New England Music Reviews from YankeeMagazine.com

Lissa Schneckenburger: Song

Yankee Publishing (rss@ypi.com) — Fri, 02 May 2008 04:00:00 +0100

Fiddle virtuoso Lissa Schneckenburger's latest album Song is, in a word, unexpected.

The album is clearly a labor of love, featuring modern arrangements of old Maine tunes that were nearly lost to history. Resurrected from the transcripts of early 20th century ethnomusicologists who toured the region's lumber camps, these songs are as much a work of historic preservation as an indie folk album.

While the record's back story amused the historian in me, what truly surprised me about Song was that I enjoyed it. I truly, legitimately enjoyed it. My taste in folk usually tends towards the modern hyphenated varieties: folk-rock, folk-pop, folk-jazz, etc. Sure, my Irish blood stirs every time I hear a fiddle's whining lament, but my appreciation of European roots music has always been passive at best -- something I enjoy when I stumble upon it, but nothing I seek out. Yet, if my iTunes counter is correct, I've already listened to Lissa's new album a dozen times in the month I've owned it.

It's easy to understand why Song was able to appeal to at least this younger listener. For a traditional folk album, there is surprisingly little old-fashioned about it. The recording is crisp and clear, the instrumentation lively, and Lissa's soulful voice is something I'd expect more out of American Idol than the Newton Town Hall. Even the album's cover is geared to contemporary tastes, imbued with bright colors and prominently featuring Lissa in all her playful, nose-pierced youthfulness.

While some folk purists may fear the album is pandering, I hope this reaction is limited. Lissa Schneckenburger's credentials as a folk artist have never been in question before and there is nothing on this record that strikes me as gimmicky. Rather, I look at this album as the highly unlikely fulfillment of a prophecy. Who hasn't heard the common wisdom that "we have to get the kids interested" or America's folk traditions will die out in a matter of years. It's a doomsday scenario repeated so often that I've begun to wonder if the country has just resigned itself to that fate. That's why I've hit the replay button so often on this album. I never expected fresh-blood to sound so surprising or so sweet.

CD's available at CD Baby.

Spouse: Relocation Tactics

Yankee Publishing (rss@ypi.com) — Tue, 08 Apr 2008 04:00:00 +0100

Spouse's Relocation Tactics is one of those guerrilla albums that ambush you 12 hours after you first listen to it. My initial opinion of it was positive, but not overwhelmingly so. But as the day progressed, the hooks and melodies kept resurfacing, pestering me as I tried to do my daily chores. In the time it took me to grab more cat food and pick up some fresh tomatoes, I had subconsciously hummed three of their songs. And I had only listened to the album twice! The produce section of Hannaford's is hardly the road to Damascus, but it was a conversion moment none the less.

Spouse is a rock outfit based in Northampton. It is also the main musical endeavor of Jose Ayerve, the musical journeyman who has, one way or another, been involved in practically every album to come out of the fertile/incestuous Pioneer Valley scene in the last few years. He calls in a few favors on the band's latest album, featuring back up vocals by Flora Reed and Philip Price of the Winterpills and the ever popular New England songstress, Erin McKeown.

A lot has been made of the band's similarities to U2, but the comparison does not do them justice. Certainly there are similarities in the vocals and some of the guitar parts, but it's not like they're sitting around trying to remake The Joshua Tree. Spouse endeavors to cut out a unique sonic niche for themselves, which is commendable in such a heavily populated genre. Besides, if you're an independent band hailing from Western New England and the worst thing someone can say about you is that you sound too much like U2, you're doing a lot of things right.

The tracks on the album shift fluidly from high-energy to wistful to heart-wrenching. They offer a wide variety of sonic arrangements (including a few effective, but highly unexpected glockenspiel features), so it never feels like you are listening to the same song over and over again. The lyrics are solid for a pop album. They aren't Leonard Cohen good, but they're a far cry better than what passes as a national phenomenon these days.

As a whole, Relocation Tactics delivers more than you could rightly expect from it. It's enjoyable, straight-ahead, power-pop from beginning to end, with three or four songs that will stop you in your tracks. If you listen to nothing else by them, check out "Hangover Cure for Humanity." Just be prepared to be humming it for the next couple of days.

CD's available at CD Baby

Cinnamon Girl

Yankee Publishing (rss@ypi.com) — Fri, 07 Mar 2008 05:00:00 +0100

For someone with a highly limited music budget, tribute albums can be a source of great anxiety. They always have great potential -- covering another artist's material is a chance for a musician to both pay homage to their roots and at the same time expand upon the original message. Sometimes this process is transcendent, sometimes bizarre. But when this genre burns you, it burns you bad.

American Laundromat Records, a quirky label based out of Stonington, CT, has embraced the ever risky tribute album as its raison d'etre, working with some of the country's best performers on covers of acts like The Pixies and The Cure. These albums always have a certain amount of levity to them, and it is clear the artists who sign on are doing it for fun.

But with their latest release Joe Spadaro, the labels founder, took the project in a more serious direction. Expanding the meaning of tribute, he dedicated Cinnamon Girl to his mother who recently passed away from breast cancer. Compiling an impressive cast of female musicians (including Lori McKenna, Britta Phillips, and the Watson Twins), he put together this double CD of Neil Young's music to raise money for Vermont based Casting for Recovery. The profits from the album will go towards hosting fly-fishing weekends for women affected by breast cancer, providing them with a relaxing weekend and banishing the sense of isolation that can accompany a life threatening illness.

Musically, the album is a good listen. Neil Young should be proud. None of the tracks fall flat, and a few of them are real gems. Here are two of my favorites. The first, by New England native Tonya Donelly, is a thoughtful interpretation of "Heart of Gold" that serves as a theme song for the albums philanthropic mission. The second, a moody rendition of "Down by the River," is probably the best thing I've heard out of Jill Sobule in years.

Even without the charitable aspect, the album is a worthwhile purchase. But given its deeper mission, Cinnamon Girl is a perfect gift for anyone whose life has been touched by breast cancer.

Albums available at

Jon Shain: Army Jacket Winter

Yankee Publishing (rss@ypi.com) — Wed, 20 Feb 2008 05:00:00 +0100

I first saw Jon Shain at the tiny black box theater at the Mansfield Music and Arts Society. By chance, the Patriots' Divisional Playoff game against the Jaguars was scheduled at the same time, so needless to say there were a few cancellations. Excluding the two owners, the opening act and her mother, there were about four people in the audience. Calling the show intimate is something of an understatement. But truthfully, I can't imagine a better way to get introduced to Shain's deceptively nuanced music.

Jon Shain is, in a word, endearing. He is genuinely funny, a little self-effacing, and humble about his talent. Instead of getting flustered or frustrated, he embraced the tiny crowd in front of him that evening with the same light-hearted conversational tone that pervades his music. If while listening to his album you think it sounds like he is singing with a smirk, trust me, he is.

The warmth and conviviality of his music (present even in his most serious songs) almost betray his talent as both a musician and a songwriter. The simple, comfortable moods he evokes are the product of some serious planning and execution. Though a native of Massachusetts, Shain has spent most of his career in North Carolina studying and playing southern Americana. He is a master blues guitarist, which is a distinction you may not fully appreciate until you see the amount of finger acrobatics that go into coaxing those sounds from an acoustic guitar. The southern blues influence can be seen in his songwriting as well. Though the songs on this album sound little like the gut-bucket blues of Muddy Waters and John Lee Hooker, Shain was clearly influence by their everyman tone. Even at their most poetic, Shain's lyrics are based on simple words and simple ideas that add up to common stories with uncommon depth.

Shain's latest album Army Jacket Winter is definitely worthy of a listen. His songs range from the wistfully reflective ("Silvertone," "Cornershops and Subway Trains") to the purely comic ("Song for JoJo," "Flat Earth Crowd"). He also puts together one of the most poignant and least heavy-handed songs about Hurricane Katrina that I've heard (and I've become something of a connoisseur of that genre). Still, to really appreciate him, I suggest seeing him live. He is returning to New England for a few shows this summer, so check his tour dates and mark your calendar. If you're lucky there'll be an important Sox game that night and you can have him all to yourself.

Albums available at CD Baby.

Rani Arbo and Daisy Mayhem: Big Old Life

Yankee Publishing (rss@ypi.com) — Thu, 13 Dec 2007 05:00:00 +0100

As you may have guessed from the title and the whimsical, bare-footed cover photo, this is an album about life. Or more precisely, it is a celebration of life. Rani Arbo and Daisy Mayhem have been playing together now for seven years. In that time they have shared the ups and downs of being modern musicians in an all-too-real world. The resulting perspective and companionship has culminated in an album that drips of maturity. Their latest tragedy-turned-triumph, Arbo's successful battle against breast cancer, makes its presence felt in the album's sound. The songs are joyful, but practically so. They are performed with the knowledge that life is dirty and comes to an end, but is something worth singing about anyway.

Daisy Mayhem's maturity shows in their performance as well. No one member or instrument dominates these subtly well-crafted tracks. The instrumentation is varied, but not overbearing. Harmonicas, lap steel, and banjos wander in and out of songs, not as gimmicks, but only as needed to make the album's musical statement. And what a varied statement that is. Big Old Life takes listeners on a tour of Americana musical styles. The obvious influences of folk, country, and gospel are complemented by tracks that are closer to bluegrass and gypsy jazz. The opening track, "Joy Comes Back," even pulls out the accordion for some straight-from-the-bayou zydeco.

I enjoyed this album. Younger listeners may find it lacking a little in excitement and bells and whistles. But like a happy marriage, it makes up for that with familiarity and laid-back comfort--simple, sonic contentedness.

Albums available at Signature Sounds and CD Baby.

Patty Larkin: Watch the Sky

Yankee Publishing (rss@ypi.com) — Fri, 25 Jan 2008 05:00:00 +0100

After ten albums and twenty years in the folk scene, Patty Larkin doesn't have to prove anything to anyone, but with the release of Watch the Sky it appears she decided to anyway. Taking the term "personal project" to a new level, Larkin wrote, edited, and produced the entire album by herself. She also provided all of the vocals and played all of the instruments. All of them. If she weren't so sincere about her creative process, I'd accuse her of just showing off.

As is the norm with folk these days, Watch the Sky is a genre bending affair that draws influences from other musical forms. Befitting the amount of loops and computer editing that went into this album (because she couldn't play all the instruments at once), Larkin strays into the world of hip-hop and modern R&B. Now when I first read about this project red flags went up all over the place. Drum machines and folk guitar do not often mix well. But to my surprise, this odd intersection of genres produced the single most engaging and enjoyable track on the album. "Walking in my Sleep" is reminiscent of Macy Gray at her most wistful. It stays true to the down-to-earth intimacy of classic folk while tapping into the compelling rhythms and vocal acrobatics that lend hip-hop its ever-broadening appeal. If any of the tracks on this album find success on the radio, this will be it.

But the album isn't all experimentation and envelope pushing. Traditional fans of folk will feel comfortable with the overall tone of the record. In tune with its ethereal title, most of the songs on Watch the Sky are airy, heartfelt odes that read like poetic journal entries. On several, the instrumentation drops away to almost nothing and the listener becomes very aware that they are hearing Larkin singing to herself, alone in a room. The effect is deeply personal, and as a result listeners' reactions will probably have more to do with their ability to empathize with the lyrics than the quality of the music itself. For me, the lap-steel dirge "Hollywood" failed to resonate while "Traveling Alone," a sonic snapshot of driving through the desert at dusk, was riveting.

Though it is unlikely you'll fall in love with every second of this album, it is definitely worth exploring. The beauty of Larkin's musical vision is undeniable, and you are sure to find a few gems on this record that you'll want to leave on repeat.

Albums available at Amazon.

Eilen Jewell: Heartache Boulevard

Yankee Publishing (rss@ypi.com) — Thu, 10 Jan 2008 05:00:00 +0100

It's okay to occasionally steal away talent from the rest of the country. New England should be happy to have Boise-transplant Eilen Jewell filling our snowy mountaintop juke joints with songs of dusty Midwestern highways and rail yards. On the strength of her summer release Letters from Sinners and Strangers she's made a big splash in the Americana and country music scenes, appearing on a handful of "Best of '07" lists across the country.

It's easy to see why she is so well received. Eilen's sultry, world weary sound brings a much needed sense of sincerity to the land of steel guitars and cowboy boots. Country has suffered more than any other genre since the mass industrialization of music.

The glitz and glamour of modern Nashville stars have rendered the old archetypal themes contrived and dishonest. When I hear one of these twenty-first century "cowboys" with their spotless Stetsons, tailored denims, and pure clear tenors singing about the poverty of small town farms or their gritty life on the road, I have to stifle a laugh. But when Eilen laments her lot as a simple ramblin' girl in a rich man's world, I nod along. Her songs, inspired by the likes of Bessie Smith and Billy Holiday, seem to travel on a downward trajectory rooting herself and her listeners firmly in the ground. She invokes a sense of restlessness and uncertainty that will resonate with all of us who are kicking around the lower brackets of the tax scale.

Her recent EP Heartache Boulevard is a bit of a tease (but what EP isn't?). Released to keep her buzz alive during the long gap between full albums, this disc contains five songs, only three of which were previously unreleased. Her new material (including Katrina protest song "The Flood") is good, but provides little sustenance for those starving for her next album.

If you have yet to hear Eilen, I suggest you pick up Sinners and Strangers rather than Heartache. Die-hard fans will likely find the EP worth owning, but you may just want to save your money for a ticket to one of the three MA shows she has scheduled for February.

Albums are available at Signature Sounds.

Anais Mitchell: The Brightness

Yankee Publishing (rss@ypi.com) — Thu, 27 Dec 2007 05:00:00 +0100

For all the Yankee readers who pine for the days when poetry graced our pages (and I count myself among that number) The Brightness comes to us now as a kind of consolation. Anais Mitchell has all the makings of a New England poet laureate. Born on a Vermont sheep farm she took a degree at Middlebury and traveled the globe. She combines her worldly knowledge with folksy roots, finding the grandiose in the mundane and capturing them with rich imagery and clever word play that you may not catch until you read the lyric sheet. In her joyously heartbreaking opening ballad "Your Fonder Heart" she subtly changes the refrain from "wondering wither your fonder heart lies" to "wondering whether your fonder heart lies." By changing two letters she sums up the edge-of-the-cliff excitement and doubt of new love. That's just about brilliant.

She backs up her song writing skills with a solid folksy performance. The first thing you will notice listening to this CD is her voice. It is mousey, impish, and unintentionally sarcastic. NPR fans will be reminded of Sarah Vowell (if Sarah Vowell sang). Personally, I found it instantly enchanting and a perfect fit for the record. Combined with minimal instrumentation and unusual, cascading phrasing, the spotlight shines directly on the vocals. A more conventional voice would eventually become boring and the strength of the song writing would be missed. But Anais steps up with a voice that makes you want to stop, listen, and analyze every nook of the sweetly puzzling poems she is laying before you.

This is Anais's first release with Ani DiFranco's Righteous Babe Records. The label's hands off artistic approach should give hope to those who love the literary side of music that the best is yet to come. Her current project, for instance, is a real bibliophile's dream: a folk opera based on the Greek myth of Orpheus and Persephone. Could we ask for more?

Albums available at Righteous Babe Records.

Bella Voce: Now Let Us Sing

Yankee Publishing (rss@ypi.com) — Thu, 06 Dec 2007 05:00:00 +0100

This album definitely fits the bill of local music. Bella Voce, a professional women's choir in Vermont, teamed up with composer Gwyneth Walker, a fellow Green Mountain woman who hails from a dairy farm in Braintree, to produceNow Let Us Sing, the choir's first release.

This record isn't really my cup of tea, but I'm hardly the target audience. It's geared more towards lovers of classical vocal compositions. If you enjoy choral recitals, you'll find something on this disc that speaks to you. Bella Voce has no shortage of talented singers and Walker's English language lyrics are accessible and sometimes even poignant. But for me, these strengths eventually became the record's biggest weakness. The arrangements focus squarely on the strength of the singers, with very sparse accompaniment. At 63 minutes, I found that the record was a little too long to dwell on just one sound, and the tracks began to run together in my head.

Individually, though, the songs on Now Let Us Singare enjoyable. Most have a somber, spiritual feel (even the secular ones), but on a couple of tracks the ladies of Bella Voce let their hair down and pick up the beat. In my opinion, these are by far the best on the album and a fun listen--regardless of your taste in music.

Albums are available at CD Baby.

Shepherdess: Self Titled

Yankee Publishing (rss@ypi.com) — Wed, 07 Nov 2007 05:00:00 +0100

Shepherdess is a group of Boston-based music workhorses, each with at least two other band credits to their name. The band's sound is straight out of 1995 and I love them for that. This album sounds a lot like what the music of this last decade could have been if Emo and boy bands hadn't happened. It is candy for twenty-somethings that remember the glory days when great music was born in garages and falling pathetically in love with attitude-laden she-rockers was a rite of passage. Almost a guilty pleasure, I find myself sneaking this album back into my stereo when I should be reviewing someone else.

The production value is endearingly lo-fi (though they probably should have turned their amps back down to 10 on "Aquaplanagerie"). Fans of heavily produced pop and electronica might find this a little too bare bones, but give a listen anyway. The band is clearly having a lot of fun on this album and regardless of genre that energy is infectious.

My only complaint is that the album ends too soon. With no songs hitting the four-minute mark, the disc comes in at just under a half hour. I appreciate the punk ethic of saying what you came to say and then moving on (no refrains repeated ad nauseam here), but I'd love to see some more content. But I suppose that's what second albums are for.

Buy it at CD Baby