“Another Circle of Fifths” (Off upcoming new album, Are’s and Els)

Okay, I clicked on this link because of the following -

Michael The Blind is Michael Levasseur, a singer, songwriter and multi-instrumentalist living in Portland, Oregon. Think Leonard Cohen, but not so low. Elliott Smith, but not so high. Suzanne Vega, but not so female. John Fahey when acoustic, Paul Westerberg when electric. A lyrical style that is both e.e. cummings and Mother Goose.

Now that’s winning copy! And what about that song title – which only music geeks will get? Priceless. The song itself, nasal high register voice, rockabilly rhythms, sawing violins and twang up to the wazoo. WIN WIN WIN WIN!

TAKE IT EASY

What I really like about Winfred E Eye and its latest LP – Today Was Another Day – is that the band does not sound like it’s really trying too hard to please anyone. Except maybe themselves. There’s a casual, laidback vibe on this collection of songs that is both charming and daring. In some ways, songs like the ethereal “Void” and “Sentimental Junk” might come across like something off Bon Iver’s sophomore effort but it does not take itself as seriously. Know what I mean?

No? Well simply put although there are elements of ‘indie cred’ in Winfred E. Eye’s songwriting, overall the sound is so rustic and homespun, it seems that the band is taking the piss! It’s all very 70s Laurel Canyon most of the time, equal parts Neil Young and James Taylor in approach especially in songs like “Hard Time Comin’” and “Burnin’ Alone”. In fact, on the latter track, the discerning music lover may also find traces of Giant Sand’s so-called Desert Rock agenda. It is spare and uncomplicated, letting the plain folk melody and emotive words carry the power.

All said and done, Today Was Another Day is Americana at its very best – in whatever era you might be listening from, this arcane country-folk-blues-rock transcends mere ‘genre’ to deliver a potent magical strange brew. For want of a better word, this is magnificent alternative country.

Official Site

Thinking California (off Whiskey Farmer)

No ‘indie cred’ necessary here as singer-songwriter James Low spins a rustic yarn about a farmer desperate to escape his dead end life. The track is featured on Low’s new album – Whiskey Farmer – which will be released on 21st Feb. It’s straightforward country-folk with twangy melodies that serve the heartfelt sentiments. Check out the video below and also the preview of the upcoming album. Review to come…

‘Thinking California’ from James Low on Vimeo.

Our New Favorite

Crooked Fingers – Eric Bachmann’s country-folk vehicle is back with another collection of warm rustic songs. The new album is called Breaks in the Armor and was released in late 2011. The wistful tone found on “Our New Favorite” is emblematic of Crooked Fingers‘ overall tone and style – heartfelt without mawkish sentimentality. There is a certain dissonance about the way the verse moves into chorus without interrupting the flow of the song (the angelic backing vocals smoothens things up nicely) that makes “Our New Favorite” particularly appealing.

According to label Merge Records‘ emailer – the video below was “directed and edited by James Fleischel” and “beautifully illustrates the feelings of impermanence and connectedness suggested by the song by capturing and slowing down the fleeting moments of everyday life.” No argument there! Expect a review soon. In the meantime…

Official Site

Morning Sun

Video for the lead single, Morning Son, off Twister, Country Mice’s critically acclaimed 2011 album.

Lead singer Jason Ruerger explains what the video is all about - ”I live on the fourth floor of my apartment building, and you see this whole world of moving parts below you. It makes you feel removed and connected at the same time. The song has this outside looking in perspective on how it feels to lose everything you’ve gained, while not caring of the destruction it does around you. Kind of like floating above a car wreck. The cars, the people, are all part of this surreal movie that plays out around you and how most of the time you have no control in what is temporary or permanent in your life. The video is compiled of footage that was shot on our last tour. It’s us seeing a lot of these cities for the first time, capturing the moments in between shows. Our friend Gordon Holmes edited it together and wove it into a narrative within the context of the song.”

Originally posted on 1 Feb 2012

SPARE ME (LIVE)

I love alt-country/roots music/Americana (whatever) but you knew that. Here’s another country-folk chanteuse that will go all rustic on your ass. 24 year old Caitlin Rose has released her debut album – Own Side Now – and this live video of Spare Me finds Caitlin in conversational mood and performing with a crack band on the rooftop. And it’s a breezy number which will chase all your blues away. Don’t forget to check out the little story that Caitlin shares right at the end – worth the wait as well!

Caitlin Rose – “Spare Me” – Le Loft Rooftop from DUKE STREET on Vimeo.

Official Site

PARSON RED HEADS – BURNING UP THE SKY (LIVE)

By now, regular PoP visitors will know what a band needs to do to be featured here! Psychedelic-country-folk-rock-blues is the ‘genre’ of choice and Parson Red Head fits the bill with two acoustic guitars, harmonica, percussion and gorgeous 4-part harmonies in this ‘live’ video. Burning Up the Sky is a song off new album, Yearling. Sweet! A PoP recommendation!

Official Site

Star Anna – Alone In This Together

Regular PoP visitors will know that I am an absolute sucker for good old fashioned honest-to-goodness country-folk-soul music. Add a spine-tingling female vox into the equation and the result is obsession! So here’s Star Anna, who at 25 has established musicians raving over her vocal abilities. Listen to this glorious track off her debut album of the same name and understand why…

Alone In This Together (Radio Edit) – Star Anna by grammy mammy

Official Site

GOOD OLD WAR – THAT’S SOME DREAM

Here at the Power of Pop, we don’t bother too much about release dates, good music is oblivious to age or time. So here’s a cool track from Good Old War’s eponymous debut album which was released by Sargent House last year. That’s Some Dream is a basic, simple country-folk number with melodies and harmonies which will touch all your rock ‘n’ roll hearts. A band we probably need to spotlight a little more here at the Power of Pop, eh?

Official Site

FLEET FOXES Helplessness Blues (SubPop)

The eponymous debut album of Seattle-based Fleet Foxes was such a gorgeous work that it seemed like it could have easily gone on for two albums and nobody would have minded its prolixity. Three years later, Fleet Foxes return with its sophomore effort and the first impression is that it is simply more of the same. And is that necessarily a bad thing?

To these ears, the same qualities that made that first LP, Power of Pop’s album of 2008, are strongly in evidence. Robin Pecknold’s affecting vocal delivery, superb use of atmospherics and dynamics, mountain folk rustic majesty and melodies seemingly drawn from the early 1900s. Definitely, if like me, you adored the first album, there would be little difficulty in giving Helplessness Blues your undivided attention and ultimately, undying affection.

Lyrically, the stories unfolding here speak of former harsh times, of travelers, pioneers and wayfarers, sung to a soundtrack of acoustic guitars, flutes, earthy percussion and other-worldly vocal harmonies. On the title track, Pecknold declares his intention to a unrequited love – “yeah I’m tongue tied and dizzy/and I can’t keep it to myself/what good is it to sing helplessness blues?/why should I wait for anyone else?” – with the backdrop of the the distant past wafting through the images being conjured by both music and lyrics.

And that sense of recalling the days of yore permeates most of this wondrous album – from the opening wistful croon of Montezuma to the epic stomp of Grown Ocean – the Fleet Foxes transport the unwary listener back to a simpler (kinder? gentler?) time and whilst it’s hard to say that Fleet Foxes have moved forward since 2008′s dazzling debut, it’s enough for me to state that with Helplessness Blues, Fleet Foxes have at least equalled some of the best new music of the last five years, and that is an achievement in itself.

Helplessness Blues will be released on 3rd May.

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MY COUSIN, THE EMPEROR The Subway EPs (Self-released)

“Instead of recording a full album, we decided to record 2 EPs, but to give them entirely different personalities, volume 1 is more folky, country, singer- songwriter music.  Volume 2 is more rock, upbeat, and energetic.  This band does both of them very well, so I wanted to showcase it’s different personalities across the two EPs.” Jason Reischel

Serious doubts about the concept behind the presentation of one album as two EPs and the mannered self-categorizations BUT no denying that Brooklyn’s My Cousin, The Emperor parlays the perfect mix of country-folk-blues and rock ‘n’ roll music that Gram Parsons envisaged for his Cosmic American Music. I have always maintained that when done right, country-folk-blues can be some of the most soulful music on the planet and thankfully, Reischel and company provide ample evidence of this assertion.

On the 1st volume, Prospect Park West, there are luscious vocal harmonies, lush acoustic guitars and lusty evocations of rustic beauty in songs like Lies End and Burly, Old Coach. A dash of rockabilly informs Southern Nights whilst mournful strings will touch the heart on Annie (The Leevee Song). Volume II, Broadway-Lafayette, ups the tempo ever so slightly – Down N Out is white-knuckled barroom blues, Nothing Left For Us To Find is unapologetically rollicking and Early Morning Show channels The Band and Neil Young with slow burning intensity.

An excellent addition to the country-folk-blues-rock canon. File next to your Wilco, Uncle Tupelo and Jayhawks LPs.

Official Site

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Listen to County Line below,  a moody electric piano piece that recalls the late John Lennon and The Band, off the upcoming album – Wits End – from Cass McCombs, to be released by Domino Records on 11th April 2011. It is rather sumptuous, with McCombs also channeling Richard Manuel’s fragile pipes on this country-folk-ish tune. Worth checking out.

Official Site

LLOYD COLE Broken Record (Self-released)

Cole’s country and folk influences are evident in the use of instruments like the pedal steel, banjo and mandolin, as well as the narrative nature of his lyrics. I must confess that’s basically the extent of my knowledge about Cole or any other pop-country-folk-ish music, so if I go ahead and say that this album is worth listening to, it’s completely without reference or comparison or expectation. And this album really is worth listening to.

Right from the start there is an attention-grabbing time signature change, at the beginning of Like A Broken Record. That track might just be my favourite song on the record, by the way; the combination of introspective lyrics, wistful melody from the pedal steel, and harmony from the background vocals would tug at anyone’s heartstrings.

One warning: Writers’ Retreat! might get stuck in your head for days. This foot-tapping feel-good tune (with harmonica included!) belies the ironic tone and wry humour of the lyrics, about a lover who’s tired of being second choice and, well, retreated from: “you crank out Another screenplay/About a writer without ideas/And her lover she pushes away when he gets too near”.

Why In The World? is a beautiful subdued tune that brings to mind late nights sitting at the window writing and journaling about life. This one grew slowly on me; while not catching my attention on first listen, it’s now the one other song that might be my favourite on the record (besides the aforementioned title track).

Other note-worthy parts of the first 6 tracks: The lyrics of The Flipside are poetic and image-laden, and If I Were A Song features intricate guitar lines for a complex compelling sound that frames the longing and ache of it all.

The second half of the album seems to be much less personal and reflective, which is probably why I like it significantly less. The closing track Double Happiness is actually bordering on tacky in my opinion.. but the rest are entertaining enough even if not particularly outstanding.

(Desiree Boey)

Official Site

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APEX MANOR The Year of Magical Drinking (Merge)

Don’t ask me why but for some reason, power pop and country-folk somehow seem to sit well together. I often think of Scotland’s finest (viz Teenage Fanclub and BMX Bandits) perfect examples of this oddity. The now defunct Broken West also epitomized this lovely blend of power chord and twang and now that band’s singer/songwriter Ross Flournoy has come up with a new name (Apex Manor) and a new album (The Year of Magical Drinking) to continue in this grand pop tradition.

Fans of Neil Young, the Replacements, REM and the Dream Syndicate will fully comprehend where Apex Manor is coming from. This debut album is chock full of world-weary vox, infectious tunes and blissed out fuzz guitars. On this fine album, the power pop quotient may be de-emphasized slightly but there’s no mistaking the right-minded references, the ‘nod and wink’ Flournoy to music lovers in the know.

The Year of Magical Drinking may only consist of ten tracks and be 35 minutes long but it matters not when every song is a cracker. Just to highlight a couple – Holy Roller is a wonderfully pleasing stripped down folk piece, Under the Gun is a raucous old school classic pop-rocker and The Party Line is a rustic, rollicking country number – each one armed with a dangerous melody that will hit the discerning music lover between the eyes!

An essential album for 2011, Apex Manor gives fans of the Broken West and this new year a fabulous start.

Official Site

RAY LAMONTAGNE AND THE PARIAH DOGS God Willin’ & The Creek Don’t Rise (RCA)

Truth be told, I used to read Lamontagne’s name online and I associated him with the modern “commercial” singer-songwriters like Jason Mraz, John Mayer and Jack Johnson, meaning – no need to bother. Well, listening to Lamontagne’s fourth album – God Willin’ & The Creek Don’t Rise, I’m ashamed to admit that I WAS WRONG! Yeah, WRONG, me? Who’d thunk it eh?

How could I go on ignoring a singer-songwriter carrying on the grand ole traditions of The Band, Stephen Stills and Richard Manuel?! Yes folks, I’m talking good old fashioned country/roots music here – warm tones, rustic ambience and angelic pedal steels wailing – what else could a country rock buff like me ask for eh?

Well, “rock” is probably stretching it a little as this is closer to the kind of Cosmic American Music that the legendary Gram Parsons pioneered in the late 60s/early 70s, which the Eagles parlayed into megabucks whilst Parsons’ only reward was an early death.

Fret not, pop lovers as LaMontagne does leavened the twang with jazzy folk-pop numbers that still does justice to Lamontagne’s general retro game plan. Songs like Are We Really Through and This Love is Over provide a stylistic break between two halves of intensely down home country music.

So there’s the languid New York City’s Killing Me, the slow breezy Old Before Our Time, the Neil Young-channeling For the Summer and the spine-tingling Like Rock & Roll & Radio, all of which testify to Lamontagne’s songwriting pedigree. Essential.

Official Site

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CIRCE LINK California Kid (Black Wings Multimedia)

A quick pop of this disc into the stereo; a quick submerge into the deep roots of country, blues and – of course, roots.

California Kid is the sixth release from Circe Link, together with her Discount Candy Family Band, and was produced by Christian Nesmith (yes son of Monkee Michael), who is also the guitarist/songwriter on the record and part of the live band. The album draws influences in tones and style from Sheryl Crow, Derek Trucks, Margo Guryan, Tom Petty and The Band.

And it’s no surprise – fragments of these artistes (Sheryl Crow, especially) appear throughout the record, as though in a game of hide-and-seek. The stereotypical genre references are inescapable in this 11-track album of mostly slow, melodramatic music, revolving around the subjects of love, life and inspiration.

Title track, California Kid, sounds like a number possibly done by a matured Avril Lavigne. Taking It Light is probably the album’s most uplifting track, bringing listeners on a trip back to Sunday church. The groove truly ignites (and quickly sizzles) on Gettin’ High (On Your Own Supply), crossing over to the pop/rock genre and serves as the album’s energy-jerkin’ kickstarter, like a refreshing change of scenario in a car ride. It even feels like they are singing on a dangerous note, with lyrics like: “you are getting high, and I can’t look you in the eye; you are getting high, on your own supply, and that ain’t right”. However, one is not to expect too much ground-breaking music from “this genre-hopping and prolific songstress”.

Official Site

(CJ)

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ROBERT PLANT Band of Joy (Universal)

As some of you rock historians out there will be aware, Band of Joy was the name of the first significant musical outfit that Robert Plant (and the late John Bonham as well) was involved in. Of course, both Plant and Bonham joined up with Jimmy Page and John Paul Jones to form Led Zepellin and the rest is the stuff of rock legend!

For his latest album, Plant has decided to re-constitute a brand new Band of Joy, consisting of country music vets (like Buddy Miller, Patty Griffin & Darrell Scott) that focuses on the country-folk roots music that Plant parlayed to commercial and critical acclaim with Alison Krauss on the duet album, Raising Sand.

For those of you hoping that Plant would return to the hard rocking boogie popularized by his former band, you’ll be sorely disappointed. The closest to pop-rock we get on Band of Joy is the beat version of You Can’t Buy Me Love and the haunting cover of Low’s Monkey. So instead, we are treated to choice shimmering heart-tugging country tunes like Angel Dance, The Only Sound That Matters and Harm’s Swift Way.

And with Plant in good voice generally, country (and Led Zep) fans would do well to check out Band of Joy.

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DELTA SPIRIT History from Below (Rounder/Universal)

“If your god forgave all of your sin/then why would you make martyrs out of them/for money or power or glory/do you even care?”

These final lines from the thought-provoking opener – 9/11 – sets the agenda for this truly excellent sophomore effort from San Diego quartet, Delta Spirit. Spiritually-fueled lyrics backed by sweet country-soul music.

Simultaneously sounding retro and modern, the music of Delta Spirit is an uplifting, emotional, danceable amalgam of folk, rock and gospel that delivers magic in healthy doses.

So rather improbably, you will hear traces of Franz Ferdinand and the Buffalo Springfield in a magnificent anthem like Bushwick Blues where singer Matt Vasquez expresses vulnerability in words like “my love is strong but my heart is weak after all”.

As the album moves on, the approach gets rootsier. Salt In The Wound is a superb folky confessional where Vasquez makes deep pronouncements like – “if there’s a god in my head/then there’s a devil too/how can I tell the difference when they both claim to be true?” White Table takes folk into psychedelic territory as the underpinning drones evoke mid-60s freakouts and Devil Knows You’re Dead proclaims a atmospheric folk blessing – “before the devil knows you’re dead/may you be in heaven, my friend”.

You get the drift, I hope, cos there are precious few antecedents that will be familiar to the young kids reading this. You might say that like artists like Joe Pug and Angie Mattson, Delta Spirit consists of old souls and are not afraid to wear their considerable influences on their sleeves. Together with Delta Spirit’s wonderful debut LP – Ode to Sunshine – History from Below – comes with my highest recommendation.

Official Site | Myspace

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BASEMENT IN MY LOFT See the Rhyme in the Dirt & Grime (Self-released)

“All songs written, arranged, mixed, mastered & produced by Adrian Jones”.

In truth, Jones is BIML and BIML is his baby, his mission, his raison d’être. And we’re so fortunate that at this moment in time, Singapore is Jones/BIML’s designated stomping ground. And Jones has been spending every waking hour not spent at work, “working” on this labour of love. You see, it’s personal and that’s usually how great music is always made. Not to satisfy audience, record label or wallet but SELF! True Art!

Yes, it’s personal for me too. I first heard about BIML from another Adrian – from Backbeat Studios – when he gave BIML the thumbs up. Truth be told, I never quite followed up on the unqualified recommendation but you know sometimes, these things are just meant to be.

Lo and behold, come the Baybeats 2010 auditions, its BIML and Jones reciting poetry before the band rip the stage (well, it was really a car park) apart. But it was at the second round where I really felt the connection with BIML and was sufficiently moved to volunteer to be their mentor for Baybeats 2010.

As Baybeats 2010 swings recklessly around the sharp corner, I get the BIML album in my mailbox. And there’s a smile on my face. This is 80s indie-alt-rock-post-punk-evoking beautiful and beastly music that simply begs to have its heart ripped out of rib cage blood still pumping… beyond hip and beyond cool, it’s just… right, y’know what I mean?

It’s basic – take your references to Joy Division, the Jam, REM, Pixies, Teenage Fanclub, Guided By Voices and the mighty Neil Young and mash them up with paranoia, hope and passion – and the music hits the spot every time. On tracks like Truths Beckoning You, Think I’ll Run and Drive Me Round the Bend the ghost of 80s college rock past haunts every note, illuminating proceedings. Bad Times, Basement, Into the Hands of the Madman and Dear Fear offer more introspection couched in terms previously communicated by the likes of Ray Davies, Pete Townshend and yes, Neil Young. And the album closes strongly with forays into country-folk as songs like Start of Something New and Rut Shaped Room round up nicely.

Of course, one cannot discount the vital contribution of Zhong Ren Koh on bass/cello and Guillaum le Malet on drums. Since that time, Dzaf Dzefro has moved into the drummer’s seat and this lineup will crack the whip this coming Saturday 21st August at 8pm, at the Outdoor Theatre for Baybeats 2010. You know what to do, boys and girls!

Myspace

SHERYL CROW 100 Miles From Memphis (Universal)

On paper, there is an exciting concept behind this album. Sheryl Crow – best known for her country-folk-rock music – pays tribute to old school R&B/soul. But does Crow get it right? As good as intentions are, the jury is well and truly out as to whether Crow has succeeded.

In the first place, Crow brings onboard as producers-songwriters Doyle Bramhall II and Justin Stanley. Bramhall is a highly rated blues guitarist who has played with Eric Clapton whilst Justin Stanley is another guitarist-producer who has worked with Mark Ronson, Beck and the Vines. Whilst I do not doubt the credentials of either men, they seem a strange choice if your objective is to capture the old school R&B/soul sound.

And my doubts and fears are not unfounded. The album just does not groove! Let’s be clear – I’m not suggesting that white folk can’t boogie with the best of them but certainly Bramhall-Stanley don’t seem to have a clue between them as to how to pull this tribute album off. I have no issue with the songs themselves (both originals and covers) or Crow’s vocal performance (uncannily reminiscent of Michael Jackson on certain tracks).

So whilst standout tracks like Summer Day and Say What You Want have all the right arrangements, instrumentation and even nuances, somehow they just don’t move me. I dunno, maybe its just me! Believe me when I say that I wanted so much to dig this album but in my opinion its a disappointment but not for want of trying by Crow and her crew. That said, diehard Crow fans will still dig 100 Miles From Memphis.

Official Site

Buy 100 Miles From Memphis

BRAAM Living Room (Sauna)

Recorded during the last two years at Sauna Studio in Oak Park, Living Room is Braam’s 5th studio release and is a breath of fresh air! For those of us who have been listening to the great rock music of the 70s & 80s, you will have no difficulty sussing out the influences of Bruce Springsteen, the Replacements, the Smithereens and of course, the one & only Neil Young as Braam’s primary muses.

And if there’s one indispensable track you need to treasure this year, it’s the aptly titled Ballad of the Year, perhaps one of the finest songs that Neil Young never wrote. It’s a world-weary slow burn country-folk rocker that features a kick ass Neil-channeling guitar solo. Gorgeous. Guaranteed to be on repeat mode!

The rest of Living Room delivers the same kinds of musical satisfaction with Burlington Northern (an easy, breezy folk-pop pleaser), It’s Cool (a heartfelt bluesy ballad) and the Westerberg-referencing title track, obvious highlights but the entire album is chock full of the charm that made 80s college rock so immediate.

Stack this up against any vacuous emo-punk poser band now and Braam’s Living Room will win every time for its down-to-earth, genuine rock ‘n’ roll approach. This is not “old school”, boys and girls, it’s timeless…

Official Site | Myspace

Buy Living Room

In between the two nights of SINGfest madness, I spent a chilled out evening at TAB with Rachael Teo, listening to Angie Mattson. In her hour-long set, she played songs that I could properly relate to – based very much on the country-folk-blues that I myself indulge with most of the time. It’s obvious that Angie is the consummate pro, watching her utilizing her iPhone to provide percussive backing on a couple of tracks was inspiring and her guitar playing is note perfect. This lady has played a lot of gigs, for sure!

With tracks like Bravery, Mississippi and Cool Water (from her latest EP Skeleton Arm – which you can purchase at her performances) truly sparkling, it was certainly magical to witness a rare talent up close in the intimate surrounds of TAB. Which other music bar in Singapore is able to provide original music in this glorious manner? It’s clear that TAB have (in my humble opinion) got their priorities straight and put focus on the music first.

Better yet, I finally get the chance to play a solo set at a music bar of this nature in Singapore. That’s on for tonight at TAB from 9.45pm to 10.45pm before Angie takes to the stage at 11.15pm. On Sunday, Rachael will be performing from 9.45pm and 10.45pm before Angie’s last set in Singapore. So if you’ve not bought tickets for tonight’s Belle & Sebastian gig, I would encourage you to come down to TAB tonight but only if you’re a fan of ORIGINAL music. If you can’t make it tonight, make a date with Rachael and Angie tomorrow.

Either way, I hope to see you at TAB!

CABINESSENCE Naked Friends (Spark & Shine)

Name yourself after a seminal Beach Boys song and you’re just asking for the Brian Wilson-Phil Spector comparisons. But that’s probably the whole point.

Fact of the matter, if you’re expecting dense, textural chamber pop then you’re gonna be disappointed. Guess Cabinessence should have named themselves after a Flying Burrito Brothers’ track if they wanted to be totally accurate. More Gram than Brian, I’m afraid.

So its really country-folk-rock-blues informed with Beatlesque melodicism. Which is fine in my book.

Songs like the rustic Instrumental No. 2, the breezy Thumbs and the haunting The Poet resonate with the soulful power of the best country-folk. So ignore the Brian Wilson/Beach Boys allusions and strap yourself in if you need a fix of that Cosmic Americana.

Ah sure do!

Official Site

DANIKA HOLMES Second Chances (Self-released)

Now here is a straight-forward country-pop singer-songwriter with a no-frills, down-to-earth approach, to appeal to country music fans who are tired of the artifice and pretense of the modern country music scene.

Songs like Half As Strong As You, Lock Me In Tonight, Time For A Change and the title track will put a smile effortlessly on country music fans as Holmes’ smooth vocal demeanor and folksy songwriting style makes for easy listening pleasure.

That all said, the highlight of the album comes with You Make A Bad Day Good, the only time Holmes takes a break from country music, and indulges in good old fashioned classic pop. Jazzy and breezy, the track would make a good lead single if Holmes ever wanted to considered a cross-market foray.

One tiny caveat – whilst Holmes has a pleasing voice and good musical support on this debut album, the songwriting certainly needs to be a little bit more matured and savvy to take Holmes into the next level. An infusion of edge would definitely help as well. That sophomore LP should be interesting.

More information about Danika Holmes may be found at www.danikaholmes.com.

ANGIE MATTSON Skeleton Arm (Radio Nine)

LA-based singer-songwriter Mattson seems to possess all the superficial elements required to be noticed in the modern pop-rock scene. She’s certainly easy on the eyes (as her previous modeling history attests) and the ears (her sultry larynx brings to mind Margo Timmons, Aimee Mann and Chrissie Hynde) but to her immense credit, Mattson refuses to bank on these assets solely.

Instead of merely investing in pop fluff (the kind that makes the world go round), Mattson (on this mini-album, her sophomore effort), gets rough, ready and rustic with swampy country-folk blues that are at turns arcane and earthy. For me, integrity is the mark of a true artist and listening to Skeleton Arm, you cannot help but struck by Mattson’s attitude and purpose.

So it may take a little more time to truly get into some of these songs but the rewards are worthwhile. If you, like me, consider yourself a rock scholar, then you know what the roots of our beloved music are. So does Mattson obviously, as she builds her back-to-basics Americana on tribal rhythms and the primal allure of the clash of country music and the blues.

Think: the deeper bluesier moments of Bob Dylan, CCR, the Doors and the Stones and you’ll start to get at what Mattson is alluding to. This power is evident in songs like Cool Water and Mary, where Mattson sings about this strange existence we call life with internal rhythms driven by an almost-funeral dirge.

Skeleton Arm may only last for 28-odd minutes but it represents everything that I believe about good ol’ country-folk-blues as the most soulful music on our planet. Personally, I am excited that I get the chance to watch Mattson when she plays at TAB Singapore from 3rd to 8th August. More info about that at www.tab.com.sg.

In the meantime, check out Angie Mattson at www.angiemattson.com.