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: Anya Parker-Lentz' 'The Giving'

Anya Parker-Lentz
The Giving
Pink Stripe

Based in New Jersey, the young Anya Parker-Lentz creates whirling vocal pop melodies and catchy song arrangements on her debut EP, The Giving. "Staredown" is a good pop song with glittering percussion, glistening guitars, and an angelic voice. "Not Trying" opens with a pensive piano melody and light rock percussion with guitars and a Stevie Nicks-esque vocal concoction. The piano takes on a more prevalent role on "Stuck In Limbo." However, the guitars and percussion remind us of a good pop song arrangement with something deeper than your typical superficial pop lyrics of today. "The Giving" begins with another piano melody, but the melody morphs into a rock vein with clear vocals. "Wake Up Alice" is a pensive melody with a slow, stirring arrangement with a slightly European folk-pop influence and Cranberries-esque arrangements and vocals. The seven-track release is a top-notch release of pop songs with attitude and unforgettable attributes. ~ Matthew Forss    

CD Review: Bree Rose's 'Breakthrough'

Bree Rose
Breakthrough
Iafelice Publishing

The New Jersey-based power punk singer, Bree Rose, is tearing up the charts with a voice that is nothing unlike the talents of Michelle Branch, Avril Lavigne, and Kelly Clarkson. Despite obvious vocal characterizations, Bree Rose is a singer and guitarist with a different type of music and vision. The new music is clearly pop-driven, but there is a good amount of power punk thrown in for a little angst. However, the music is largely contemporary with some electronic embellishments and dance rhythms. "Hands Up" is a dance song with power punk elements, electronic infusions, and crystal clear vocals. "Breakthrough" showcases a bit of power rock elements with Avril-esque vocals and upbeat rhythms. "Wake Of Our Reckoning" is a power ballad with rumbling guitars, electronic echoes, and pop vocals. "Just Until You Bleed" begins with a little piano accompaniment and breathy, angelic vocals amidst a string-infused, electronic brew of musical ingeniousness. A bit of power rock music ends the song. "I'm Not Afraid" opens with an orchestral and electronic introduction that quickly delves into a power punk ballad with static-driven guitars. Breakthrough is a work of pure power punk beauty. ~ Matthew Forss  

CD Review: Adam Gilbert's 'A Generation Of Forgotten Kings'

Adam Gilbert
A Generation Of Forgotten Kings
Self-Release

The piano-driven pop/rock concoctions in Adam Gilbert’s new release, A Generation Of Forgotten Kings, is an uplifting and emotive work of musical art.  The New Jersey-native lends his talents as a singer, songwriter, music director, and producer.  Adam presents thirteen songs that border on ballads with a classic rock vein, while including pop standards, gospel-tinged, R&B/down-tempo grooves that are not electronic, but firmly-rooted in bass, guitar, piano, and percussion.
“A Generation Of Forgotten Kings” opens with unaccompanied and non-descript vocals in an anthem-type format.  The mostly spoken vocals kick-in and a piano, percussion, and acoustic rock beat follows.  The lengthy and rhythmic Coldplay-esque drumming techniques and punchy piano overtures signify a large-scale, anthemic song with background, non-descript vocals throughout the louder parts.  There is a good variation with guitar accompaniment, piano, drums, vocals, and bass, which evokes what would happen if Queen and Coldplay formed a modern-day group together.
“How Do We Respond” opens with Adam’s clear vocals and an ever-increasing piano melody that is punchy and persistent.  A few guitar notes permeate the piano notes, before a percussive drum-kit adds another layer of complexity.  The shimmering guitar notes, thudding drums, and open air vocals provides an anthemic presence overall.  Of course, Coldplay signatures are not too far away with spacious, echoing vocals and lengthy guitar/piano arrangements.  The end of the song is more chaotic with crashing cymbals, energetic piano and guitars, and moving vocals.
“On A Hill” begins with a jaunty solo piano, but a jazzy, sauntering drum-kit enters with Adam’s classy vocals.  A guitar is added to the mix near the end of the song with a conglomeration of piano, vocals, percussion, and strings that signify a cinematic presence.  There is enough diversity to keep listeners appeased.
“Everywhere I Go” opens with a pensive, but classic pop standard piano melody and Adam’s smoky vocals.  The heartfelt vocals are joined by layered, back-up vocals and a sauntering, percussive beat.  The down-tempo groove merges into an R&B classic with smooth bass, clattering cymbals, and throaty vocals with bluesy guitar stylings later on.  This song is a small departure from other songs on the album, due to its raw, organic, and R&B sensibilities.
“Better” begins with a steady, punchy piano melody and soaring vocals.  The bass starts up and accompanies the fluttering piano notes.  A militaristic drum-beat appears for a few seconds, which morphs into a full-blown piano/rock ballad chorus.  Cinematic strings appear, as in some of the other songs.  The difference lies in the catchiness of the chorus that includes lush percussion, twinkling piano notes, and guitar work that blends in to various degrees.
Adam Gilbert’s new album, A Generation Of Forgotten Kings, contains a baker’s dozen of songs that finds recipes for success with lush piano melodies, ballad-esque arrangements, and spacious rock arrangements that soar into areas of pure beauty.  Adam’s vocals are more clear than both Queen and Coldplay, but not as rock-centric.  The vocals seem to match the complex percussion and lavish arrangements with ease.  The pop/rock sensibilities are matched by a good piano base, but nothing that overshadows the rest of the music.  For instance, the piano does not provide a sense of classical arrangements, but rather a jazzy inflection that is pure singer/songwriter material.  The use of guitars, piano, drums, bass, and violin are fairly rudimentary, but their tonal ranges are anything but limited.  Though, some of the songs are long-winded and repetitive in parts.  Adam’s songwriting is top-notch and all of the songs reflect a sense of introspection and hope.  Anyone with an interest in the music of Queen, Coldplay, and similar groups will find Adam’s new release worthwhile. ~ Matthew Forss    

CD Review: Martina Downey's 'Sign Post'

Martina Downey
Sign Post
Self-Release

New Jersey-based, Martina Downey, brings to life the psychedelic and R&B-driven sounds of America's golden age of rock, soul, and ambient music during the 1960's and 70's. This sophomore release of ten new songs represents a lively set of music that combines various genres and influences for an adventurous, urban, and gospel-centric audience. The dreamy instrumentation, punchy percussion, and jazz or rock idioms are also presented here. Martina's vocals are joined by back-up singers, but the  instrumental arrangements are equally-compelling. Notably, the entire album contains vocals, but the genre-bending instrumentation provides a good selection of melodies, rhythms, and influences to enjoy. The jazzy "Close To Her" opens with a piano and sax with Martina's unconventional high tonal range, but the song is extremely catchy. "Dark Caverns" is a classic, pop track with R&B funk, gospel joy, and rippling guitar sounds throughout. "Finer Things" is another pop classic with rousing vocals and punchy guitar work with keyboard strings. The folk-rock tune, "Hurricane," is a tune with Top-40 potential and a good, gritty rock mix of styles bordering folk, alternative pop, and jazz. The entire set of songs runs the gamut from jazz, folk, rock, R&B, gospel, jazz, and psychedelica. Martina Downey is a woman full of creative energy and a compendium of songs that more than suit her vocal abilities. Sign Post is a mile marker of artistic achievement. ~ Matthew Forss     

CD Review: Dave Cirino's 'Dragon Theory'

Dave Cirino
Dragon Theory

Based in New Jersey, Dave Cirino incorporates a plethora of hip hop, dance, rap, electronica, and alternative leanings from a host of urban influences. Dave's Jamaican and Puerto Rican background adds another aspect of creative cultural attributes that primarily draws upon a refreshing foundation of ingenuity. The music is not Latin-esque or reggae-based, for that matter. Instead, Dragon Theory is a spacey, electronica, and hip hop-focused album of groovy beats and intelligent lyrics delivered in a smooth vocal style with assorted backup vocals and percussive rhythms. The echoing vocals of "Time Travel" include a female voice and dance-laden arrangements with hard-hitting vocals and electronic embellishments. Dave's rap is faster than on other tracks. At any rate, the song is urban, contemporary, and fresh. "First Kiss" opens with a few shout-outs before the song merges into a sauntering hip hop set of grooves with piano and electronic accompaniment with some percussion. "Phantom" is a scratchy tune with a heavy, dance-beat and fast rapping. "Blue" is a laid-back, soul track with slower raps and sultry grooves. All in all, sixteen tracks round out the album. Some of the tracks contain similar musical elements, but that is not particularly bad here. Each track contains enough rap, hip hop, and alternative elements to make it worthwhile. If you are looking for rock, pop, Latin, or jazz music, then you have to look elsewhere. Dragon Theory is more than a theory...it's a fact. ~ Matthew Forss