged its scars, but the content is anything but self-righteous or non-relatable. This is Hajnasiewicz’ finest balladry and it dutifully represents the high caliber songwriter that he really is.

Over the course of 11 tracks, Hajnasiewicz’ mood ranges from confessional and introspective (“Longing for the Northern Wind,” “You Will Find Him on a Mercy Seat,” “Go Easy on Me,” “This Town is Not for Me”) to reverent and surreal (“Wedding Coat,” “Stars and the Sea,” “Oh! Sweet Love”), but the material doesn’t feel fragmented or thrown together. Though these songs were originally released on different albums, they flow incredibly well as a cohesive piece here, with “If I Could Leave This Place Tomorrow” rising right out of the ashes of “This Town is Not for Me” and providing an emotional bridge to enter “Wedding Coat.” As a complete album, This Is What I Do demonstrates the conceptualism of Hajnasiewicz’s work, and moreover his total rejection of formulaic predictability.

There’s an insular feel to the master mix of these songs, to the point where I would even go as far as to call it suffocating in the versatile guitar-driven trio of “Longing for the Northern Wind,” “Oh! Sweet Love” and the brittle “Go Easy on Me.” The strings are utterly divine in these tracks, reaching through our speakers and striking us with their sharp ends and effortless swagger. Hajnasiewicz’s voice is delicately woven in between the grooves, creating this supple contrast that is intoxicating to say the least. You can tell he spent a lot of time poring over the smallest details in the production of this album; even though I’ve heard these songs before, I don’t think they’ve ever been quite as radiant or full of vitality.

Whether you’re riding high in life at the moment or rolling lower than ever and in need of a friend, Ted Hajnasiewicz has got a song that you’re bound to relate to in This Is What I Do. Personally I think that this compressed collection of songs portrays Hajnasiewicz better than any of his previous work has; it’s all-encompassing of his broad musical palate, doesn’t exaggerate his buzzworthy aesthetic and puts the emphasis squarely on the relationship between his words and the stunning music that accompanies them. This Is What I Do is as engaging a singer/songwriter record that you’re likely to find in 2019, and it’s my opinion that you’d be hard pressed to hear anything quite like it in this year or any other.

I-TUNES: https://itunes.apple.com/us/album/this-is-what-i-do/1445264414

Scottie Carlito

Monday, November 26, 2018

Patiently Awaiting the Meteorite release Canyon Diablo


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

Every once in a while we come across an album that makes us confront things about ourselves that we wouldn’t readily admit to the world. As human beings, we’re incredibly complacent to our own faults, but sometimes all it takes is a collection of immaculately conceived songs to stir something within us that aids in our journey towards self-realization. Patiently Awaiting the Meteorite might not have set out to create the most cerebral pop/rock release of the last decade, but they’ve delivered it nevertheless in the form of their debut album Canyon Diablo, which is out now everywhere that independent music is sold and streamed. I had the chance to give Canyon Diablo a spin before its official release and was quite taken with the high caliber of content I discovered.

Patiently Awaiting the Meteorite collectively bring a lot of experience into the studio with them, despite the fact that this is their first full length recording under this moniker. Consisting of multi-instrumentalist brothers Dominque and Sylvain Grand alongside mononymous vocalist Dee, the power trio sophisticatedly utilize every aspect of the instruments at their disposal in Canyon Diablo. The resulting product is extremely well polished and produced with exquisite precision and care, with even the most muted nuances of their sound receiving VIP treatment and magnification from the concise high definition quality of the final mix. If these songs were a little more bass-heavy one might be inclined to classify them as shoegaze, but in their current state they would best be described as avant-garde pop or loosely adapted alternative rock.

There isn’t a song on the pop music spectrum today quite like “Everything Under the Sun,” the stellar mid-album psychedelic ballad that stuck out to me as one of Canyon Diablo’s more poignant tracks. Opening with an indulgent, lush sea of synthesized feedback, the song erupts out of nowhere into a blistering pop jam right around the time it reaches its halfway point. It shows off how nimble Patiently Awaiting the Meteorite can be when they’ve got a crazy idea that they’re serious about executing, and from what I can tell in the plethora of gorgeous material that their debut contains, there are few compositions that they would be intimidated by – if any at all.

Progressively styled and richly framed by ethereal play from the band, Patiently Awaiting the Meteorite’s Canyon Diablo is the most fascinatingly original rock album of 2018 bar none, and honestly I don’t think you’ll be able to find a more intriguing LP released this year, no matter what genre of music you explore. It speaks volumes about what kind of a sound we can expect out of the threesome in future releases, but it also shines a spotlight on the gaping void that has been quietly expanding in pop music over the last fifteen years. We need more experimentally vivid music that grabs us by the collar and wistfully takes us into new and exciting uncharted territory, and Patiently Awaiting the Meteorite prove committed to satisfying our unrestricted thirst for adventure in their first studio album.

SPOTIFY: https://open.spotify.com/artist/6pKOp92VUQkcmpNczMySNV

Tyler Schatz

Thursday, November 15, 2018

Rob Alexander’s Long Road Coming Home


DEEZER: https://www.deezer.com/en/album/57193212

From the melodies created by the timber of his voice making contact with the glistening notes of a piano or guitar to the organic tonality of his compositions themselves, adult contemporary artist Rob Alexander’s music is all about harmony. In the fourth single and title track from his album Long Road Coming Home, audiences are treated to an intimately crafted exhibition of Alexander’s knack for harmony in high definition audio that is cushioned by a lush production that doesn’t smother any of the singer’s rich textures in unnecessary frills. Unlike many other pop songs released in 2018, “Long Road Coming Home” isn’t a ballad that focuses on where we’re going, but rather where we’ve been. Contemplative and personal, this track strikes me as one cultivated in the emotions of its composer and not the commercial side of his medium.

Rob Alexander’s latest single is stylishly produced with a colorful polish that allows it to blend in well with contemporary pop music, but I wouldn’t go as far as to say that it doesn’t stand out in a lineup. Alexander’s vocal performance is driven by the heartfelt prose in the words of the song, which at times feel more like an internal monologue than they do lyrics. It’s almost as if we’re seeing things from his point of view, watching a black and white reel of his experiences and are inevitably led to agree with him that it is indeed “a long way down this rocky road.” As tough as the journey he describes may be, the comforting sway of his voice reminds us that he’s going to be right there by our side from beginning to end.


There’s a cosmopolitan, streamlined feel to the mix of “Long Road Coming Home” that makes it feel much more relevant and modern than it would if it had received less elaborate treatment behind the soundboard. There’s never any doubt that Alexander’s gilded vocal track is the star of the show, but the mix doesn’t sacrifice the contributions of the additional instrumentation to give his singing the spotlight. I like the evenness of the bass and the middle; too often pop singers favor more of a scooped EQ when they record soft rock and end up cheapening their sound as a result, but that isn’t the case with this song.

He’s proven himself to be a great singer and songwriter, and in “Long Road Coming Home” Rob Alexander adds another splash of character to his evolving musical persona, which has been quite fascinating to watch develop. It may not be the most exciting breakout song of 2018, but it’s unquestionably a true original from an authentically gifted performer who is picking up quite a positive reputation in his local Floridian scene and nationally as well. If you enjoy smooth vocal music that is accompanied by easy listening instrumentals that put more emphasis on tone than they do on vibrato and sheer volume, I’d recommend checking out this track and the record it takes its name from the next time you’re in the market for new music.

SPOTIFY: https://open.spotify.com/track/4tBA3jJm4HHZrSz6eVniJ0

Anthony Silver

The music of Rob Alexander has been heard all over the world due to the promotional services offered by Danie Cortese Entertainment & Publicity. Learn more here - http://www.daniecorteseent.com/

Monday, November 5, 2018

Abby Zotz – The Honey Has Arrived


URL: https://abbyzmusic.com/

The title Local Honey implies a level of personal engagement the album’s eleven songs deliver. Abby Zotz’s first solo album comes after a two decade long career journey from playing as part of a traditional music duo with former collaborator Bryan Williston and playing a key role in an assortment of other folk music themed outfits. Local Honey has a much more expansive range than we experience with her earlier work, however, as Zotz is making a clear effort to incorporate a variety of sounds into her musical presentation. It makes it a much richer ride from the first and never missteps. The core foundation of these songs is, invariably, acoustic guitar, but she’s joined by some great musicians to make this a memorable roll on a song to song basis.

“Stability” has an enjoyable sweep with a steady drumming pulse soon pushing it along, but never pressuring listener in an intensely physical way. If she’s going to rely on this sort of style for her album, you can rest assured from the first that she’s mastered the form while still bringing her own stamp to it and the convincing muscle behind the performance never over-exerts its presence. She doesn’t rely on that style alone but “Big Hope”, the album’s second tune, underlines it. Organ makes it only appearance on Local Honey and the lead electric guitar work coming into play as the song progresses gives sharp teeth to an already impressively strong experience. “Peace Sweet Peace” goes in a very different direction from the album’s first two songs and the near-acapella build of the song with its minimal musical backing still invokes a strong gospel and blues flavor. It has a little jazzy bounce too that makes it all the more irresistible. Make no mistake; this may initially sound like a throwaway, but it’s one of the best songs on Local Honey.


The later three some of “Pirouette”, “Good Bones”, and “Be Here Now” is the peak of the album for me, but I’m much more of a dyed in the wool folky than most. These are the finest lyrics on the release and spotlight the superb talents Zotz has in that area to complement her musical skills. These songs are obviously the product of a life intensely lived, but Zotz transforms it into something uniquely her own that’s accessible to all. “Good Bones” probably has the strongest positive vibe while the first and last songs cut deeper with the mix of direct language and poetic flourishes in the lyrical content. They never waste a single syllable and that same focus on the writing that defines the music makes these songs especially strong.

“Sea Change” is a remarkable but low key achievement thanks to its ability to reframe familiar lyrical and musical themes in a creative musical environment. There’s an interesting island feel to the song, or the suggestion of it, and that feature alone is enough to distinguish the song from the other material. “You’ll Never Know” has a wistful sadness tied up in its arrangement, but it’s never hamfisted and has underrated charm. It’s a perfect easy going way to wrap the release up lyrically, vocally, and musically and has an entertaining flair unlike anything preceding it. It’s a spot on ending for Local Honey, one of the best first efforts in recent memory.

AMAZON: https://www.amazon.com/Local-Honey-Abby-Zotz/dp/B07G31SW56

Brian Weeks