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Thursday, March 28, 2013

Gunslinger - Breaking Through

Gunslinger - Breaking Through
2013, Gunslinger
The post-genre movement in music has seen a lot of strange bedfellows, but there has always been something of an unwritten rule:  When it comes to guitar rock and dance music, never the twain shall meet.  Until now, that is.
Gunslinger has put down that last barrier like a rabid cur.  Big, powerful guitar sounds coincide with heavy doses of electronica and dance beats on Gunslinger’s compelling album, Breaking Through.  Having opened for acts such as Tiesto, Paul Van Dyk and Pendulum, Gunslinger is no stranger to large clouds, but bids for an even larger stage with an album that is messy, complicated, and occasionally brilliant.

Gunslinger kicks things off with the title track, which opens on a moody, post-apocalyptic sonic landscape before moving into a rhythmic dance/rock arrangement. This is a catchy and enigmatic number built on a disturbingly out of sync melodic/harmonic structure in the lead and backing vocals. The disco beat keeps it all light and danceable, however. Just watch out for the zombies. "Surrender" has an infectious, new wave feel that will get your toes tapping. The lack of enunciation in the vocal line makes it hard to follow the song, but the music will get stuck in your head. "Busy Pop" is set against a schizophonic rock arrangement that mixes instrumentation and electronic effects to create an unsettled yet decidedly pop flavored sound.

"Next In Line" finds Gunslinger writing in a balladeer roc style, but without the force of great storytelling or clearly defined musical movements. There is a certain grace to their atypical musical style, and this comes out at times during the song, but there are enough messy transitions to make this an uneven experience. "At The Top" is the song where Gunslinger puts it all together, with a coherent mid-tempo rocker with solid harmonic structure and a minimalist compositional style. Gunslinger is always going to be something of an acquired taste, but the taste is much easier to acquire here. They keep that momentum while moving to a more dance oriented arrangement for "Looking At You". The vocals start way too low for the vocalist’s or the listener’s comfort, but there is no doubt that this tune will get people out of their seats.

"Eternal" is a dark, minor key anthem full of electronics and attitude. This isn't so much a love song as an emotional fetish set to music, but the sound is absolutely compelling. Gunslinger blows out the lights with "Open Flame", an expansive and experimental number that includes many intriguing musical twists and turns. Gunslinger's chorus is catchy, driven by an irresistible pop chorus, but the band stumbles into this chorus rather than building to it with each verse. The guitar work here is impressive, however.

Gunslinger is a complex and meaty musical treat.  There are moments here that simply don’t work, yet others that work so effortlessly and brilliantly that you’ll be clamoring for more.  The marriage of big rock and dance has some wobbly legs, but Vidal and Anthem appear intent on making it work.  If Breaking Through is any indication, they are on to something.
Rating: 3.5 Stars (Out of 5)
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Tuesday, March 26, 2013

Annie Dressner - East Twenties

Annie Dressner – East Twenties
2013, Annie Dressner
New York City ex-pat Annie Dressner returns on April 8, 2013 with her sophomore release, and EP entitled East Twenties.  The follow-up to the 2009 full-length Strangers Who Knew Each Other’s Names furthers Dressner’s highly personal style songwriting style, but shows growth both in musicality and maturity.  Her view of heartaches historical and fresh is compelling, told with a depth of understanding, and occasionally, remorse.
“Heartbreaker” is an interesting musical study.  Sung as a folk ballad, Dressner revisits a childhood friendship in what turns out to be a commentary on bad timing.  He was in love with her then; it wasn’t until years later that she felt the same, but it was too late.  The humanity in this song is compelling, and Dressner’s little girl/big girl voice only makes it more distinctive.  This is brilliant songwriting; deeply autobiographical and from the heart.  “I Can’t Forget” is cut from the same cloth, although the loss here is a mortal one.  Regrets, what ifs and a deep, abiding sorrow fill in the gaps here.  Dressner’s delivery is smooth and heartfelt, and reminiscent in tone to Don McLean’s “Vincent”.  “Flame” wistfully explores the death of trust and innocence.  This is a bit more elemental than the other songs on East Twenties, and Dressner gets a big bogged down in the middle.  The songwriting is solid, but the energy just doesn’t hold through the middle.  “Lost In A Car” perhaps revisits the same soul and heart as “I Can’t Forget”, and Dressner’s wishes have a ‘nevermore’ quality that pulls at the listener.  This is a moment of beauty, carved in the rocky shores of sadness.
Annie Dressner has taken strides forward in the past four years as a songwriter.  Her compelling, heart-laid-bare story telling style engages the listener on a personal level, like an old friend pouring their heart out over coffee.  Dressner does occasionally get caught under the weight of her material, but there’s a lot to like here.  Make a date with Annie Dressner for East Twenties.  You’ll find it an experience to remember.
Rating: 4 Stars (Out of 5)
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Wednesday, March 20, 2013

Matthew Heller - Invitation

Matthew Heller – Invitation
2013, Matthew Heller
Portland, Oregon’s Matthew Heller is set to turn perceptions of folk/rock upside down.  Like a man with two distinct personas, Heller jumps from protest song to personal confession/catharsis without warning.  Along the way, he brings a live and loud approach to the stage, and a songwriting style that eschews traditional boundaries and frameworks.  Heller’s debut album, Invitation, is a mighty flare of punk/folk/pop/rock goodness, rough edges and all.  Strap in, because it’s going to be a wild ride.
Heller kicks things off with “Father’s Son”, a dark and trouble rocker about filial recidivism.  The vibrant guitar accompaniment moves this song into high gear, while Heller’s unique voice convey and anguished approach to a life spent on the run.  “Space Girl” has more of a pop/rock orientation, and is written from the perspective of an eternally adolescent male.  Heller channels a bit of early Bowie here. Crawling in and out of the pop matrix as the mood strikes him.  Angular song construction and a willingness to expand on traditional pop structure make this an intriguing listen.  “Shake It” is punk roots-rock with a Dylan meets the Dead complex.  Heller writes stories in almost nonsensical allegory at ties, riven with psychedelic images and a teenager’s sex drive.
“Another Dose” could easily be a heavy rock song, but for the mostly acoustic arrangement offered here.  This quickly morphs into a pop/punk number that will have you shaking your hips and trying to sing along.  This is music you could spend a Saturday night dancing your cares away to.  Heller takes a break with “Interlude”, a gentle instrumental for piano and cello that’s surprisingly reserved and lovely.  Heller shows musical depth that speaks of good things to come.
“Howdy From Hades” is a reserved look at the effects of urban decay, drug addiction, poverty, etc.  The repetitive guitar arrangement seems to mimic the emotional desolation of being caught up in something you can’t live with but cannot escape.  The song is stark and memorable, and very marketable.  “Mercy” plays in the same desolate emotional playground, but this time has an autobiographical feel.  There is a hope of freedom here that is only to be found beyond the veil; a hope that becomes clear as the intensity of Heller’s guitar grows.  In “Man’s Prayer”, Heller shows off a rougher brand of songwriting.  Energy and emotion run through the song like electricity through a live wire, but Heller mashes words and music together at times in uncomfortable ways.
Heller gets back to his punk roots with the acerbically written “Drone Strike”.  He seems to find a special energy when gets into angular mode with his guitar, and that energy comes off of this tune in waves.  Just don’t try to stand still; you might hurt yourself.  Things quiet down a bit on “Jaclyn Of Spades”, a low key number full of quiet bluegrass licks and almost Zeppelin-esque deliberateness.  You could easily hear Robert Plant and company ripping up this number in a much louder and larger arrangement, but it works perfectly well as presented.  “Sink Or Swim” is a maudlin ballad that’s mildly pretty but feels a bit out of its element here.  It is a brief sidebar before Heller marches into the piano driven closer, “Dismay King”.  The low-fi presentation works well for Heller and the song is a solid bow with a positive message about keeping your chin up and moving forward.  This particular recording sounds more like a demo than a finished product, but Heller has definitely got something here.  The rough edges do not obscure the song’s distinctive pop pedigree; this one might help Heller find his way to the pop charts one day.
It’s always fun to follow Matthew Heller into a song.  Sometimes Heller goes right where you would expect him to, and others he takes you on unexpected twists and turns.  It’s all very musical and well constructed, but Heller’s musical perspective seems a bit unique.  Invitation has its rough edges, and occasionally revels in sophomoric ideas, but Heller’s originality and musicality are undeniable.  Invitation is very enjoyable for what it is, but perhaps more so for what it suggests for the future.
Rating:  4 Stars (Out of 5)

Tuesday, March 19, 2013

Steph Barrak - Words To Break Your Heart

Steph Barrak – Words To Break Your Heart
2013, Steph Barrak
Steph Barrak is a rare gem.  The Boston-based indie singer/songwriter blends a poetic stream of consciousness lyrical style with an artful melodic sensibility and a distinctive pop pulse.  While Barrak’s desire to write and sing began at a young age, it wasn’t until her college years when she really began to play in public.  Her open mic appearances quickly turned into headline shows.  Barrak spent two years working with producer Mike Davidson to craft her sonic visions into the album Words To Break Your Heart.  The end result is stunning, beautiful and raw, with a living heartbeat you cannot ignore.
Barrak sets sail with “Connecticut”, an engaging take on a failed relationship written in two distinct musical movements.  She manages to come across as articulate and authentic in dissecting her own heartbreak without falling into stereotypical bouts of vitriol.  The catchy folk/pop arrangement will have your toes tapping, and seems like it should have some real commercial punch.  “Painted Face” is a quiet monologue about waiting for the winds to change.  She recognizes the relationship is over, but is waiting around just in case.  Barrak’s chorus is near-perfect, although the song does drag a bit at the end due to repetition.  “Robot” carries with a mild melancholy, written from the perspective of an automaton.  This could be interpreted as commentary on a relationship drifter who engages but never commits or taken at face value.  Either away it’s highly entertaining and musical.
With “Hardwired”, Barrak digs into an ear-friendly bit of 1970’s singer/songwriter panache.  There’s a bit of the melancholy of Mazzy Starr here, but Steph Barrak is pragmatically hopeful in her approach.  The song plays like a lullaby, and Barrak’s warm alto is the perfect salve.  “Fossil Tears” is a post-breakup monologue on the healing process that retains a glint of hope for the hopeless.  This quietly catchy number will get stuck in your grille and stay there.  “Oh Lo Lo” is a bit more pointed in style, with a relentless post-pop sensibility that pulls at the listener.  Here Barrak is focused on her inability to shake her former love.  It’s a nice tune that feels a bit stuck instrumentally, but that’s sort of the point.
There’s a sense of breaking free evident in “Natural Progression”.  This uplifting folk/pop number has a vibrant energy and a memorable melody, as the focus shifts from decay to transformation.  “Drift With It” is a down-tempo take on the same theme, an acknowledgement that things are falling apart.  The go with the flow feel runs all through the arrangement, and Barrak’s dulcet tones frame it all perfectly.  Once again she shows a flair for infectiously hooky choruses that get caught between your ears.  “The Way You Make Me Smile” would seem to be a turning point.  She’s come to peace with the process of decay, understanding its necessary based on the two actors in this little play.  Nevertheless, she tries to wring one last gasp from what was lost.  The mournful country guitar is a nice touch in communicating the mix of heartbreak and wistful hope found in this moment.  She falls back into an utter unwillingness to let go by song’s end.  This parallel of decay creates one of the loveliest sonic moments on the album, with a chorus that you’ll be humming to yourself for ages.
It’s hard to know whether “Married To A Robber” is a continuation of the story line or a jump start, but the former is as plausible as the latter.  Steph Barrak creates a true musical moment here, crafting the beauty of tragedy into musical stone (or is it the other way around?)  In any case, this is a masterful piece of songwriter.  Barrak winds things down with “Watch For Me”, a declaration of civil war, if you will.  She has finally found the words to match the feelings in her heart, and she is ready to fight.  The song carries the power of simple truths, evocatively turned out in a sparse musical arrangement.  What’s most intriguing is Barrak never offers the payoff.  We come to the brink of the final confrontation, but that moment is never revealed. 
You can argue the end of Words To Break Your Heart all you want, but the takeaway is that this is a compelling musical work that is worth arguing over.  Barrak lays her heart bare across eleven songs that convey the ambivalence of needing to get away yet needing to stay.  It’s not the conclusion that is the focus here, however; that is left to the listener’s imagination.  The journey is the thing.  Barrak’s songs are compositionally never more or less than what they need to be to complement the complicated emotions she conveys.  A relationship’s decay plays out to the precipice without closure, but either way you see that the narrator has grown.  Whatever comes, she’ll be okay.  So while we are left to wonder what is next for Steph Barrak, most anyone who hears Words To Break Your Heart will be anxious for the sequel.
Rating:  4.5 Stars (Out of 5)
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Sunday, March 17, 2013

Jamie Block - Whitecaps On The Hudson

Jamie Block – Whitecaps On The Hudson
2013, Jamie Block
Music is as real as the wind, and as ineffable as time.  Why one person can sit at a piano on their first try and pick out a tune, while others spend their lives looking at one as a foreign object is unknown.  But it is clear that some people just have a natural talent for making music.  What’s more, those individuals can’t escape the gravity of their own talents.  Like moths to a flame they return again and again.  Yes, we’re speaking allegorically of Jamie Block.  Block, who was an Indie darling gone major label during the 1990’s who opened for the likes of The Brian Setzer Orchestra, They Might Be Giants and Bob Mould.  His debut album Lead Me Not Into Penn Station garnered critical praise from Alternative Press, and let to his signing with Glenn Ballard’s then nascent Java Records.  Block eventually traded the musical life for a pinstripe suit and a seat at the Wall Street table, but came back by demand of DJ Claudia Marshall.  Cut to 2013, and Block offers up his most personal and enigmatic work to date, Whitecaps On The Hudson.
There is much to be said for Block’s songwriting.  It’s witty, clever and insightful.  There is a sort of maniacal aesthetic to Block’s songwriting, as if he were the real life incarnation of Prak, a character from Douglas Adams’ Hitchhikers series who must tell the whole Truth in its absolute form.  Block’s songs read in much the same way, he is giving insight into a life (perhaps his own) that runs much deeper than the usual confessional songwriter gig.  He warms up slowly with “Black Eyed Susan”, but by the time Block engages “Henry” he is in full story-teller mode.  The subtle guitar, including some stunning slide work, frames this perfectly.  “Kate” has an interestingly detached air to it, as if the narrator is trying hard not to care about the subject of the song.  The presentation works as authentic, but no one will believe the air is true.
“B.A. Man” has an elemental blues/folk feel.  Sparse and on edge, the arrangement is the perfect balance to Block’s more whimsical lyrics.  “Somebody Beat The Wiz” is an odd, eclectic story about desolation and growing past one’s prime.  It’s intriguing and brings about a strong songwriting comparison to Randy Newman.  Like Newman, Block seems to spend much of his time writing in character.  Also like Newman, Block does it very well.  They have similar approaches, allowing the quirks of the song’s character to shape the song.  “Can’t Sleep” represents what Paul Simon might sound like if he were clinically depressed.  The stumbling arrangement here is intriguing; with a compelling melody and song structure despite it’s slightly disorganized feel.
“Whitecaps On The Hudson” is an internal monologue that is difficult to follow.  Reflection, escapism and luck all come into play here in the thoughts of a social hermetic nomad who touches lives as he needs to but never stays.  Block memorializes ill-fated dare devil Sam Patch in a song of the same name.  The quasi-spoken word verses and sparse rock sound is reminiscent of 1990’s indie rockers The Men.  It’s an entertaining listen.  Block seems to get a bit more serious on “I’ll Keep It With Mine”, which is very well written with a memorable melody.  Block keeps this aesthetic with “Show You Mind”, a solid love song, of sorts that carries some of the neurotic tendencies of a Randy Newman or Lyle Lovett tune.
“1993” is a mid-life crisis song, pure and simple.  The spoken word joint reflects on a sense of being stuck while everyone around you moves on.  Block handles this in entertaining fashion, stating that, “I’ll stumble through the Middle Passage” before launching into a musical bridge.  The self-deprecating humor here gives light to a dark time, and it’s probably one of Block’s finest pieces of self-satire.  Block works his way through “My Head”, and then heads out the door with the sweet, rolling country ballad “Far Away”.  Led by a forlorn guitar, Block tries to make sense out emotions he seems to understand on an elemental level but perhaps never fully grasps.  It’s an entirely human and wonderfully artistic moment.
Jamie Block continues to be one of the best under-the-radar singer/songwriters working today, akin to folks such as Rob Morsberger and Ron Hawkins, but also sharing characteristics with Lovett and Newman.  It’s hard to imagine Block staying under the radar, but his kind have always had a talent for carving out their niche just out of sight, where their songs can be heard by all who want to listen.
Rating: 4 Stars (Out of 5)
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Wednesday, March 13, 2013


Wildy's World began in January of 2008 with one goal in mind, to write about artists who are working hard to craft original music.  Whether it's in a posh recording studio in Beverly Hills, a basement bedroom studio in Portland, Maine, or anywhere in between, there are a whole host of hard working artists out there.

Sometime today we will pass 500,000 visitors to Wildy's World.  While some might take this to be a reflection on the writer of this blog, it's really a comment on all of the great artists I've been lucky enough to write about over the past five years.  And while I may not publish as often as I once did (did I really publish 900 reviews in one year?!?!), the mission goes on.

Thank you for five years of great music.  Thank you for visiting, whether it be on a regular basis, once in a while, or for the first time today.  Keep all of that great music coming, and we'll try to spread the word!

Dolly Varden - For A While

Dolly Varden – For A While
2013, Mid Fi
There is nothing fishy about Dolly Varden.  The band, centered on husband and wife team Steve Dawson and Diane Christiansen, has been charming residents for close to two decades.  The band recently released their sixth studio album, For A While, weaving subtle story-teller style songwriting with smooth arrangements that run both sides of the Americana road.
Weaving their way through stories of love, heartbreak and remembrance, Dolly Varden shows that they continue to grow in the strength and depth of their art.  The band kicks off with the poignant ballad “Del Mar, 1976”, a remembrance of childhood ups and downs that is full of gorgeous imagery.  “For A While” shows off the band’s vocal work, with Christensen on lead vocals and Dawson wrapping his voice around hers like a lover’s embrace.  “Done (Done)” builds on the band’s disparate approaches.  A big, open arrangement with an eminently catchy chorus gets placed upon low key rock verses, creating a sound that’s intriguing and engaging.
Desolate beauty is the phrase that comes to mind when considering “Girl In A Well”.  This track will be a tough sell for some, but there is an aesthetic here that cannot be ignored.  Dolly Varden shows off their pop sensibilities in “Walking The Chalkline Again”.  This is a number that gets inside your head and stays there.  “Mayfly” is, in many ways, the centerpiece of the album.  It’s an unvarnished love song that is grateful in tone and lyrically plain-spoken, yet cast against a melancholy arrangement that is beautiful and sad all at once.  That mix seems like it shouldn’t be able to work, yet it does.  “The Milkshake Incident, Part 1” is a brief instrumental that probably deserves an explanation, or at the very least a visual.  There is potential here, but one gets the sense that a sense of mystery, not fleshing out the idea, is the artists’ intent.
Diane Christensen once again takes the mic for “Temperamental Compliment”, a dark and edgy (but catchy) number full of angular guitar work.  This is ideal material for a movie soundtrack.  “Mayfly” aside, “Saskatchewan To Chicago” may be Dolly Varden’s crowning achievement on For A While.  A family history ensues, with each step bringing our storyteller closer to where he is today.  The tale is bittersweet, yet steadfast in its pragmatic take on change.  “Why Why Why” is another standout; the song has hit single written all over it.  Doubt, anxiety and discovery are all wrapped up in a brilliant three and a half minutes of songwriting.  Dolly Varden closes out with a pair of what might otherwise be B-sides.  “Favorite Friend” and “Thank You” are solid enough, but seem woefully out of place here both in style and in sound.
For A While displays Dolly Varden as a band that’s steady in its craft yet continuing to grow artistically.  There are some rough edges here, but on the whole For A While is subtly brilliant.
Rating: 4 Stars(Out of 5)
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Monday, March 11, 2013

All in the family - Sean and Hannah Lee Mencher

Families make music.

It has always been thus.  Music historically has been something that was made around kitchen tables or living rooms.  Its only as modernization has allowed us more time away from home and hearth that music has become more of an individual practice.

Some families still keep that tradition alive.

Meet Sean and Hannah Lee Mencher, father and daughter from Portland, Maine.  Sean is a longtime music professional, having played solo, with Ronnie Dawson and with his own own band, The Rhythm Kings.  Mencher has appear on Conan! (With Dawson), and has spent a lot of time touring as well as playing shows in and around the Northeast U.S.

Hannah Lee Mencher is working on become a teacher, but she has the kind of voice that makes people stop in their tracks.  The diminutive singer/songwriter has a lot of original material written, but none of it is set to tape yet.  But it seems likely that given time, and opportunity, you're going to hear a lot more from Miss Mencher.  Just remember that we told you about her first.

Sean Mencher has a fair amount of material available for viewing/listening on  I couldn't find much for Hannah Lee, but this clip features Sean Mencher (Guitar/Vocals); Kris Day (bass); Bob Hamilton (electric guitar); Hannah Lee Mencher (vocals) and a pretty amazing, yet anonymous harmonica player.  The setting is Local Sprouts Cafe in Portland, Maine.  It's not a high end recording, but it's definitely worth a listen.

For those of you interested in catching Hannah Lee Mencher live, she is currently performing regularly at Good Morning Cafe in Ballston Spa, NY.  It's a neat little cafe that serves local, sustainable, organic and fair trade foods (primarily breakfast).  You'll have to get there early however, as Good Morning Cafe closes at 2:00 p.m. every day!

They also feature local and traveling acoustic artists!  If you're passing through town and are looking for a place to play, give them a call at (518) 309-3359!

Video: Brooke Annibale - Middle Of The Mess

Popular music is full of singer/songwriters just trying to get by.  Most anyone who is making a living from making a music has a certain level of talent.  But every once in a while a voice comes along that is captivating in and of itself.

Brooke Annibale has such a voice.  If you haven't heard of her before, we'd like to make the introduction.  Check out her latest video, "Middle of the Mess", below.  Don't be embarrassed when you click through to her site afterward.  You're going to want to hear more.

Learn more at

Saturday, March 9, 2013

Video: Wise Girl - So Broken

NYC rockers Wise Girl are on the cusp of releasing their self-titled debut EP. Led by stellar vocalist Abby Weitz, Wise Girl lays down melodic power pop with punk energy and pop sensibilities.  This is going to be a good one folks.  Wet your whistle with "So Broken", below!

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Bogdan Ota - Day Of Wrath

Bogdan Ota  - Day Of Wrath
2012, Eletrecord

Bogdan Ota might one be known as the best musical export Romania has ever known.  The composer is already due to be involved in such discussions for those who known Romanian music history, but Ota’s international exposure hasn’t been huge before now.  With the release of Day of Wrath, Ota declares his intent to be more than just a musical footnote.  Ota’s cinematic scope as a writer is matched only his willingness to surpass the current understanding of what should be.

Day of Wrath opens with "Black Friday", which is written in the style of the opening scene music to a movie thriller. Distinct tension in the main theme is offset by some wonderfully lyric passages along the way. The mix of piano with full (electronic) orchestra creates impressive musical scenery. "Mourning" is intriguing, written with a vibrant melody line that seems to imply more about healing than loss. The quiet beauty in this peace is stunning.

"Day of Wrath" marches forth with military precision. The sense of melancholy mixed with determination pours out through each and every note. "The Story of My Life" has multiple musical personalities, but winds up with a martial feel, offering an ode to Beethoven on the way. "Glimpse of Happiness" is a deliciously dark waltz that explodes into wild symphonic abandon before coming back to its roots. "Solitude" is a thing of beauty, built with the sort of soaring resolutions that drive the action in a motion picture. Ota gains a moment of musical alchemy here that is undeniable.

"Herald's Dream" is like a waterfall of tension and resolution, waxing and waning from one to the other in unpredictable fashion. The result is an edge of the seat ride that is both lyric and driven. "Fantasie for Piano and Orchestra" begins with a metronomic orchestra, waxing into lyric piano. The rest of the journey becomes more complicated as it becomes more martial. Ota makes a teaching moment out of "Reverie", playing the piano as if it were an extension of himself. Likewise "A Dream Within A Dream", a vibrant waltz for piano orchestra that is energetically lyric. It's takes his bows with a change of pace in the form of "Sahara". This begins with a regional sounding theme but transforms into a cinematic string-based arrangement.

Bogdan Ota is a composer in rarified air. He moves with a musical deftness and understanding of compositional structure that is not often found. Soaring and emotive themes lay down beside quiet passages as if all were of the same water and molded together. Day Of Wrath makes one thing very clear: Any discussion about a natural successor to John Williams is incomplete absent the name of Bogdan Ota.

Rating:  4.5 Stars (Out of 5)

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Monday, March 4, 2013

Katie Noonan - Breathe In Now (Video)

I get lots of emails from publicists about checking out new artists.  The volume is such that that each gets a quick look, and depending on the day I may click through a few links to see what someone sounds like.  Like any random fishing experiment, sometimes you get something decent, but more often than not its someone who sounds a little like a bunch of other people.  Perhaps pleasant to listen to but not a standout.

Then there are days like today.

This email has been kicking around in my in-box for a couple of weeks now, and relates to Australian singer/songwriter Katie Noonan.  She recently played dates in Los Angeles, New York and Philly.  She has an absolutely amazing voice and writes songs with a deeply personal touch.  The following video is a live shot from a graduation in Australia, but gives you a sense of her commanding presence live.

If you check out just one new artist this week, make it Katie Noonan.

Learn more at