Download Review: Jay Soul's 'Stay With Me'

Jay Soul
Stay With Me
JaySouLMusic

London's Jay Soul is an R&B, soul, and pop up-and-comer with a voice for romantic suavity and a skillful mind for songwriting. The new ten-track release is only available as a download for now, but that doesn't diminish the quality of the music. "Inspiration" is a neo-R&B groove with piano elements, neo-classical atmospherics, and a little guitar work that is bright, new agey, and contemporary. "Get A Job" opens with a dance-like melody and smart lyrics arranged in an R&B and jazzy setting with some urban fortitude that is not hip hop or rap-oriented. "Up" has a throwback dance vein akin to the dance and pop movements of the mid-1990's. The steady rhythm is multi-varied with flashy dance effects. "Stay With Me" is an R&B ballad with a majestic chorus, atmospheric keys, and heartfelt vocals. Overall, the album is very good with dance rhythms, R&B soul, and neo-classical-jazz and a side of pop. Some of the songs are not particularly catchy, but with repeated listens each song grows on you. 4 (out of 5) stars. ~ Matthew Forss  

CD Review: Susan Cattaneo's 'Haunted Heart'

Susan Cattaneo
Haunted Heart
Jersey Girl Music

With ties to Massachusetts, New Jersey, and Nashville, Susan Cattaneo is at home with the pop-country constructions of melody and rhythm on her latest release, Haunted Heart. Susan's vocals are reminiscent of Sheryl Crow and Shawn Colvin. The singer-songwriter vein is eloquently captured on many of the tunes, including "Lies Between Lovers," "Abide," "Haunted Heart," "John Brown," "Ingenue," and many others. The sweet vocals and drifting melody of "Haunted Heart" is relatively slow, jazzy, and folksy. The song evokes a quieter time of reflection and relaxing set in a 60's or 70's context. "Worth The Whiskey" opens with a steely guitar medley and thick, groovy sound structure that brings out the bluesy, Southern elements of her music. "Done Better" is a piano tune with a ballad-esque set-up and delivery. The drum, bass, and guitar mix is rather folksy overall. The power of lyrics that tell stories and great music to match are very difficult to accomplish, but Susan Cattaneo has no problems creating a fulfilling result. Fifteen tracks round out the album. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Mental Monky Ballet's 'Breaking The Law'

Mental Monky Ballet
Breaking The Law
Applehead Records

Swedish alt-rock group, Mental Monky Ballet, bridges the vocal and instrumental gap between Blondie and Garbage--and they do it with success all around. "Into The Open" is a swishy, rock-infused medley with reverberating guitars and vibrant female vocals. "Club 27" is a lush, alt-dance tune with classic vocals and a power pop presence that contains a little edge and a setup akin to something by The Killers. "Get Around This" begins with a spacious, atmospheric and progressive intro with delicate vocals and gingerly-played guitars, until the chorus brings in other vocals and a more textured pop sound. "You're More Trouble Than You're Worth" opens with an alternative and progressive rock arrangement that harbors Garbage and Blondie tendencies, but everything comes out okay. The new seven-track EP, Breaking The Law, is a sure hit for fans of the abovementioned musicians and Swedish alt-pop music with English vocals. ~ Matthew Forss

CD Review: Cole Hermer & The Ravens' 'Quoth The Raven'

Cole Hermer & The Ravens
Quoth The Raven
Self-Release

Hailing from Ontario, Canada, Cole Hermer & The Ravens resurrect vocals and melodies of good 'ol rock music from the 1980s and 90s with all original material, a guitar, a voice, and a dream. Cole's vocals fall somewhere between Axl Rose and Fuel. The five-track release contains rock/metal-infused tunes with "California Breakdown," "Exploitable," and "Teenage Creed." These tunes contain big guitars, punchy rhythms, great vocals, and great licks with spectacular electric guitar solos. For a lighter side, Cole's ballad creations take the stage on "Friends" and "Maybe." The vocals are still great, as well as the instrumental arrangements. These latter songs represent a more intimate picture to the musical mix. Quoth The Raven has everything from hot licks to hot vocals that leave an impression. Fans of good rock music will love it. Everyone else will love it, too! ~ Matthew Forss  

CD Review: Kelley James' 'The Pattern Transcending'

Kelley James
The Pattern Transcending
Self-Release

Californian, Kelley James, creates a hit album with catchy riffs, licks, and chords that cover the pop and rock genres quite nicely. There is a mix of witty lyrics, poignant rap sections, and scintillating roots reggae with a dash of alternative. "Stalker" is a bouncy song with Jason Mraz-type vocal calisthenics and a gospel, reggae, and pop-esque beat. "The Legend of Rip Venice" opens with a smooth bass line, jazzy guitar backing, punchy horns, and poetic vocals. "Secret Lover" is a jaunty tune with rap vocals, punchy bass, and urban hooks. The Maroon 5-esque tune is very catchy with a strong hip hop edge that is very understandable. "California" is a breezy tune with party-like enthusiasm and fun vocals. "Brother" is a solemn acoustic guitar and piano song with light vocals and wavering classical strings. The song is fitting for the final track, as it is very pleasant, calm, and memorable. The entire album is not only worthy of a listen, but it ranks high up on the list of must-have contemporary pop albums. It contains a high degree of substance, which is great if you are not seeking a boring, ho-hum album. Kelley is a cross between Jason Mraz, John Mayer, Jack Johnson, and Xavier Rudd. ~ Matthew Forss     

CD Review: Chaser Eight's 'At The 426'

Chaser Eight
At The 426
Self-Release

Chaser Eight, a Connecticut-based band, follows up with a new EP that continues to explore honest, wholesome, and meaningful vocals and catchy melodies. The entire project was recorded, mixed, mastered, and produced at 426 Studios. "One Love" opens with an acoustic guitar and the sweet, emotive vocals of AUDRA. There are symphonic strings that accompany the vocals and guitar throughout. Drum percussion and jazzy sounds kick in mid-song. The last few moments of the song merge into a rock guitar frenzy that does not last too long. "Run, Run" is a more rock-centered tune with female vocals and an upbeat guitar tune that is grungy and attitude-driven. "Without Love" is a previously-released track that takes on a blurby, electronic, and swishy tune. There are down-tempo, electronica elements that provide a more mysterious and experimental approach. "Heart To Heart" and "Never Enough" are both similar in terms of pop/rock beats and tempos. The earthy sounds are genuine and very moving. Nothing is off-key or off-kilter here. ~ Matthew Forss     

CD Review: Peter Calandra's 'Ashokan Memories'

Peter Calandra
Ashokan Memories
Self-Release

Based in New York City and inspired by the sights and sounds of New York's Upper Hudson River Valley, Peter Calandra presents us with an emotive, contemplative, and wholly instrumental release of solo piano music. The music is gentle and sweeping with delicate fingerings and soft tonal pleasure throughout. The dreamy "Mettcohonts Flowing," is akin to the delicate flowing properties of a babbling brook that are interjected with brighter hints of tonal color on the higher piano registers. "Gertrude's Nose" is a very pensive and twinkling piano delight that flows freely in an almost jaunty manner. "The Ice Caves" is a more lounge jazz-focused piece with multiple piano notes being played at the same time. Furthermore, the piano notes are produced in light waves of dreamy sound. There are eighteen tracks in all. The sweeping melodies on "Overlook" should not be missed. Fans of new age, solo instrumental piano, and jazz will appreciate the subtle and not-so-subtle nuances of Peter Calandra's latest release that is inspired by nature and made for Man. ~ Matthew Forss 

Song Review: Freddie Atlas' "Vain"

Freddie Atlas

“Vain”

New York City-based singer, songwriter, and pianist, Freddie Atlas, brings a hopeful and contemplative mood to the new single, “Vain.”  The meandering piano melodies and wistful, symphonic washes and arrangements provide a sense of classicism with rather steady vocals.  The music revolves around an absence of percussion, which highlights the vocal performances and new age piano.  “Vain” opens with the sounds of rainfall and flowing water interrupted with a loud, but distant, thud.  The rainfall is joined by a symphonic crescendo of new age delight that soars in and out of blissful resonance.  The tone is somewhat dreamy and it reflects a hopeful sense of yearning.  The symphonic piece wanes and a slow, pensive piano arrangement begin.  Freddie’s slow, but achingly beautiful vocals take over, but they are not very pronounced.  Instead, the vocals seem to match the instrumental accompaniment with ease.  There are a few wispy, background vocals that accompany Freddie’s vocals in parts, but they are mainly indiscriminate.  Mid-song, Freddie’s vocals attain a bit of a more up-tempo peak, along with some orchestral arrangements. The free-flowing piano melody is sparkling, meditative, and memorable.  The piano melody continues for the last minute or so of the song, while some water sounds return, as in the beginning. Freddie Atlas seems to hit all the right chords here.  The music starts slow and patient, but opens up a bit with some more up-tempo piano parts and orchestral washes of sound.  Instrumentally, the song succeeds without fault.  Vocally, Freddie has an innate ability to wrap his vocals around smooth and classical melodies with effortlessness.  The pensive and calming, yet emotional vocals, are somewhat reminiscent of Paul Buchanan’s work with the instrumental down-beat and new age-isms of Craig Armstrong.  At any rate, Freddie’s song is an excellent composition that elicits many emotions and feelings without tripping up.

Review by Matthew Forss

Rating: 5 stars (out of 5)