Darkly Comforting: My Secret Island

Landing on the MySpace page of the band “My Secret Island,” the tagline reads: “My Secret Island is extraordinarily unique. A project which has touched on a variety of musical worlds from the very beginning.” – It’s a good summation too. A cursory listen to their songs available online will reflect many elements from metal, goth, punk, electronica, and pop (just to name a few). The song below is their newest release on YouTube titled: “What was Yesterday,” complete with a plotline centered around creepy zombies and a fairly steamy romantic interest.

It’s a tough sounding track with a lot of industrial and metal elements. The vocals seem very punk-rock though. I was most intrigued by the lyrics. Despondent and poetic while being easily understandable through the lead-singer’s impeccable diction. It’s a pretty darn catchy song too, I found myself singing along with the line “lost down the well of time" within minutes of my first listen. 

With so many creative tricks up their respective sleeves; it will be wonderful to hear more of these cats as they continue to produce new music. In the meantime, please have a look at their YouTube page here: https://www.youtube.com/user/MySecretIsland

Linzi Stoppard and FUSE: Heart-Stringing

It is a testament to an instrument's viability that it is changing and evolving in its purpose. We may think that all which could be said and expressed in regards to the violin has been both said and expressed. Yet, the band FUSE would beg to differ… and rightfully so – their brand of instrumental electronic-intelligent-pop is deeply emotive, catchy, and innovative. A pair of electric violins singing sweetly on long beautiful melodies tempered and made modern by their unique approach and sensibility may leave listeners energized, sensualized, and sentimental.

What I like most about FUSE’s music is that they embrace all the sonic capabilities the electric violin has to offer, including distortion, reverb, and chorus – yet, unlike so many musicians working in similar mediums, they still hold true to the timbre of the violin. There is no mistaking it for an electric guitar here. This stands in contrast to so many using modern effects on the instrument. It is something that is highly commendable in this age of frequent musical “overkill.”

Of course, it is easy for one’s eyes (and ears) to be drawn immediately to Linzi Stoppard – she’s the super stylish/super talented half of the band with two X chromosomes. Her looks and appeal are only outdone by her excellent musicianship.  That being said, she knows how to share the spotlight as evidenced by the following track which I will leave you to enjoy. To find out more about Mz. Stoppard's (and FUSE's) music, please do yourself the favor of stopping by her website here: http://www.linzistoppard.com/fuse/

Thomas Brunkard: Sense and Cinematically

It hardly needs to be explained that one of Mr. Brunkard’s big influences is music for media. A brief listen to any of his tracks will evoke romantic scenes on bright sunny days to dreary black and white stills. This should not insinuate, however; that his pieces don’t stand on their own, his compositions have a very intense flair and at the same time are very approachable. One great example of this duality is featured below:

The above piece titled “Menacant” is complete with pulsating rhythms that form a heartbeat like strain continuing through the piece. It grows out of its seductive guitar intro to feature violin echoing a gypsy quality. The guitar and violin almost dance seductively throughout this 3 minute track reflecting a very satisfying quality. In short, it’s very worth a listen (preferably with someone).

To hear more of Thomas Brunkard’s please visit his SoundCloudpage 

Jordan Tetewsky: The Orchestra is the Violin

The violin is a versatile instrument, every composer knows this. We are taught very early on that the range, variance in expression, and overall tonal capabilities are fairly unmatched in the string family and especially the violin. Even so, from Mozart to Berlioz we would think that everything which can be done on the violin has been done.  So, imagine my surprise when stumbling upon the composer and performer; Jordan Tetewsky through his YouTube channel breathing freshness into the instrument that I frankly didn’t know was possible.

Tetewsky certainly embraces technology; the looping pedal seems to be a frequent tool in his works. We have seen this kind of innovation before, mostly from guitarists who perform solo but desire a more ensemble feel to their songs. With the violin, however; the looping and reverb effects take on a somewhat otherworldly quality, very futuristic, yet very approachable at the same time. It’s ethereal and often soundtrack-like in the best possible way. The rhythms generated from pizzicato breaths pulse underneath lush melodies  which always tend to stay interesting.

I suppose what is most interesting to me about Jordan Tetewsky’s pieces is that he manages to never fall into the boundaries of triteness in his works.  Electric violin has taken a little bit of a beating in recent years with the popularity of acts such as “Celtic Women” who tend to cater to the 40+ crowd. Tetewsky, on the other hand appears right in line with the best that contemporary/intelligent art has to offer.

More of Jordan Tetewsky’s pieces can be found through his YouTube channel here

Andrea Vivanet: Doing Justice to Ravel

As a young person, like many young aspiring composers, I studied piano. I never took the instrument as seriously as I should have – I really only viewed it as a means to an end. Learn harmony, learn to read music, learn counterpoint, and learn to accompany – these were my goals. I have, however; always marveled at those players who did obviously take the instrument seriously, and play with a command, dedication, and talent capable of bringing out every possible nuance from the keyboard. And when I find them I just have to share it with you.

While looking around a musician message board, I stumbled across one such performer; Andrea Vivanet, a pianist living and working in Italy. Mr. Vivanet had posted a video of Ravel’s “Le Tombeau de Couperin,” a challenging, sophisticated, yet very accessible work; of course, the same could be said of the performance. Like so many Ravel pieces, the piano has an extreme orchestral quality which the performer is charged with bringing out. Andrea Vivanet meets that challenge with an ease that seems so fluid it almost makes the listener forget how difficult the piece really is.

Andrea Vivanet also has many MP3s available for free through his website and through his SoundCloud account. All are well recorded and equally well played. It will be interesting to see in the future if there is an album forthcoming, and if there is it will be posted here to remind you to buy it!

To read more about Mr. Vivanet, please visit his website at: www.andreavivanet.com

Meena Batish, Lishkare: Punjabi Songs

I have always been an admirer of versatility in artists. I suppose this has become apparent from so many of my blogs/postings, but I do feel the need to reiterate it from time to time. When an artist is able to run the gambit between popular, spiritual, and pedagogical styles it tends to catch my ear. This is the opinion I've formed regarding the second available album of Meena Batish, titled “Lishkare: Punjabi Songs,” as the work is quite a departure from her 2007 album “My Favorite Bhajans.” 

“Lishkare” is upbeat with several pop-sensitive elements. The electronic drums and guitar strumming gives a mixed flavor to Meena’s distinctively North Indian vocal style. In tracks such as “Sajana” (No. 3) there are times when the swung rhythms, so common in music from Punjab, sound almost reggae-ish. Of course, everything is masterfully tied together through the virtuosic sitar playing of Ashwin Batish (the arranger and producer of the album).

The album is full of fun and upbeat numbers. The first track “Yes, No, Alright” is a lighthearted and charmingly uplifting take on contemporary North Indian popular music. It is jazzy with fast brass and a vocal melody that sticks with you after the song is finished. The quirky insertions of a man’s voice saying “yes,” “no,” and “alright” might put some off – but it was something I really enjoyed. As an English speaker, it seemed to invite me in to be part of the dialogue of the song, even though I don’t speak the language.

Other gems exist on “Lishkare.” Track number 4 “Mavan Te Dhiyan Di Dosti” has one of the most lovely and simple arrangements of the album. The slow, but very present drums allow Meena’s voice to shine and do what it does best (deliver stunning melodies). While track number 8 “Pani Nalon Ho Gae Patale” features lush and sweeping piano that doesn't detract one bit from the singing.

“Lishkare” is an extremely well thought out album both in terms of composition and diversity. It is vitally alive in the energy that comes through the recording and enjoyable from the first song to the last. Though I can’t say it is an album for everyone, I can say that everyone should give it a chance (maybe 2 or 3 chances) to take you in. For my part, I can honestly say that have enjoyed my copy thoroughly.

"Likshare" is available on iTunes and Amazon.com

Allison Gray: Off My Mind

We live in an unprecedented era of music and musicians. Currently, it is not so common that an artist can enjoy a modest amount of commercial success, and still have such a genuine air of approachability. And yet, this could certainly be said of one of the best singer/songwriters we have come across lately. Allison Gray has enjoyed both the independent dream success of being widely viewed on her YouTube channel as well as having music featured in major television network programing (such as NBC, MTV and Lifetime). Her songs are consistently sweet and heartbreaking, masterfully arranged with a voice that cuts like a diamond stiletto heel.

The EP being discussed here is titled: “Off My Mind,” available on Amazon and ITunes respectively. The album features a total of six beautifully created songs that are melancholy, but at the same time have a surprisingly energetic quality to them. Perhaps it’s the versatile guitar in the background, or the addition of horns that punctuate lines throughout “Off My Mind,” that lifts me every time I hear it. The arrangements of the accompaniment tracks are certainly first rate. Of course, we would be remised if we did not mention the lyric quality of Ms. Gray’s alto singing and surprisingly original lyrics on universal themes; which are probably the first things a listener will notice.

All of the songs are worth having; every track features the same qualities that make Allison Gray such an enjoyable artist. The two real gems of the album, however; are the songs “Best Love” and “Break Me.”  Both are medium tempo works built on absolutely timeless harmonies, and melodies that stay with you for a long time after you have turned off the radio. The lyrics for both songs deal with heartbreak and fragility in a confessional way without ever being whiney (a very difficult task to pull off).  The horns (on "Best Love") give just enough of an edge to make everything fresh, all the while providing a very classic vibe. Lastly, the production value makes the tracks sound good on the computer, with a set of headphones, or in the car.

It isn’t hard to imagine a considerable following really supporting Ms. Gray, this kind of music really depends on smaller-but-extremely-devoted crowds. At the same time though, the cinematic quality of the music makes it perfectly suited to television and film, so it will be interesting to see how that develops further. As for now, Allison Gray has one genuine masterpiece of an EP under her belt and so long as she keep up the first rate material, it is predictable that we will keep hearing of her success in the future. 

To find out more about Allison Gray, please visit her website at: http://www.theallisongray.com