OTO Rating: 9/10

     Is it a coincidence Leaves in the River is released only mere days after the official Autumn Equinox? I doubt it. Like the symphony of crisp autumn leaves drifting into the chilly fall breezes, Sea Wolf echoes deep lyrics that swoon with gentle reflection, introspection and sentimental thoughts. Sea Wolf front man, Alex Brown Church, warmly crafts an album I envision listening to while cuddling up with my sweetie, sipping on spiced cider, or walking through a forest of red, orange, and yellow hues.

      While this is Sea Wolf’s first full-length release, Church manages to sink deep into low-key singer/songwriter tunes, with a profound sense of beauty. Church’s array of studio acquaintances and musical friends add everything from piano, accordion, and keyboards to a seemingly endless supply of cello and violin to the songs that creates a magical mix. It adds some layered delightfulness to the album, as Sea Wolf dresses up almost basic like folk-pop arrangements.

      The album opens with the title track “Leaves in the River” which is peaceful melody in which Chuch basically tells an endearing story of meeting a girl on Halloween. The song is performed in a quiet, monochromatic manner that will surely delve deep into listener’s minds to allow an easily envisioned scenario being played out. “Middle Distance Runner” is a modest tune, with a violin fattening up an otherwise sparse acoustic folk number amid a bit of tambourine tapping and somewhat unfortunate-in-love lyrics.

      “You’re a Wolf” might be the delicious icing on the cake of the album, as some may say. Recycled from an earlier released EP, Get to the River before it Runs Dr, the track is extremely hypnotic, catchy, and without a doubt utterly expresses what the band is capable of – which is nothing short of platinum. “The Cold: the Dark & the Silence” is my personal favorite. The track is notable for its quiet affection and highly emotive content. The sentimental track utilizes small pulsating beats, making it sound almost poppy yet never lacking to its somber core.

      Church spices up Leaves in the River with enough insightful lyrics, melodic hooks and interesting layered instrumentation that he more than likely won’t leave you disappointed. Every song seems to be somewhat of a story weaving a tapestry of tender moments past. Much like the crisp autumn season, Leaves in the River, is something to be cherished, and praised. So, let Church grab on your musical heartstrings and make you feel warm and fuzzy all over.

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Dappled Cities + Granddance

OTO Rating: 8/10

      Dappled Cities (also known as Dappled Cities Fly) are a five-piece band from Sydney Australia that collectively claims to be “about 32% sane.” I can believe that statement because when listening to their latest release, Granddance, the songs ooze with a certain maniacal and frenzied passion that is anything but commonplace. Listing Akron/Family as one of their biggest musical influences they exude that same excitement that is feverishly beautiful and mad.

      Originally called “Periwinkle,” the band came together in 1997 when the majority of the band members had barely reached puberty yet, and were a mere 15 years old. The band played at various all ages shows and charity benefits until they reached legal age to play in the licensed venues. In 2004 they released their first full length album, A Smile, and now in the midst of 2007 they have released Granddance, which is bringing the Australian-bred band into the U.S. spotlight. In fact, as soon as Dangerbird Records heard them play at SXSW in 2006 they immediately signed them on.

      With the release of their second album, it’s been said to be a record that doesn’t skimp on grand gesture. It opens with probably its most dramatic track – “Holy Chord.” The track starts with a soft, catchy beat that eventually gives way to full-blown power chords. In this song, as in many others, vocalist Tim Derricourt varies his vocals between his normal pitch and falsetto. The band slowly builds behind Derricourt, finally leaping into a charge at the beginning of the third verse, where it begins building up again. The resulting sound is big and complex and powerfully delivers emotion straight to your speakers.

      “Fire, Fire, Fire” is an extremely evoking song that slowly unwinds some shy, understated vocal melodies only to see them slowly blossom into nearly epic arrangements. Fellow guitarist Dave Rennick doubles with Derricourt and occasionally breaks into falsetto, which makes the track even more unforgettable. Drummer Hugh Boyce also adds to the multi-dimensional aspect of melodies by carving out a distinct identity with ability to transform a song with his hypnotic beats.

      For being so young in physical age, Dappled Cities is a highly mature band with an evolved sense of superior song craft and arrangement. They may claim to be only 32% sane, but with this latest release they’re definitely not lacking creditability in knowing what they’re doing. With their sophomore release of Granddance I happily suspect I will be hearing a lot more of them in the future.

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OTO Rating: 7/10

     Tegan and Sara are somewhat of an enigma to me. I can’t decide if I really like them or if, more times than not, they just annoy me. Although these are my personal feelings, with their latest release The Con they, without a doubt, prove they can produce some catchy, frantically driven songs that are addictive to listen to and make you think. This album is overflowing with witty lyrics that are desperate, deep, and put an interesting spin on love. Having come to this realization, I guess I’m somewhere in the middle of the love-hate scale when it comes to the singing sisters – but nevertheless I find them intriguing at the least.

      This is Tegan and Sara’s fifth album, and what has been said to be a far cry from the bare folk-rock of the duo’s early work. The now 26-year-old Quin twins play guitar and provide vocals on every track, and are accompanied by a team of musicians: they are joined by Jason McGerr (of Death Cab for Cutie), Hunter Burgan (of AFI), and Matt Sharp (of The Rentals) to name a few. It should also be noted it was co-produced by the infamous Chris Walla who’s worked on numerous projects.

      One very captivating aspect to The Con is the overall theme to the album – each song speaks of some element of relationships, love, and marriage. Although the comprehensive idea to the album is amore, it’s far from hearts and flowers – more than likely alluding to the title The Con. Many of the songs vocalize feelings of hardship, starting over, and the need to feel wanted again echoed with a pessimistic point of view. For lyrics that are so serious, they manage to pull it off pretty damn well in a very short amount of time, considering the entire album is only a mere 36 minutes long.

      A major highlight to the album for me is “Back in your head” – a song that has amazing keyboard lines that are somehow just barely topped by the profound lyrics. I’m in love with this track because I can understand relating to it and empathize with everyone who does. This song serenades about the need to feel wanted while in a long term relationship and wanting that spark back. Getting too comfortable, not feeling that passionate love that somehow inevitably dies and the desperation of trying to get it back are addressed here. Lyrics “I’m not unfaithful, but I’ll stray” are repeated making the track unforgettable.

      The Con is not perfect – but I honestly don’t think perfection was the goal. At once urgent, remorseful, and delicate, this record is quite evocative. The overwhelming feeling seems to be one of longing, pining and yearning. A sense of anxiousness permeates these complex tracks, as if the women are looking for something they never really find – in that regard, it is somewhat bittersweet and worth checking out.

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      Bishop Allen is so cute it’s sick. Their music leaves you with that warm fuzzy feeling all over. Everything about them, from their on stage presence to their peppy lyrics just makes you want to reach out and hug someone. Having seen them open for one of my favorite bands, the Starlight Mints, I immediately fell in love with the New York based indie/pop band. Their songs are cheerful, insightful and the heartwarming lyrics they bellow out act as an intriguing storyteller for the listeners delight. Another reason I think they’re so adorable is they seem so down to earth. Earlier in the year I ordered a CD off their website and the lead man Christian Rudder wrote back personally to give me status updates. How often does that happen these days, I ask you?

      Bishop Allen released Charm School in 2003. This was their first full length album and it generated lots of press and new fans along with the promise of a very hopeful music-making future. Next came what is known as “the EP project.” Every month in 2006, Bishop Allen released a 4-song record with the corresponding month as the title. The band claims they all go together and are meant to be listened to as a series. Each and every charming mini album also features charming artwork for the listener’s enjoyment. Their latest release, The Broken String, ups the ante considerably, reworking ten songs from the EP cycle and two new cuts into shiny indie pop release notable for its versatility, clever-catching lyrics, and fun, offbeat instrumentation.

      The album opens with “Monitor” in which songwriter Justin Rice contrasts the Civil War ironclad and sailors’ courage with playing on-stage. Lyrics “when I break another string, and continue to sing, is that courage? I’m not sure”. It’s a bit of a reckless comparison, but the song’s slow-burn build into cascading piano runs, symphonic percussion, and joyous choruses makes it more serious than ostentatious. That song bleeds into the metronomic guitar riffs and driving pop beat of “Rain,” setting the table for the diversity that follows on much of the album. The following track on the album is “Click, Click, Click, Click” which was an original release on their most popular EP release “July”. The song is so catchy that I’m surprised I haven’t heard it on a Kodak commercial with some toothless 7 year old boy riding a merry-go-round or sucking on a cherry Popsicle with an unearthly uber-sized grin.

      In short, The Broken String is extremely enjoyable from start to finish. Many of the tracks seem to blend together in a menagerie of seamless bliss, making it difficult to differentiate what track you’re listening to exactly – and isn’t that something that should be commended? It’s the perfect album to play at a dinner party, an afternoon gathering of friends, or while lying in the arms of someone you love. Regardless if you’re a die hard Bishop Allen fan or have no clue of their tale whatsoever I believe just about anyone will find their latest release gratifying to the ears.

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      The title of the album, Ongiara, is coined after the Toronto Harbor boat that carried the band Great Lake Swimmers to their initial recording sessions on the Toronto Island. Although this is true, the album was mainly recorded in Aeolian Hall in the heart of London, Ontario. Why did they decide to name the album after this ship of the past? Sweet sentiment and homage to the vessel that initially carried them to the place they arrived at now? Maybe, but whatever the reason, it just works without questioning.

      Ongiara is the third release from the Canadian band whose music could be described as a delicious feast of indie folk, roots melodies and alternative-country pop. Tony Dekker, the singer/songwriter behind the musical project Great Lake Swimmers, uses warm, comforting vocals and graceful lyrics to hypnotize the listener into a peaceful state of conscience.

      Along with Dekker, an array of talented musicians play on a variety of instruments, including the banjo, glockenspiel, timpani, autoharp, and violin. Erik Arnesen and Colin Huebert, along with Dekker, make the magical core that is Great Lake Swimmers. Accompanying the band on Ongiara the album features guest appearances by musicians Serena Ryder, Bob Egan, Sarah Harmer and Owen Pallett of Arcade Fire – which only adds to the gala of sound.

I was lost in the lakes.
And the shapes that your body makes
That your body makes, that your body makes…

      Such simple lyrics, articulated in a hypnotic fashion with exquisite instrumentation makes the opening track on Ongiara a fine starting point for a striking album. “Your Rocky Spine” could be Dekker lost in the silhouette of a lover’s body, the landscape of beautiful mountains or a combination of both masterpieces.

      “Backstage with the Modern Dancers” is the succeeding track brimming with sweet humming, simplistic chorus and mesmerizing plucking of the banjo, autoharp and cello. The track is a bit of an apathetic tale in which Dekker watches a dancer stretching as he tunes his guitar. When she leaves him to take the stage, Dekker can only sit there thinking of “songs I can sing by myself”.

      The last track on the album “I Became Awake” adds the perfect closure to this resonant album. Dekkar sings about being alone for most of the album, and now here he is virtually by himself yet mysteriously he’s somehow accompanied by gorgeous backing vocals.

Together we are magic,
Together we are dreaming,
Together we reach endlessly

      These elementary lyrics ironically tie together this deep, and emotionally charged album.

      Great lake Swimmers have toured with a myriad of talented musicians and bands: Andrew Bird, Final Fantasy, Akron/Family, and Feist just to name of a few. At this point they are one those bands you may be lucky enough to stumble upon catching as an opening act for a larger, more well know band, but that’s probably about to change. Ongiara stands on its own as a unique and charming album that should be admired and adored, not just as a great indie folk album, but as one of those great albums of 2007.

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      These Friends of Mine could not be a more fitting title for the fourth album released from this Seattle-raised singer-songwriter who wants to do nothing more than her simple affirmation of “I just want to entertain people”. And with that declaration she does so in a sleepy sort of way with ease and simplicity. With uncomplicated acoustics and straightforward piano playing, she captures a whimsical, almost child-like essence with each folk-laden song.

      Her aspiration of wanting to entertain people started to blossom by the simple feat of lending vocals to her friends’ Damien Jurat’s album “Ghost of David’. Having done that, Sub Pop Records regarded what they heard and offered to sign her to their label. With the release of three albums she gained a national audience and blessed recognition. But along with the coveted notice came the price of having deadlines and pressure to produce something that seemed almost inorganic and forced. Needing advice and guidance on direction Rosie turned to Sufjan Stevens, her friend and extremely talented tour mate.

      The idea behind what they were planning was to come together – as friends – to produce something that had no deadlines, expectations, or even direction. What resulted was a triad recording process of on-and-off again sessions over two years between Rosie Thomas, Sufjan Stevens, and Denison Witmer. A makeshift studio of sorts was set up by way of a couple of microphone in various rooms of Sufjan’s home. The idea was to create an environment of a simple, healthy creative process – the result, These Friends of Mine.

      The album starts out with “If This City Never Sleeps” and sets the tone for pretty much the entire CD – slow and soft in delivery, void of any sort of building momentum but peaceful in nature. In the liner notes, Rosie states she wrote this opening song while in New York, feeling broken hearted and having vivid dreams of love and marriage.

      “The One I Love” is a cover of the fiery REM tune that could actually be construed as an anti-love song with the lyrics “a simple prop to occupy my time”. Apparently Sufjan played this ballad almost every night while on a European tour and always prefaced the song with “this one goes out to the one I love”. The song is completely restructured in a simple and almost emotionless way, but pleasing to hear nonetheless.

      The highlight of the album is “Say Hello.” A dreamy melody about when a boy meets a girl. Sufjan does a smashing job on back up vocals and makes a very endearing impression on the listener. They recorded the song in one, maybe two tries and what resulted is something graceful and well-formed.

      This album is not something you’ll want to pull out at a party, or when you feel like dancing the night away. It’s something you’ll listen to when it’s raining outside, you’re watering your garden or crocheting a cuddly blanket for a new born baby. That may sound harsh, but it’s not intended to be. It’s a relaxing, sleepy album that could be pleasant accompaniment to a variety of daily tasks. Perhaps one of the most charming appeals to this record is the banter and recorded conversations between the musicians. It sounds authentic and devoid of feigned or false bravado with a sweet nature and an idea of them coming together, as friends – just like they intended to do.

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      When I think of The National, I think of the term Tongue-in-Cheek. The subtly mocking lyrics of this New York based band are portrayed in a half serious, half satirical sort of intoxicated imagery. Although this may be true, Matt Berninger is an immensely gifted lyricist, who’s able to conjure up a myriad of feelings and emotions through his eccentric writing style that speaks of everyday happenstances.

      Boxer, The National’s fourth full-length release from Beggars Banquet, opens with “Fake Empire;” an apathetic ballad that possibly echoes Berninger’s opinion on the state of today’s society “put a little something in our lemonade and take it with us – we’re half-awake in a fake empire.” The song starts out detached-sounding with a simplistic piano progression, but picks up considerably with the use of horns, bass, and a masterfully played drum line by Bryan Devendorf.

      Since purchasing The National’s new album, I find myself repeating the lyrics of “Mistaken for Strangers:” “You get mistaken for strangers by your own friends, when you pass them at night under the silvery, silvery Citibank lights.” Such mundane lyrics spouted out in such a casual way, one would think the band would be bland. The lyrics of Matt Berninger are reminiscent of the self-deprecation in the literature of Bukowski, the simple prose of Salinger, and the every-day events in the plays of Arthur Miller. Suddenly, putting clothes on becomes interesting, walking down the street is elegant, and putting something in a safe behind a painting somehow seems noteworthy.

      The music off of Boxer contrasts Matt Berninger’s baritone, often drunk-sounding delivery in just the right light to make the band dynamic and more appreciated upon further listens. Often there are jangly lead guitar lines, beautiful rhythm lines, and drums that mix everything up. Two pairs of brothers, Aaron & Bryce Dessner and Scott & Bryan Devendorf, comprise the rest of the band. Another selling point to the album is it includes guest appearances from Sufjan Stevens, Marla Hansen, and Australian composer Padma Newsome.

      The band has a knack for taking unexpected turns in songs that make the song structure intriguing. Whether it is the chorus of “Karen” (off of the album Alligator) or the rhythm of the band’s intro contrasting the orchestral arrangement at the beginning of “Squalor Victoria” on Boxer, they’re able to keep the sound unique and fresh. If you enjoy a heartfelt, sometimes melancholy take on music, from a talented group of musicians, then Boxer is the perfect listening choice for you.

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      What is it with the Norman/Oklahoma City music scene? Is there some sort of mystical force in the mostly college-kid inhabited city that produces amazing musicians? Having been born and raised in Tulsa, I always thought I was so much more lucky and fortunate to have been brought up in the “cool” part of Oklahoma. At least as cool as one of the two major metropolises in the sleepy prairie state can be. But now, after hearing all the amazing bands that have came out of the central Oklahoma music scene, The Starlight Mints and Flaming Lips just to name a few, I feel pretty robbed. I guess I feel robbed of being able to be proud of my home-grown music selection. Ok, this is starting to sound like a bashing of the Tulsa music scene, and well, maybe it should be.

      Having moved to Los Angeles almost four years ago, I’ve been exposed to so many up and coming bands I feel nothing short of privileged, and in no way do The Subatomic Pieces pale in comparison to what I’ve heard in this hustling metropolis of California. In a word – they are amazing. Phenomenal musicians with a sound unlike anything I’ve heard before. The band consists mainly of four members: Chris Harris with his dreamy sexy vocals, Sethy McCarroll on his thunderous drums, Matt Fowler on beat-enriched bass, and Colin Ingersol on a variety expertly-played instruments.

      The album starts out with “Probe” a catchy tune with heavy guitar riffs and those sexy haunting vocals that leave you swaying in a dreamy trance-like state of bliss. The lyrics “It’s a dream, what a scene” are nothing short of appropriate for this mesmerizing tune. The album headliner “Hold Out For Science” is one melody I find myself signing out loud in the shower, at the top of lungs while driving to work, and even hymning to myself while making copies at work. “Shine” is a captivating song that reminds me of something Neil Young would have created in the early days of his awe-inspiring career. The guitar is sexy and prophetic and flows in streams of music magic.

      This is the bands first “real” CD release. They’ve put out a few self-released CD-R albums, over the last 8 years or so, but feel this is their first release that will make the band “a real entity”. The album is released on Little Mafia Records, and they will be hitting the road this month to tour throughout the summer. I suggest you do yourself a favor and check them out – either in person or online (http://www.subatomicpieces.com). Hopefully they’ll make a stop in Tulsa on their tour this summer and show that town a thing or two about what Okies can really do.

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      “We’re an indie-vaudeville-conceptual-art-rock-slideshow band,” says singer/songwriter Jason Trachtenberg. “We’ve got the market cornered. There’s no band that can hold a candle to us. In that department.” Funny, but also true. While watching the quirky, cute “Off & On Broadway” DVD by the Trachtenburg trio is this is something completely new and unique – basically it’s like taking a tasty trip through a magical candy land of sights and sounds never done before. It’s bizarre, it’s eccentric, and it’s nothing short of utterly entertaining.

      Husband Jason Trachtenburg had been a singer-songwriter out of Seattle Washington, trying to make ends meat with his arty, politically charged folk songs, but making a living by walking lots and lots of pooches and puppies – which he lovingly recounts. One day, his artist and designer wife Tina came across a box of old slides labeled “Mountain Trip to Old Japan, 1959” at an estate sale. This is quite possibly where it all began. With a quick burst of inspiration, she thought that Jason could set himself apart from the pack if he wrote songs about the people and places in the slides. He decided to give it a go, and enlisted their young daughter, Rachel, to play the drums. With Tina manning the slide projector, they entered a local talent contest, which they ended up winning for obvious reasons.

      After succeeding with their first try, they decided to hit yard sales, more estate sales, thrift stores, wherever they could find these lost treasures of what father Trachtenburg likes to call “Golden Age of Slide Photography”. More slide collections yielded more songs, and the family took their show on the road, eventually winding up in New York City, where they almost immediately found adoring fans.

      Through the journey of “Off & On Broadway” the Trachtenburg Family recounts its adventure of creation over the course of the disc. The DVD is sprinkled with gushing interviews of friends, fans, and fellow artists, all of which are enthusiastic about the Family’s infectious creativity and generosity (they’ve been know to even cook on stage for their audience). But of course the real meat of the DVD, where we get to see firsthand what all the commendable commotion is about, is found in the numerous live performances recorded in New York in 2005. Although you’re not witnessing one full length concert, the portions you see flat-out work and give the viewer a pretty good impression of what’s to be expected in live performances.

      The songs are relatively simple yet relentlessly endearing; the best of them are piano based, with an old-timey undercurrent that is refreshingly quaint. Others are dissonant garage rockers, or hearken back to Jason’s anti-folk roots. The slide accompaniments run the gamut from (yes) family vacations, to old driver’s Ed instructional presentations, to personal photo collections spanning decades, even to slides used for corporate board meetings. When paired up with the songs, the resultant package is a generally humorous and breezy lyrical and visual shower of non-sequiturs, political commentary, and subtle character studies of lives lived long ago and recast by the imagination. And when they are at their best, the songs and the slides dance around each other in a near perfect complementary symmetry, spinning around an axis of nostalgia and a longing for a more innocent time, building into something profoundly emotive, something more than the sum of its halves.

      There’s something about the watching the hazy, misty glow of these random photographs from long ago that is such a mystery. Their almost gauzy look, with their mysterious, unknown, non- permanent and fleeting past, that leaves the impression to the viewer. They almost seem to cut straight to the very core of memory, like you are seeing the past through a sort of private prism. There’s something in these antique images that digital photography could just never convey. It’s partly the obsolescence of the technology, partly the random people in them, and partly the awareness that we are looking at lives that we’ll never really know, and that these people are in fact most likely deceased, and they will never know they’ve been immortalized in such a fascinating way. It captures an eerie awareness of mortality, and it’s just completely awe-inspiring and almost overwhelming.

      Ok, maybe I’m analyzing the DVD a little too much, or being a little too deep, but it truly fascinates me. Though perhaps destined to remain legends largely only in their own inventive minds, and those of their small but devoted following, the Trachtenburg Family has carved a small but sublime niche out for themselves in a music scene that seems lacking, at the present time at least, to such originality. Though perhaps limited by the necessities of their chosen means of creativity – no matter how many estate-sale slide collections they happen upon, songs about mountain trips they write about, sadly eventually they may all begin to sound and look the same. Yet even though this may be true, they are radiant proof that, even at this late date, not everything has been done yet which is something to give praise about.

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      After listening to “Yes, Virginia”, I find myself reaffirming what I already know – the ambiguous duo that form the fascinating and siren-esque Dresden Dolls blows my fragile music-loving mind. Not only are they amazingly talented writers and musicians, they’re some of the most extraordinary live performers I’ve ever encountered, and to top that off, their superlative, cabaret-inspired style is unparalleled. Full of passion, utterly raw, energetic, occasionally frenzied and maniacal, always endearing and enchanting, I immediately find myself wondering, are ‘normal’ people this passionate? Does the run-of-the-mill Joe yearn to scream at someone who underhandedly backstabbed them? Does the mainstream Mary feel unmitigated shame after waking up next to that unwelcome stranger from a drunken night before? Ok, maybe not, but the Dresden Dolls have never strived to be meek, meager, or in any way average for that matter.

      Although they’re a far cry from the mediocre, everyday questions and ponderings about sex, love, self-worth, fears, hopes, regrets, dreams, addictions, loneliness, relationships, turmoil, all of it; it’s eloquently versed in “Yes, Virginia” to be listened to, thought about, analyzed, and ultimately accepted for what it’s worth. They far exceed the status quo, and leave the beguiled listener languishing, doting, and thirsting for more. Having said that it’s no wonder they have acquired a loyal cult following of enamored admirers, enchanted listeners (myself included), and captivated critics.

      The Dresden Dolls are composed of two devilishly clever and multi-talented members, Amanda Palmer and Brian Viglione. Palmer powerfully takes on lead vocals, piano, mellotron and organ, while Viglione fiercely performs on drums, percussion, back-up vocals, and occasional bass and guitar. They’re releasing their sophomore album on April 18th, 2006, signed and released with Roadrunner Records. Roadrunner Records is a primarily metal label with considerably hefty acts such as Slipknot, Killswitch Engage and a more subdued Nickelback.

      It’s apparent the Dresden Dolls larger than life sound is a ticking time bomb ready to detonate. Exploding and blazing a fiery trail here and abroad, the Dolls are on the verge of hitting it big. That’s no surprise since the distinctively wicked twosome, originating from the underground Boston Massachusetts music scene, is full throttle when it comes to blustery energy, unique style, commanding sound, and nothing short of lyrically dazzling prose. The Dolls have brought cabaret style, over-the-top performances, and a one of a kind passion to the table and leave you wondering what could they possibly have up their frilly sleeve next?

      The opening track on the album, “Sex Changes” starts the listener on a rollercoaster ride of sound that will leave you on the edge of your seat, screaming with giddy delight for more magic. The twinkling of the ivory soon breaks into full on pounding of the keys and lyrics that make you realize “today’s a very special day”.

      “Backstabber” is one of my favorite tracks on the album with a barefaced melody and sincere structure that leave a passionate mark on the listener. It’s the kind of tune you want to be listening to when you find out your girlfriend cheated on you, or the neighbor ran over your dog. It’s pissed off, passionate, and thoroughly refreshing. Almost like a guilty pleasure to be hoarded and hidden.

      “My Alcoholic Friends” is an intimate song that hits close to home for me on many levels. Just one of the numerous reasons to admire the highly melodic couple, is because they’re so easy for many to personally relate to. “I’m counting back, the number of the steps, it took for me to get, back on the wagon of the weekend” basically goes through my mind every Monday morning and each day after until the beloved Friday arrives. Brilliantly expressed “Should I choose a noble occupation, if I did I’d only show up late” is an apparent paradox for many today.

      “Sing”, a key track for the album, begins with a gently strummed guitar, a soft and graceful stroking of the piano, and Palmer quietly serenading a low-key and lovely ballad. The weeping, and lamented chorus has an overall simple, yet profound message, “just sing”. It’s touching, moving, and one of those rare songs you actually feel better for having heard.

      They’re abundant on opulent art, singular style, vivid talent, and so unique it’s obvious they’re destined to become solid-gold material. I’ve been lucky enough to see them live and it only added to my love and obsession for them. They deliver a performance that exceeds their greatness on recorded album. They leave me thinking one thing that they’ve already so eloquently vocalized, “Sing for the bartender, sing for the janitor, sing…”

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