REVIEW: Anawaty/Russell - Analog Universe

ANAWATY/RUSSELL

Analog Universe

The curiously titled Analog Universe is a recording from the duo of pianist/keyboardist/guitarist Cass Anawaty and guitarist/keyboardist/synthesist and rhythm programmer Paul Russell They're joined (on various tracks) by a crew of able accompanists: Don Latarksi (lead guitar), Jeff Leonard (bass), Romy Benton (flute), Charley Langer (sax), Benjy Wertheimer (esraj), Peter Hollens (vocals), Dale Bradley (cello), and Mark Zonder (drums). I say "curiously titled" because the words "analog universe" evoke (musically) for me retro/Berlin school synths and outer space soundscapes. In reality, while there are moments here and there on the album where ambient/spacemusic textures surface, the overwhelming evocation for me is closer to jazz and blues, somewhat akin to the sensational jazz fusion duo from the '90s, Dancing Fantasy (Curtis McLaw and Chris Williamson). Anawaty and Russell infuse their music with somewhat the same mixture of jazz, rock, and pop, but they also introduce world music elements. Where Dancing Fantasy was slick and polished to a chromium sheen of synth-pop hooks and danceable rhythms, Anawaty and Russell are aiming for something a little less, for lack of a better word, superficial. If Dancing Fantasy was ear candy, Analog Universe is more like a substantial meal - tasty for sure, but more varied (you got your veggies, your carbs, your protein, your spices, etc.).

This isn’t to say that these two cats don't kick out some snazzy licks (especially on guitar) to go along with gently rockin' rhythms (check out the blues-tinted electric leads on the title track), but they can also kick back and lounge a bit as well, witness the mellow synth, reverberating bells and flute on "On the Beach" along with some seriously sensual hand drum percussion. You can almost hear the ocean waves lapping, taste the margarita on your lips, and feel the gentle rays of the setting sun warm your skin. "Where You Hide" opens with a quavering series of synth notes, joined by a plaintive but warm guitar melody. This track also elicits the feel of the tropics at times, less so when piano is folded into the mix and the mood becomes somewhat somber, only to revert to the original synth and guitar motif. Jazz flute opens "If Only I Could," flitting gracefully over a subtle bed of keyboards, soon joined by more of the mellow jazz/blues guitar (the guitar itself is played in somewhat the same style as Mark Knopfler, especially on his various soundtracks). A slow tempo trap kit drum backing track comes into play and the guitar switches briefly to a Spanish-flavored acoustic one. At 6:35 "Another Worldly" is far and away the longest track on the album, but despite its title, the predominant vibe here is still rooted in jazz/jazz fusion, although with some well-executed spacey synth work added to the mix. About half-way through the song, the assorted drums and percussion becomes more pronounced and dials in some tropical-spiced funk into the track. "A Space in Time" has the most overt spacemusic sound (at its outset) with flowing synths sounding like a cross between Jonn Serrie Meg Bowles, but the introduction of Wertheimer's esraj (an Asian "violin" like instrument) moves the sound into less of a spacemusic direction and more in an ethnic-ambient vein - haunting and mysterious. The closing track, "Deep Sighting" begins in with Eno-esque minimalism (sparse piano and subtle synth backdrops) before taking on some Asian influence via what I assume to be sampled koto. Dale Bradley's cello descends over all the other instruments near the end, lending an air of both elegance and profound somberness, if not even downright sorrow of a sort.

Analog Universe is both quite varied yet remarkably cohesive, but I'm at a loss to explain how I judge it thusly. Part of it is because many of the songs wind up introducing an element of jazz or jazz fusion at some point during their durations. The beautiful, albeit short, opening piece, "Theme For an Imaginary Noir," may remind you of "Memories of Green" from the Blade Runner soundtrack, and illustrates what I mean. The track begins as an ambient piano piece and folds in silky smooth sax and bluesy guitar. This seems to be a modus operandi for Anawaty and Russell, i.e. they introduce a spacey/ambient theme at the outset and slowly but surely mold it into something with touches of jazz, blues, maybe a hint of rock, or even world beat. They do all this will anchoring each song in solid accessibility, catchy rhythms, and inviting melodies, even when they venture into world music territory. In the end, Analog Universe is about kicking back and indulging in the semi-tropical, breezy vibe from the majority of the album's tracks. Every now and then something unexpected hits your "aural taste buds," but that's what makes a great meal, yes? 

Analog Universe is available at CDBaby, Amazon, and iTunes.

REVIEW: John Malvey - "Silent Night" and "Noel"

JOHN MALVEY
"Silent Night" and "Noel" 

Electronic keyboard/guitarist artist John Malvey has two holiday carols on his soundclick page that are worth hearing as they represent unique spins on two traditional holiday songs. First is a synth-pop/electronica take on "Silent Night" that manages to sound contemporary and upbeat but not at the expense of the basic allure of this beloved carol. It opens with a wonderful sweeping synth wash, set alight with twinkling bell tones, before settling into a midtempo rhythm backdrop for the carol's melody, which by turns is played by the duo of synth-bass and keyboard. The second verse is played by flute with a backdrop of a bass/alto male choir. The bridge is quite lovely with a gentle improvisation on a piano-like keyboard surrounded by glistening and flowing textures and a lovely flute line, before the final verse ignites the sky with some snazzy electric guitar, well-mixed so as to not overpower the carol's spiritual aspect. The other carol is "Noel" which begins in a much more restrained style, with piano and subtle bell and chime tones, as well as subdued strings. Acoustic guitar takes over the lead melody at about the midpoint, and then once again, Malvey introduces electric guitar (this time with the added "oomph" of snare drums) for a brief injection of fire, before bringing the song to a gentler close. While traditionalists might bristle at the chill-out take on "Silent Night" or the brief flurry of stinging guitar on "Noel," I admire the artist's attempt to put a new, modern wrinkle on the two carols. Even rockers celebrate the holidays, don’t they? The two tracks can be heard (along with the artist's other works) at this link

REVIEW: Kathryn Toyama and Renaud Schmitt - "Silent Night"

KATHRYN TOYAMA AND RENAUD SCHMITT

"Silent Night"

Pianist Kathryn Toyama, working with Renaud Schmitt (orchestrations and arranger), have given holiday music lovers an early Christmas present–a free download of a wonderful version of "Silent Night." In Kathryn's words "We offer our rendition of 'Silent Night' with heartfelt intentions to raise vibrations throughout the world… may there be peace and harmony among all living beings." With music this lovely as inspiration, perhaps that hopeful vision is in sight. Toyama's sensitive piano performance is enhanced by Schmitt's orchestral embellishments (strings, horns, bells, percussion). Opening with an exquisitely serene first verse, the carol moves into a more dramatic passage with a choir and timpani adding even power and passion, before reverting to the gentler motif, the carol's melody carried by piano, bells, and strings. The track's magic makes me wish for a more fully realized holiday album by these two talented artists, so I guess that will have to be one of my wishes for the New Year. The track can be downloaded at Kathryn Toyama's bandcamp page here: http://kathryntoyama.bandcamp.com/

REVIEW: Bryan Carrigan - below zero

 

BRYAN CARRIGAN

below zero

In the short span of four releases, electronic music composer Bryan Carrigan has established himself as one of the brightest rising stars in the chill-out, ambient, world fusion, and electronica genres. For his latest venture, below zero, Carrigan unfurls his sails and sets out for dub and chill-out land, eschewing (for the most part) his flirtations with world and new age from his last two albums. What stays the same from the past is Carrigan's adept layering of his mélange of keyboards and synths, incorporating both retro and contemporary musical and rhythmic elements as well as his knack for crafting infectious melodic refrains and catchy beats that entice toes to tap floors and fingers to rap table tops.

When I first spun below zero's opening tracks, what came to mind were the assorted A.D. compilations on Waveform, as well as a few other recordings on that ground-breaking dub/downtempo/chill label. The same high level of production quality on that label's releases is mirrored here by Carrigan. Nothing on below zero is cut-rate: synths sizzle, beats pop, and keyboard melodies caress the airwaves. Even though Carrigan's previous three albums (windows, focus, and passing lights) all exhibited a high degree of quality in production and engineering, on below zero he ups the ante to where this self-released album is the equal of any label release. This guy clearly knows his way around mixing and mastering technologies.

Another trademark component of Carrigan's music (unlike some similar artists, such as Ryan Farish) is how his tracks can be quite varied while still maintaining a noticeable Carrigan "sound."  Some artists in the chill-out and lounge genres craft one or two templates and stick with them. Carrigan re-invents himself over and over on below zero. First up on the disc, the title track slides out amidst shuffling dub beats, echoed piano, and spacy synth effects. "premise" glitters with shimmerings juxtaposed with an eerie, melancholic lead keyboard melodic refrain, offset by moody background ambient textures and anchored by a slow tempo dubbish rhythm. "new day" ramps the tempo, energy, and mood up to a pleasant level of daytime cruising in the sunshine (this is one of those great put-the-convertible's-top-down songs), with peppery synths, pumping synth bass notes, and a catchy keyboard refrain. "twist of lime" does an about face and veers into a deep, dark, downtempo cyber-jazz landscape, with layers of ambient keyboards underneath a bluesy trumpet line (a real trumpet, played by Carrigan himself), matched by a wailing synth co-lead and a funkified beat. Later in the CD, Carrigan dips his toes into semi-glitch waters on "runway" melding those contemporary elements with some quasi-Berlin touches (nice hybrid!). "detour" opens with a spooky series of sparkly synth notes, adding in a dub-like beat and thumping bass line - Carrigan has a knack for fashioning uptempo pieces that have a darkness embedded in them, music that has bite, tension, and a foreboding sense of moodiness. "frisky martini" brings back Carrigan's bluesy trumpet, but opens with cascading, twinkling piano and synth notes, before dialing in iridescent bell tones and mid tempo trap kit drum rhythms and bass. One of my favorite tracks on the CD is "tgv" which, if you don’t know it, is the acronym for the high-speed rail line in France. Obviously, this song moves at the fastest pace of anything on the album, and gone is any moodiness, replaced with an exhilarating feeling of great speed and giddy cheerfulness. The song begs comparison to Farish's work, but is not in any way imitative (it's much faster paced and, frankly, simply more fun to listen to than most of Farish's work, as well as densely layered with more synth elements).

below zero should be the final piece of evidence needed to cement Bryan Carrigan's place among the best purveyors of electronic keyboard instrumental music working today. His versatility and creativity apparently know practically no bounds (I wonder what he will tackle next?), his studio wizardry is as good as it gets, and his acumen when it comes to composing songs which combine memorable melodies and catchy beats is evidenced throughout his four releases. I mean, honestly, what more do you need to convince you that this guy is the real deal?

The album is available from the artist's website, Amazon, CDBaby, and iTunes.

REVIEW: CHAD LAWSON - The Space Between

CHAD LAWSON

The Space Between

Hillset Records (2013)

When I first listened to Chad Lawson's debut recording, Set on a Hill, I knew I was hearing the birth of a remarkable talent. Now, four years later, Lawson has fulfilled that vision I had of his career by releasing one of the most sublime piano albums of recent years, The Space Between. Decidedly not for everyone, this exercise in muted minimalism may test the patience of those who enjoy a more structured approach to piano music, but for those seeking a recording to become immersed in, one that doesn’t give answers as much as asks questions, they will be rewarded with exquisitely nuanced tone poems that explore "the space between" the notes as much as it rings the emotional essence out of the notes themselves.

For this recording, Lawson took a chance and altered his instrument in a fairly radical way. He laid felt fabric down between the piano's hammers and the strings, muting the notes to a noticeable degree. He also mic'ed the piano in such a way as to ensure that nearly every sound made during his playing was picked up by the microphone and recorded. These two sonic elements (along with the emotionally rich yet musically sparse melodies) make The Space Between an intensely personal and intimate recording. Despite the addition of the felt material, the piano notes themselves sound glorious - not truly distorted or altered as much as softened with all harshness or shrillness removed. This technique establishes a mood of quiet repose, deep reflection, and the melodies themselves (with rare exception) contribute to the mood by being predominantly melancholy, sometimes starkly so. However, this darkness is counterbalanced - brilliantly I might add - by the beauty of Lawson's playing and depth of the humanity which is evidenced throughout.

Lawson is joined on several tracks by one of two guest artists: either cellist Rubin Kodheli or guitarist James Duke. Compositions are by Lawson, except for two extremely disparate covers - the hymn "Ave Maria" and the Band of Horses' song "No One's Gonna Love You." Both of these accompanists add something to the tracks they appear on. Cellist Kodheli's sorrowful textures give "Falling Together" an added layer of sadness, while Duke's textural electric guitar shadings color "I Wish I Knew" with a complex mixture of, at first, somber atmosphere, and later, an infusion of dramatic tension. This later explosion of looped rapid-fire notes, while obviously meant to be ambient in scope, may prove a bit distracting to some listeners. I will grant you that the somewhat cacophonic passage takes some getting used to, but the small amount of time in which it occurs shouldn't act as any kind of deterrent to your enthusiasm for the album. You can simply skip the track if you find it too intrusive.

Lawson's solo numbers are almost too exquisite for me to adequately describe them. From the opening "I Know a Love So True and Fair" which parlays extreme minimalism into an expression of profound romance to the closing cover of "No One's Gonna Love You" which perfectly captures the deep, fatalistic heartache of the Band of Horses' song, The Space Between presents an artist at the zenith of his composing and performing ability. Not a single note is wasted on the CD and "the spaces between" the notes are every bit as important as the sparse melodies. "Heart in Hand" tugs earnestly and sincerely at the heartstrings while "Loves Me, Loves Me Not, Loves Me" injects a welcome dose of gentle whimsy via its warm melody and sing-song style, a friendly respite from the beautiful but raw somber emotions evoked by the rest of the album (with the exception of "Ave Maria" on which Lawson and Kodheli join together in a patient, restrained take on Schubert's classic).

I haven't detailed the other tracks here in the review (there are ten songs altogether on the CD) because I would simply be using the same superlatives over and over. One thing worth mentioning is a brief but perhaps necessary caveat to those who will listen to this album with good headphones. As I noted above, the mic'ing technique Chad Lawson uses (he recorded and mixed the CD) means that you will hear noises that you likely never heard before (on some tracks this is more pronounced while on others it's barely, if at all, noticeable). You are hearing the piano as a living, breathing entity, its mechanical voice, as it were. This is what you would hear if you were standing extremely close to Chad while he played, hence my labeling the album as being intimate and personal. In a way, Lawson is inviting you to participate in the special relationship he has with his cherished instrument. These noises are no more "flaws" than our own flaws are as human beings, whether we laugh too loud, talk too fast, or groan when we get up from a chair (those are all flaws I personally have, by the way!). For myself, I love that Lawson found a way to capture them as a natural part of the music he made.

Finally, I want to make special mention of the cover and interior art of The Space Between. The photography on the cover by Michael Finster combined with the artwork and layout by Mark Millington, represent visual depictions of the music's beautiful minimalism. Lawson is glimpsed through a window, his face visible yet muted, and the reflection of the outside world is present, yet indistinct. The font choice is equally brilliant in its stark sans serif simplicity yet oh so artfully executed. Lastly, the inside shot of Lawson, dressed elegantly yet simply, likewise ties into the music itself. The warmth of his smile colors the extreme minimalism of his surroundings reminding us that it's our humanity that gives life meaning, even in dark times (as the dark mood of the music is anchored by the beauty of his playing). Or at least that's how I see it.

The Space Between is not just one of the best albums of 2013 (or even recent years), it's also one of the most important albums in how it seeks to connect the listener and the instrument on a fundamentally personal level. There are many moments during the playing of this recording where I am left speechless and near tears. I can’t think of higher praise than that.

The Space Between is available from iTunes, CDBaby, Amazon, GooglePlay.

REVIEW: PAUL SPEER - Ax Inferno

PAUL SPEER

Ax Inferno

Rainstorm Records (2013)

There is a scene in Casino Royale where James Bond is getting dressed for his big high-stakes poker showdown with Le Chiffre. He picks up a tuxedo jacket from the bed and glares at it. He struts into the bathroom where his fellow provocateur, Vesper Lynn, is applying make-up and exasperatedly claims "I already have a dinner jacket." She calmly replies "There are dinner jackets and dinner jackets…this is the latter." How does this relate to the new CD from guitar wizard Paul Speer? Well, yeah, Paul does wield his guitar with the same aplomb as James Bond does with his Walther P99…but here's what I am getting at. There are guitarists and there are guitarists…Paul Speer is the latter. There are plenty of guys and gals who can rip off stinging leads and thunderous power chords, displaying blindingly fast technique aplenty. However, there are much fewer who know that it takes more than flash and fire to impress a discerning listener. It takes discretion and wisdom to know when to strut and when not to; it takes brains and heart to compose killer hooks, catchy melodies, and infectious rhythms without making it sound commonplace or commercial. Paul Speer has all those qualities - and then some.

In an email exchange, when I told Paul that I appreciated what a great song writer he was and how he didn’t just thrown in flashy solos everywhere, he told me this: "Based on your comments, something about my playing and writing that may be of interest to you is how I structure what I do is influenced mostly by singers and horn players, not so much guitar players.  Many guitarists ramble on and on whereas singers and horn players need to breathe.  Hence, I feel they put more thought into each phrase.  Listen to what I play with that in mind.  I take breaths....."

Now, after all that, I'll start out this review by letting my inner child out - THIS ALBUM ROCKS AND ROCKS HARD! Whether Paul is playing with ace drummer Ron Krasinski or managing the beats and rhythms on his own, this baby will kick start your engine into high gear pronto. This music is lean, mean, and out for blood; a pulse-pounding mixture of instrumental rock, hard core electronic, progressive fusion, and floor-thumping techno. Ax Inferno is not what you listen to when you need to chill. Paul's guitar playing (and, by the way, he also plays bass and synthesizer) is a brilliant mixture of jaw-dropping but always tasteful (not aimless noodling) solos, solid rhythm guitar accompaniment, and melodies that grab you instantly, making you want to hit "repeat" the instant the song ends.

"Contents Under Pressure" makes a statement right out of the gate, as Speer fires off rapid staccato chords and Krasinski lays down a rock solid backing rhythm. Pulsing synth bass beats and keyboard blasts circle around superb lead lines that Speer lays down, juxtaposed by those chattering rhythm salvos. It's immediately apparent that Speer's solos and leads are pared to the bone for maximum efficiency with no waste whatsoever. Every pealing note soars into the stratosphere with a purpose. Ping-ponging synth chords (on headphones) pan from ear to ear dialing up the tracks' adrenalin rush to "11." This is only the first song! Rapid pulses of synth bass pepper the opening of "Accelerator" while Krasinski pounds away on the tom toms. Speers' lays down both a repeating motif and also soars with sustained echo notes and then tosses in chattering chords, adding even more fuel to the fire. If you play this album in your car, you may look down and see your speedometer read 100! "Tornado Warning" (the first track where Speer goes solo and the rhythms are programmed) shows that even without real drums, Speer can still rock the house. Here the mood is mysterious and eerie, with an undercurrent of swelling minor key synth pads and fast tempo drum kit rhythms with Speer offering up short, intense guitar leads. You can almost picture streaking across the flatlands of Oklahoma, in the heart of tornado alley, in pursuit of "the big one," grey skies threatening overhead and your blood racing with equal parts excitement and fear. Judicious use of sound effects (thunder, wind and a severe weather siren) only increase the palpable sense of danger in the music. Next, "Vortex" erupts with spacy synth effects anchored by seriously powerful drum work by Krasinski, followed by mournful sustained echoed leads by Speer.

The rest of the tracks include the subdued power pulses and flying fretwork of "Helion Prime," the pumping oomph bass rhythms and lush, flowing synths of "Powerglide (not to mention the delicious organ riffing alongside more superb guitar work), and the rock steady drum playing and stinging guitar fireworks of "Megatron" including some wah-wah wonder. To finish things off, Speer takes "Contents Under Pressure" and "Accelerator" and retools them for the dance floor, labeling each as the "Techno Mix." Take the already high energy of these two songs and now put a 125-140 BPM rhythm underneath it (for "Contents Under Pressure" while "Accelerator" clocks in a bit slower) and throw in a few more synths, plus strip out the drum track and substitute electronic beats.

Fans may have dreamt of an album like Ax Inferno after Speer released Hells Canyon with drummer Scott Rockenfield back in 2000. That was certainly a good album, but Ax Inferno is on an entirely different, and higher, level. Everything on this disc is polished to perfection (all booth tasks, i.e., production, engineering, mixing, were done by Speer). However, I’ll bet no one could have imagined the brilliance that Speer has captured on this recording. Seldom does this kind of electric guitar fire and fury get unleashed in such an accessible and, funny as it sounds, civilized manner. Paul Speer has brains, brawn and skills…kinda sounds a little like James Bond, huh?

The CD is available from Amazon.com, iTunes or from the artist.