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April 7, 2006
New rhythms that rock
From Spanish to jazz to blues, a new crop of CDs.
VERONIKA STEWART
Singer-songwriter Elisete's second album, Longing, is an
Israeli take on Brazilian music. Written in Hebrew, the songs feature
both jazzy, Spanish and reggae-like guitar riffs.
Also accompanied by the flute, Elisete's sound is unique. Her vocals,
falsetto throughout the album, leave a bit to be desired, however.
Often, it seems that the accompaniment overpowers her voice, which
varies little in range within the album. Many of the songs may be
more appropriate as easy-listening, background-type music, rather
than something you would play for an appreciation of the music or
its vocals.
The album is not without its upsides, however. One of the best songs
on the album is its title song, "Longing." The opening
chords make it sound a bit like a Led Zeppelin ballad, but when
Elisete's voice is added to the mix, the old-school rock vibe disappears
entirely and Elisete's own Brazilian rhythms and melodic style take
over.
Another upbeat and enjoyable song is simply entitled "Love."
While the repetitive nature of the album as a whole wears thin,
it works in this song. The variety of background sounds, vocals
and flute accompaniment leave the listener with an urge to dance
in their seat.
The CD's bonus track is also a hit. Titled "Moshico,"
it's an upbeat, techno-sounding song that makes good use of the
accompanying guitar's wah peddle.
All in all, although the vocals could have been turned up and challenged
a bit more, the album is worth listening to, especially the aforementioned
songs.
Jazz it up with pizzazz
A classic jazz sound, mixed with the occasional Jewish melodic twist,
is one of many descriptions that can be given of David Buchbinder's
newest album, Shurum Burum Jazz Circus.
Best known for leading the Flying Bulgar Klezmer Band, Buchman is
an obviously talented composer and trumpet player. He is accompanied
on the album by a variety of other talented instrumentalists. The
melodies are varied and constantly changing, but with a certain
uniformity and flow in their tones.
A pleasure to listen to, Buchbinder's jazz keeps within the non-existent
confines of the medium. The introductions to the songs leave you
with little expectation of what the rest of the song will sound
like, and the remainder of each piece takes you through a rollercoaster
of emotions portrayed through sound.
Truly a delightful specimen of jazz, the album offers a variety
of different types of songs for the listener – from classic-sounding
jazz tunes to a number that wouldn't be out of place in a musical
to the track "Invectus," which adds a Semitic-sounding
melody to a classic and constant jazz bassline. With an Arabian
Nights sort of feel, the song explores its Middle Eastern origins
thoroughly and with pizzazz.
Voodoo Blue debut
Voodoo Blue's debut album, Smile n' Nod, is a pop-punk record
equal in radio-playability to any artist today.
Catchy tunes, the usual message of teen angst, with overtones of
a heavy metal influence in the guitar riffs sums it up pretty well.
Lead vocalist and guitarist Dan Book has the perfect voice for this
type of music: good range, a hint of that whiny-but-appropriate-for-the-content
sound that's so popular in pop-punk today (for instance, Sum 41
or Good Charlotte). With the occasional politically charged lyric
and constant message of the tribulations of youth, the group is
likely to match its rivals in sales. But unlike the other bands,
pretty much every song on this album could be a hit. The only complaint
to be made is that some of the songs are fairly similar in rhythm
and chord progression, a common practice in pop-punk.
One track, titled "The Great Escape," is sure to be a
favorite. It's upbeat "what's wrong with music today?"
theme is always a favorite among pop-punk fans. This is also one
where the heavy-metal influence shines through in the guitar fills
during lapses in vocals.
Based in Baltimore, the band is comprised of Book on vocals and
guitar, Clunky (no last name listed) on bass and Justin Posner on
drums. With only three members, the band emits a surprisingly full
sound. The instrumentals and vocals combine to create the young
energy the band emotes in every song.
Local talent shines
Simplicity can often be the key to good, wholesome music and that's
what Sittin' Back, the debut recording from local artists
Jon and Roy, offers.
With kind of a youthful, beach-going, Jack Johnson-esque feel, the
album combines simple but not easy to play, repetitive guitar riffs
with equally simplistic percussion (mainly bongo drums and shakers)
to create subtle crescendos. Jon Middleton's unique voice gives
feeling to lyrics that reflect the band's youthful exuberance and
experience.
This music is something you could listen to lying on the grass in
the middle of summer or on the beach around a campfire at night:
something cheesy, but sweet. In a movie, it would be probably be
the theme during a time of transition for one of the characters.
It's contemplative and has soft instrumentals – not overwhelming,
but pleasant.
Middleton's conversational way of singing brings a reggae feel to
folky background sounds, occasionally accompanied by a violin. This
meld of techniques can especially be found in the album's 10th track
and title song, "Sittin' Back."
Another equally impressive song is the final one on the CD, "Mountain
Tops." The lyrics offer a feeling of optimism for the future;
a great way to end a great album.
Having just returned from touring in Australia, Vancouver natives
Jon and Roy are a wonderful new addition to the local music scene.
The only disappointment with Sittin' Back is that it is only
about 50 minutes long and it leaves you wanting more. The album
is available in music stores in Victoria, but not yet in Vancouver.
To purchase it, go to www.jonandroy.com.
Veronika Stewart is a student intern at the Independent.
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