39 Results for : blaring
-
-
Blaring in the Stillness
SUPPORT INDEPENDENT MUSIC! 'blaring in the stillness', the new independent 10-song CD by Draz (Andrew Drazic and Garth Fielding) is here. The songs are rich with vintage tones, memorable melodies, meaningful lyrics, and songwriting style that only gets better with each listen. Whether you want a song that hits you right away or a classic that will takes a few listens to sink in - they're all on display within 'blaring in the stillness' The process for the new CD started in 2010, when both Garth and Andrew met in their kids' pre-school and their common appreciation of songs with melody, hooks, and pop sensibilities came to light. The songs display a combination of current, clear, beautiful, guitar-driven alternative pop treated with a vintage production approach. These songs arose out of the struggle between family vs self, suburbia vs city, new world vs old world, love vs lust, thrilling vs routine and the ups and downs of everyday life.- Shop: odax
- Price: 25.46 EUR excl. shipping
-
Doot
Acoustic Glam Pop is born in this sexy duo's first release that is 'a ride that makes you feel like you're in a movie!' Performing artists Mani Leibe and Evo comprise the front line of this co-ed two man band. This dynamic duo has managed to defy the pop world by writing all of the songs, playing all of the instruments, suppling all the vocals, producing, mixing, and designing everything about their first album entitled 'Doot'. The CD itself designed completely by Mani Leibe, is an artful creation in itself before you even hit the play button. 'Doot' is a sexy, quirky, fresh, and naughty album that bites! In this acoustic soundtrack that's 'Captain & Tennille, carjacked by Bonnie & Clyde, meets Sid & Nancy', you'll be living a much sexier life with Am Rodeo blaring on your hi-fi! Read more about Am Rodeo: Mani Leibe-born Jessica Crysta Mashburn in Pinehurst, North Carolina in the heat of a July. Both of her parents were musicians. Her mother played guitar and piano, and her father was a singer and played the upright bass. She was extremely shy as a child and her mother would try to break her of that by having her sing at family gatherings as early as age 5. She began to play piano and guitar by ear shortly after and started writing songs as a teenager. Was A member of a couple of touring bands while still in high school followed by a break from the road to go to college & get a degree in music. During & after college she continued her love of perfoming for live audiences by sitting in with local bands as a vocalist and collaborating with other artists in various duos. She met Evan Olson in Greensboro, NC in the mid 2000's. Upon becoming a couple in 2008, they began writing, recording, & performing together which led them to forming Am Rodeo. Evo- born Evan Scott Olson in West Point, New York. His father was an officer in the Army Corps of Engineers. He is a rock singer and songwriter based in Greensboro, North Carolina and has recorded seven albums including 'One Room' (Universal) and 'Red' (LoveCat Music). His primary instrument is Guitar, but he plays all of the instruments on his CDs. While still in college, he was in the group Majosha, then went on to become a member of the pop group Bus Stop. Since he started playing bars at age 16, Evan has performed thousands of gigs all over the United States. He's also written and recorded several national television commercial jingles including songs for Hershey's and Mercedes Benz. His songs have been featured in numerous television shows and movies including Sex And The City, Baywatch, Law & Order, Ugly Betty, Friday Night Lights, 90210, In America, Scooby Doo the movie, and MTV's The Hills.- Shop: odax
- Price: 28.23 EUR excl. shipping
-
Fill the World with Loudest Praise
A stunning high-quality CD recording of familiar hymns in choral settings, along with two winning instrumental pieces from a student composition contest sponsored by the ISAE. An inspiring and uplifting recording that will introduce you to these composer's works. You'll want to add it to your personal collection, and it also makes a great gift for your choir members, church workers, and friends. Review ' 'Fill the World with Loudest Praise' is a collection of nine hymn anthems by living American composers. All the hymns are familiar, basic repertory, but these settings breathe remarkable freshness and charm into every piece. The CD cover identifies the choir as St. Paul's Chamber Choir of Houston, Texas, inside the liner notes further identify the church as St. Paul's United Methodist Church. If you have any preconceptions of hymn singing by Methodist Texans, this stunning collection will open your ears and your minds. This very professional choir of 22 voices sings with elegance and grace, with flawless diction and breathtakingly beautiful phrasing. The trebles sing with the pure focus of cathedral choirboys, but these are women singing. Conductor Robert Brewer clearly has a strong vision of the sound he wants. Perhaps the words 'Loudest Praise' in the album title are a bit misleading. There is certainly no blaring or yelling. There is brilliant brass playing in the opening 'Holy, Holy, Holy'(NICAEA) arranged by K. Lee Scott. There is dignified vocal strength where appropriate, but there also are moments of quiet awe. In a similar spirit, Craig Phillips' SAB setting of 'Glorious Things of Thee are Spoken' (AUSTRIAN HYMN) with brass, timpani, and organ manages to avoid the Teutonic bombast which are so often clothes (and smothers!) this tune. There are also moments of intimacy and reflection in this first-class hymn anthem. Phillips is the Music Associate at All Saints Episcopal Church in Beverly Hills, California. Alice Parker is represented with Isaac Watts' first hymn, 'Come, Let Us Join Our Cheerful Songs,' set to NUN DANKET ALL. This is not an a cappella setting, as are so many of her hymn and carol arrangements, but rather is a lively and challenging organ accompaniment, beautifully played by Ken Coleman, which adds welcome punctuation and spice. Hal H. Hopson provides an organ and trumpet accompaniment in his SAB setting of Watts' 'From All That Dwell Below the Skies.' The tune LASST UNS ERFREUEN is kept strongly to the fore, except in the third verse ('Your lofty themes, ye mortals bring') where an original melody in a minor mode provides a welcome change of pace. Carl Schalk uses organ and brass choir in his arrangement of ABERYSTWYTH, to Charles Wesley's 'Jesus Lover of My Soul.' Schalk's dignified and restrained treatment makes the intimacy of the text even more powerful, especially in the a cappella stanza 'Other refuge have I none, hangs my helpless soul on thee.' John Ferguson also uses a brass quartet with organ for 'All Hail the Power of Jesus' Name' (CORONATION), achieving admirable variety and color in the six-stanza setting. A flute, a drum, and a piano provide the accompaniment for David Ashley White's setting of 'On Jordan's Stormy Banks.' The tune is PROMISED LAND, and the instrumentation, the clean counterpoint and open harmonies neatly capture the spirit of an old American camp meeting. Alfred V. Fedak adds a violin to the organ accompaniment in his setting of 'When I Survey the Wondrous Cross.' He does not use the tune HAMBURG, as Gilbert Martin does in his famous hymn anthem. The splendid choice here is the English tune ROCKINGHAM. Violinist William Pu plays impeccably, and Fedak's choice of scoring for two-part mixed voices keeps the textures clean and graceful. Edwin T. Childs of Chicago's Moody Bible Institute sets Watts' 'Jesus Shall Reign Where'er the Sun' to the familiar tune DUKE STREET. Men and women are each given stanzas, and brass and timpani fan fares herald the final verse, 'Let every creature rise and bring peculiar honors to our King.' This is a dignified setting, but it certainly breaks no new ground. Two very pleasant instrumental interludes are included on this album. They are the result of a student composition contest sponsored by the Institute for the Study of American Evangelicals at Wheaton College, through a grant from the Lilly Foundation. Kit Mills has written an orchestral fantasy for horn and strings on 'Christ the Lord is Risen Today' (EASTER HYMN). The melody is rhythmically stretched and playfully tossed about in this technically marvelous performance. Mills, still in his early twenties, is a recent graduate of Wheaton College. Let's look for more wonders from this inventive young man. The second interlude is provided by Eric Demarest, currently a senior at Wheaton College. He's given us a charming setting of 'Just As I Am' (WOODWORTH) for English horn and string trio. The tune is heard first from the cello, then from the horn. With frequent use of pizzicato and other string techniques, this charming chamber piece avoids all the sentimentality that so often accompanies the tune. The playing is exemplary throughout. All the choral arrangements on this CD are available from Selah Publishing Company, but this disc is far more than a promotional piece. It's variety, it's superb recording, and the fine taste and marvelous conducting of Robert Brewer make this an album to inspire us again and again.' --'The Hymn,' April 2001.- Shop: odax
- Price: 22.11 EUR excl. shipping
-
Under the Big Top
Kieran's 15 track effort, wraps us in riddles and tells it like it is. Under the Big Top is an imaginative pastiche of songs. It offers something both for listeners of alternative rock and the indie-elite. The musicality on her new album is worth it's weight in gold, as it is predominantly accompanied by world class musicians such as Ricky Lawson (Steeley Dan), Ian Walker, Danny Frankel, Aaron Sterling, and keyboardist, Patrick Warren, who has contributed to the works of The Red Hot Chili Peppers, Fiona Apple, Springsteen, Aimee Mann, and Neil Diamond. While many of her tracks fall left of pop, upon a closer listen, this is not music for the simple. Each track assumes it's own sonic landscape. What ties the songs on Under the Big Top together is Leigh's poignant honesty. "There were a lot of years of strife and walking the tightrope. In hindsight, that's where much of my music sprang from, so a cursed blessing in a way. I don't think anyone expected me to actually do it, but, here I am' On Under the Big Top, Kieran's vocal style ranges from smoky to shape-shifting folk melodies with surreal harmonies. The often off-kilter architecture of harmonies and choruses makes this album extremely intriguing. Kieran's songs are wrought with longing, create vivid images of commitment-phobes, and recreate somewhat bizarre auditory snippets she captured during sleep. Kieran Leigh is the third out of four children, and sister of movie Director, Peter Segal (Get Smart, 50 First Dates). Born in Manhattan, NY as Kieran Leigh Segal, her first generation American father, of Russian roots, found his way working in show business during the heyday at MGM, and her English born mother, of Irish decent, was a Top Ten fashion model. She recalls, 'My earliest memory was of Cecelia (Simon and Garfunkel) on the stereo as we drove through NYC. It is such a unique song, harmonies that pop in and out of nowhere building on each other, and a truly unique array of percussion. I loved it. That's when I recall wanting to be able to make music." They soon, moved to Southern Califronia where her sister used to play Elton John and Pink Floyd"...which then lead me to Zeppelin. As I grew up, I had discovered that they borrowed from the blues, so, I soused out Robert Johnson. His vocal phrasing and guitar playing sucked me in. He told a tale that got everyone's attention with as little as a three-chord progression. He wasn't polished nor pretty, but played and sang with unbelievable soul - what a guitarist. The Doors brought me to Morrison who brought me to Nietzsche, existentialism and the thought of eternal recurrence. I became more attracted to complex music, jazz and classical. Then, Phish, because they are irreverent, Dave Matthews, MMW, Radiohead, in terms of bands on the periphery of mainstream rock. My dad frequently had something like a Rhapsody In Blue blaring, or Ella with her incredible vocal abilities cooing us with Let's Call The Whole Thing Off, or, Louis singing A Foggy Day, and naturally Chet with The Thrill is gone. My dad really helped shape my musical interest." After the end of a relationship in 2004, Kieran began Under the Big Top. "I started dreaming music, vivid full-length songs. More out of curiosity I started working them out because they were so fantastic in my head - I mean, when they come in, they are broadcast via a pristine, pure, heaven-like stereo system.' About three weeks later, I had twenty songs. I gave them to a friend of mine, Jeff Gerst, and he, unbeknownst to me, brought them to a producer friend of his, Andrew Shapiro. Andrew called me and said, 'I want to make and album with you.' That was a life turning moment for me. We made the The Ep. Then, the ball was rolling. The songs kept coming to me, so I kept making them.' Andrew Shapiro and his wife had a baby, and Jeff moved to New York, leaving it up to Kieran if she wanted to continue. What she discovered, was the more she wrote, the more the music streamed in. 'Oh, it would be sort of nice if I didn't have music and lyrics somewhat relentlessly running through my head, but I do. The only peace I find is making these little songs. So, it wasn't a case of, 'And today I want to be a star so I will reinvent myself and write an album.' That was not the goal, it was simply capture the sounds I heard, and write them to bring peace to my head and heart." "How I write varies. Really, I just have a knack for melodies, and lyrics incessantly run through my head." In 2007, she decided to find another producer, but found herself playing the waiting game. "I think for a lot of producers in L.A., if you, the artist, are not seventeen with a voice like an American Idol contestant and cash cow potential, they aren't interested. It was about that time that I came across more people trying to dissuade me than give encouragement. Everyone has their own ideas of what one should do, how they should behave, and how things should be. But, I feel those are unnecessary constraints. If I wasn't supposed to make music, why were the angels whispering songs to me in my sleep? That was my core belief. Giving up due to ney sayers was not an option." In the interim, she began to develop some of her songs with drummer, Bobby Breton. Soon, she was recommended to Producer, Andrew Bush. "We developed 14 of my tracks, bringing in some of L.A.'s leading session's musicians to record foundational instrumentation. I was slightly naïve about costs and protocol, and suddenly found myself the executive producer and sole financier of my project. Then, I didn't really care for the direction many of the songs were heading in, so I dropped about half of them. Of the ones I kept, only a few remained in the form that we recorded them in. I simply couldn't let go of where I wanted them to go. Nonetheless, Andrew Bush is incredibly knowledgeable, talented and a really nice guy. I enjoyed working with him." She chose to move on, rethinking the direction of her songs. "I recorded the quirky Mad as a Hatter parts of the chorus, wrote some other instrumental lines, set up my studio with the right equipment and recorded most all the vocals for the album." Then, Kieran met Dennis Moody, who recorded a few free form versions of her songs, "Catch Me, and Tear Me Down. I will probably release them at some point. Ian Walker, Danny Frankel and Aaron Embry and I did a live recording of those two, and then The Future Inside, which made it to the album." Soon, she landed at the doorstep of Patrick Warren. "He is the most talented and unassuming person I've ever met. He added to the songs, without trying to change them to a certain form or style. He just encouraged me to keep it fun. I remember wanting a snare part at the Top of Tear Me Down, so I drummed the pattern on my lap. Well, we didn't have any drums set up, but we did have his kitchen with wooden spoons. It was pretty funny. It's exactly that freedom of experimentation that you need when creating." This album is intimate, personal, and the kaleidoscopic images that come to mind make it eccentrically offbeat yet completely consuming, drudging the bottom of internal emotions, only to lift us back up to a point of inspiration (as evidenced in songs such as Rise Up). "Okay, yeah, so I've had a few rough patches in life. But, I try everyday to be a good person and to improve, to help others, and to connect with this great universe. If things go south, I try to remind myself and others that north is just a shift-of-the-gaze away." By - Maria Allen Nottingham, UK.- Shop: odax
- Price: 20.65 EUR excl. shipping
-
This Is My America
If you considered their debut "Worthless Lesson" album a slap upside the head, you better duck. Route .44's sophomore release is a haymaker. The album, called "This is My America," can be likened to Russell Crowe's first big line in "Gladiator"... "Unleash Hell" or Gerard Butler's, as Leonidas in "300"... "Prepare for Glory."Yeah, "...My America" has just that kind of ferocity. The current lineup of Route .44 came together just under five years ago, with stand up bassist and production guru Eric D. joining in '05. In 2007, they earned a Motif Music Award for Breakthru Band of the Year. In 2008, they were dubbed Alt-Rock Band of the Year by local music junkies. Here at Motif, Roots music columnist John Fuzek first noticed Route .44 as an upstart roots outfit throwing together crazy elements of various genres into a richly-saturated oblique tour-de-force. The debut work, "Worthless Lessons," leaned mainly on the bands roots foundation, coming across as much gospel as roots-rock at times. Despite the fact that band leader and lyricist Ian Lacombe peppered the album with hard-edged lyrics in songs such as "Addiction" and "Worthless Lessons." The sound, vocals, and arrangements are an acquired taste, to some degree. You're not likely to catch Route .44 on mainstream Clear Channel stations like WHJY, or corporate alt-rock such as WBRU. There's an oblique power and beauty, admittedly not for everyone. "This is My America" demonstrates a clear maturation into more forceful songwriting and an uncompromising social critique noticeably absent in this time of war and crisis. "Music has always been a mirror of the times. This album is a continuance of that tradition," songwriter Ian Lacombe says. "I have always been a fan of music with a conscience from Anarcho-punk bands like Crass and Conflict to Woody Guthrie and Country Joe and the Fish. "I think we are living in a time when we need more social commentary in music. I don't think people really want to be spoonfed the latest Britney Spears song about how difficult her comeback has been... I mean,do we really give a f&%$k about that." One of the more pertinent and in- your face tracks, 'My America,' indicts American apathy, political deceit and the dark cruelty harbored by human souls. Referencing the album's title, 'My America' could double for Johnny Depp's big "Sweeney Todd" number. A blend of breathless harlequin and burning disdain, Lacombe continues his raw wordsmith excellence. 'My America' would be like Jim Morrison joining Disturbed and bringing his poetic psychedelia on a Warped Tour. Vocalists Jess Powers and Teri Pimley conflate an angelic foil to Lacombe's demons. But with the new Route .44, halos tarnish fast in an anti-harmony of vice: Take my money, give me pain. Put me out on that train. Again, the way you use me. I thought I was forgiven, but I cannot stop my sinning... I dream of a catastrophe, already in the making. In which we are like insects, tryin' to build a hive. Like drones we all operate without the ability to think for ourselves 'till the day we die. And our queens will just make more of us, as we succumb to thoughts of lust... perpetuate our existence to further make us slide. This is my, this is my America. This is myAmerica. "As far as the darker imagery in the lyrics goes, I think that's simply a sign of the times," Lacombe says. "The world is getting darker, wars are raging, our economy is shrinking, and resources are disappearing. "In a nutshell, the world shapes the music I present, and personally, happiness isn't really inspiring to me. I don't write love songs because I'm not inspired by love." Throughout the 10-track "My America" disc, Route .44 threads themes of sin, vice, betrayal and fury. The new material has more edge than the 8-member band's "Worthless Lesson" release. "My America" comes across dirty, sexy, and lust filled, merging more heavy rock, jazz and blues elements than before. Sax men Matt Swanton and Paul Choquette shine, as does Pimley's lonesome viola work, and Eric D. (upright bass), Jud Lisiecka (percussion), and Rob Champagne (drums) lay the groundwork for vocals to soar, mingle and fall to Earth. On perhaps the most musically brazen track, 'Trinity,' blaring horns, driving bass and percussion are challenged by the lofty vocals of Powers and Pimley, and contrasted by Lacombe guttural mixing of the parables about Hindu God Vishnu and the first testing of a nuclear weapon. The test, like the song, is called Trinity. Site director for the Trinity test, J. Robert Oppenheimer, later said that a line from the Hindu scripture the "Bhagavad-Gita" came to mind: "I am become Death, the destroyer of worlds." Lacombe uses the line repeatedly. "When I was about 19, I really got into researching the development of the Atomic Bomb," Lacombe says. "I was always enthralled with Oppenheimer. He was an incredibly compassionate man, and a brilliant scientist, whom I think was devastated by his own creation." At the time, nuclear test director Kenneth Bainbridge reportedly said to Oppenheimer, "Now we are all sons of bitches." Pithy Americans! But 'Stimulus Response' lays claim to the most lyrically fierce song on "My America." Down, down, down. This place burns to the ground. Desperately, we pursue our happiness like rats in the street. When our backs are broken and our knuckles raw, we work from our knees. Hope is what we feed ourselves at night. Have some, it'll make everything alright. In poverty we're spoonfed the scraps of a Bourgeois roast. A loaf of bread to feed five thousand, while the CEO's toast. We can rise up. We can greet them with a storm. Or lay down and accept what is the norm. 'Stimulus' operates as an unabashed political revolutionary call, devoid of any real hope that a response will follow. Lacombe's lyrical tact points to the obvious... we're all screwed. So stand up, or take it like a beat dog and just roll over. There's plenty more solid music on"America," including steamy 'Lonely Together,' with a sultry jazz-based groove courtesy of Eric D. "This is My America" makes the blood rush fast and hot, makes you smile at the thought of sin and lust. Jim Vickers - Motif Magazine - April 09.- Shop: odax
- Price: 20.41 EUR excl. shipping
-
Earth Abides
If there's one album you need while huddling in your bomb shelter after the apocalypse has gone down, it's Art Elliot's newest EP, Earth Abides. Listen to songs about: robot civilizations! National parks! a planet where the rich sell the rest of society for medical experimentation! Don't spend the rest of the nuclear holocaust aimlessly wandering the scorched earth, spend it with Art Elliot blaring out of your home stereo, given that there's still enough juice remaining in your generator.- Shop: odax
- Price: 16.07 EUR excl. shipping
-
What We Call Sexy
What We Call Sexy is yet another pre-apocalyptic rock extravaganza from Super Duper. These spies from the future have arrived in our times, not to give us advice about how to avert the End Times - in fact, nothing can save us from our wasteful ways - but to tell us how best to spend our last days. Let's just say you should call your caterer now. (etc....) In "Shine On 'til the Shine Comes Off," the opening track, we're telling you that shoe- and navel-gazing isn't going to change anything. All hail the final blaze of glory for face-melting cock rock! Bring it!!! In "Who Are These People," a funky backbeat underscores the adventures of a high-fiving, uninvited party guest. The downtrodden and the interlopers will be welcome at the Party at the End of the World, so you may as well get used to them at yours. In "Puppet Government," themes of childhood fascination with fascism, quickly turning into actual fascism, are explored over biergarten waltzes and sixties doo-wop grooves. Remember, just because you know where your kids are doesn't mean they're not up to no good. In "Oaxaca," we're jettisoned from our domestic troubles and daily concerns, taking to the high seas for adventure with pirates and jingoistic ignorance. "Up to My Elbows" returns to the cock-rock theme of sexual availability-which is not to say emotional availability-telegraphed by gristle-laced riffs, shouted-out refrains, blaring bari sax, and a willingness to get our hands dirty. Finally, on "This Jam is F*cking Awesome," a parade of absurdities closes out the album in a wash of stinging synth and guitar riffs, floor-pounding beats, and epic battles between species. It was the best of times...it was the end of times.- Shop: odax
- Price: 14.04 EUR excl. shipping
-
