Review: Nicholas Wonder makes solo statement with 'My Thesis'
A lone man’s strain (“Moving On”) opens Nicholas Wonder’s debut solo album, My Thesis, in a Bob Seger “Turn The Page” fashion. One might find the brief ballad an unlikely intro to a hip hop album yet the melody is connubially tied, by an untrammeled saxophone, to the title track, which follows.
My Thesis is a commingling of sub-genres grounded in hip hop soul. Wonder’s verbal strategy for this recording flows in the same vein as his socially conscious writing for Vitium, the artist’s internationally acclaimed hip hop, funk project, which he boldly declares a “first class revolution” on a track titled “First Class.”
A true poet, Wonder’s wandering lyrics will make you wonder as he articulates keen observations of disregarded societal flaws, speaking to a degenerating generation on “Prescription Kids” and world at war on “Drifting ...”.
Pure originality is difficult to attain in any art form; hip hop, a genre built on sampling and cultural cross-references, is no different. Wonder and his supporting cast of instrumentalists and audio engineers, including Vitium bandmate Jerry (JL) Lang II, New Zealand-based Soulchef, Cleveland-based Adam Korbesmeyer and None Other Than, distinctively repurpose a variety of techniques from defining epochs in hip hop and R&B music, with rhythms on the album reflecting retro and modern styles.
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Source: Pendu Sound Recordings http://pendusound.com/releases/psr-0045/ |
Chelsea Wolfe's Apokalypsis daunts the dawn of Revelation
Once you get past the demonic hissing, throaty squawks and white noise that opens Chelsea Wolfe’s Apokalypsis, this dungeon-dredged album only gets weirder.
At one point during the song “Movie Screen,” it was like listening to a tea whistler going off in the kitchen while a dial-up modem failed to connect to AOL as an acid-dazed, computer-gaming nerd played the slowest game of Pong on Atari.
Yet there is something entrancing about Wolfe’s contralto vocals chanting over the ambient, psychedelic goth-rock auxiliary that accompanies her haunting Gregorian incantations.
Intrepid fiends of the macabre can catch the first listen of Apokalypsis in its entirety on NPR Music, which acquired the nearly 38-minute album 10 days before its release date. Pendu Sound Recordings is launching the record on August 23.
Take heed, I don’t recommend listening to Apokalypsis just before bed. (I’ll be sleeping with the lights on tonight.)
Sounds like: A malformation of Tori Amos, Jefferson Airplane and Philip Glass.
Read more on Chelsea Wolfe:
In Evanchuck’s traditional fashion, Fadin’ Glow is a patchwork of stories sung over an undulating acoustic guitar. But breaking away from the mirthful melodies heard on Tom, Fadin’ Glow is a collection of somber chanties.
While the record starts with “Sunshine,” an upbeat rockabilly jive with an optimistic message about taking life as it rolls, the record’s title song is a brief, lonesome ballad encapsulating the silent moments of a heart aching in hope. Leah McCoy’s innocently sweet vocals complement the depth of Evanchuck’s own on the song “Fadin’ Glow,” as well as several other tracks featured on the album including “Glory,” a matrimonial love duet with the potential to steal the hearts of brides across the country picking out their perfect wedding songs.
Evanchuck said his writing for this album was more personal than his previous work. “All My Friends” is true down to the very last verse, he said. In the song, he candidly expresses his sentiment regarding his brother’s departure to the Navy, warbling, “They call it a tin can, for a grown man, the office of the sea. I say, those thievens stole my brother, and it’s a while ‘til he’s free.”
“The development of my writing has gone from strictly wanting to write story songs to more personal writing. It’s matured in many ways,” Evanchuck said.
However, his broad stock of songs is evidence that Evanchuck is a storyteller at the core. Fadin’ Glow’s third track “Everett” is a brazen western-style fable that tells the tale of an unscrupulous character who steals the life of another man and makes it his own only to be caught.
“My mind is somewhat of a scary place,” Evanchuck laughed.
The record ends with the low-tumbling strain “Somebody’s Got To,” a prelude to the electric release.
Tom Evanchuck is back as The Evanchucks
While the record starts with “Sunshine,” an upbeat rockabilly jive with an optimistic message about taking life as it rolls, the record’s title song is a brief, lonesome ballad encapsulating the silent moments of a heart aching in hope. Leah McCoy’s innocently sweet vocals complement the depth of Evanchuck’s own on the song “Fadin’ Glow,” as well as several other tracks featured on the album including “Glory,” a matrimonial love duet with the potential to steal the hearts of brides across the country picking out their perfect wedding songs.
Evanchuck said his writing for this album was more personal than his previous work. “All My Friends” is true down to the very last verse, he said. In the song, he candidly expresses his sentiment regarding his brother’s departure to the Navy, warbling, “They call it a tin can, for a grown man, the office of the sea. I say, those thievens stole my brother, and it’s a while ‘til he’s free.”
“The development of my writing has gone from strictly wanting to write story songs to more personal writing. It’s matured in many ways,” Evanchuck said.
However, his broad stock of songs is evidence that Evanchuck is a storyteller at the core. Fadin’ Glow’s third track “Everett” is a brazen western-style fable that tells the tale of an unscrupulous character who steals the life of another man and makes it his own only to be caught.
“My mind is somewhat of a scary place,” Evanchuck laughed.
The record ends with the low-tumbling strain “Somebody’s Got To,” a prelude to the electric release.
Tom Evanchuck is back as The Evanchucks
Tom Evanchuck is back as The Evanchucks picks up where Fadin’ Glow left off, with a charged reprise of “Somebody’s Got To.” The electric-infused record signals Evanchuck’s crossover from humble folk singer to bonafide rock musician. The album is an ode to Americana. Hints of blues and gospel permeate through distorted guitar riffs, going back to the roots of rock ‘n’ roll.
“Take Me Back” is a carefree anthem one-way bound to make you want to forget responsibility and hit the open road. Drummer Anthony Evanchuck kickstarts the song with a Texas shuffle rat-a-tat that drives the energy of the roving guitar over Patrick Jenkin’s gravel bass line and straight on through Will Nolan’s wild organ interludes.
The band switches up the tempo on “Long, Long Ohio,” a steady-building tribute to the unchanging comfort of home peppered with simple, percussive tambourine taps beneath melodic guitar murmurs.
“I love Otis Redding, Ray Charles, and Lightning Hopkins — that old bluesy sound mixed with Motown. Basically, if I could sing like an old black man, I would,” Evanchuck said of his inspiration for both the electric and acoustic releases.
Dwelling on the fight to surrender to lover’s adoration, Evanchuck feigns the fervor of Charles’ “Georgia On My Mind” as he cries out for “Peace of Mind” on the aptly titled blues, doo-wop tune. The song, he said, is “basically telling the girl, she knows and you know — so just give in. Find that peace of mind.”
The good-time spirit of Tom Evanchuck is back as The Evanchucks makes it a fitting summer soundtrack. With the collaboration of talented musicians backing Evanchuck on this album, his newfound sound ascends to a class of music lost in your parents’ record collections.
“Take Me Back” is a carefree anthem one-way bound to make you want to forget responsibility and hit the open road. Drummer Anthony Evanchuck kickstarts the song with a Texas shuffle rat-a-tat that drives the energy of the roving guitar over Patrick Jenkin’s gravel bass line and straight on through Will Nolan’s wild organ interludes.
The band switches up the tempo on “Long, Long Ohio,” a steady-building tribute to the unchanging comfort of home peppered with simple, percussive tambourine taps beneath melodic guitar murmurs.
“I love Otis Redding, Ray Charles, and Lightning Hopkins — that old bluesy sound mixed with Motown. Basically, if I could sing like an old black man, I would,” Evanchuck said of his inspiration for both the electric and acoustic releases.
Dwelling on the fight to surrender to lover’s adoration, Evanchuck feigns the fervor of Charles’ “Georgia On My Mind” as he cries out for “Peace of Mind” on the aptly titled blues, doo-wop tune. The song, he said, is “basically telling the girl, she knows and you know — so just give in. Find that peace of mind.”
The good-time spirit of Tom Evanchuck is back as The Evanchucks makes it a fitting summer soundtrack. With the collaboration of talented musicians backing Evanchuck on this album, his newfound sound ascends to a class of music lost in your parents’ record collections.
Cellar Door Records | Cellar Door Records Volume III
The album is a rebirth of the city’s rock and roll history featuring artists, who like their predecessors inspired by the melding of R&B, country and blues, are mixing their own musical influences of rock ‘n’ roll, indie rock, electro-dance with a pinch of hip-hop to the foundry.
Cellar Door Records Volume III offers light, airy tunes made for easy listening and danceable, upbeat songs for all-out rock-out sessions.
Compositions that truly stand out include “Mistakes” by The Modern Electric, Diamonds & Pearls’ “Brawhide” and Tom Evanchuck’s rolling-river guitar picking on “Come one, come all.” Albeit, each artist and band contributes his, her or its own distinct sound.
Cellar Door Records Volume III is available at http://www.cellardoorrecords.com/ and at Music Saves independent record store in the Waterloo district of Cleveland.
Lydia Loveless | The Only Man
Lydia Loveless' album, The Only Man, released under the Columbus, Ohio-based Peloton Records label in February 2010, is a country music revival. I mean, real country -- traditional American tunes born in honky-tonks and rooted in folk fables and quilted farmlands.
The Only Man is a promiscuous, dark-humored diary of lost love, bourbon whiskey binges and revenge. Amidst today's neo-country-pop craze, Loveless boldly breaks out with this 33-minute roots-country medley of self-written originals.
Traditional country music of this caliber is not an easy sell in mainstream markets but this 10-song compilation is a loaded gun, and this songstress is ready to take a pinpoint shot at the country crown. Loveless is coming up as a strong contender against the genre's finest, even the "Queen of Country" herself, Kitty Wells, and she's only 20 years old.
Recommended tracks:
"The Only Man"
"Paid"
Read about Loveless' recent performance at The Grog Shop in Cleveland Heights, Ohio, in this article: The Conductor, Oldboy roused fans at The Grog Shop
Avey Tare | Down There
Review by David Beans
A founding member of the experimental group Animal Collective, Avey Tare's first solo record combines samples of underwater grumblings, distorted samples and talk of crocodiles (Really!) with vocal hooks that can't be ignored. The record follows Animal Collective's recent mainstream success, his sister's battle with cancer and a divorce from his wife. Who doesn't love despair!
Recommended Track: "Lucky 1"
This artist was featured on the National Public Radio (NPR) series First Listen in October. Also, read Pitchfork Media's review on Avey Tare.
A founding member of the experimental group Animal Collective, Avey Tare's first solo record combines samples of underwater grumblings, distorted samples and talk of crocodiles (Really!) with vocal hooks that can't be ignored. The record follows Animal Collective's recent mainstream success, his sister's battle with cancer and a divorce from his wife. Who doesn't love despair!
Recommended Track: "Lucky 1"
This artist was featured on the National Public Radio (NPR) series First Listen in October. Also, read Pitchfork Media's review on Avey Tare.
Kevin Conaway | The Venture EP
Singer/Songwriter Kevin Conaway launched The Ventura EP in May 2010. Fans can download the album through iTunes, Amazon, MP3, and Rhapsody now. Hear Kevin Conaway's quizzical love tune, What does it take, and other songs on his official MySpace fan page.