Mike Pachelli "Acoustic Painting", 2004
Mike Pachelli turns in a thoughtful collection of instrumental gems with his 10th CD,
"Acoustic Painting". Classically trained on guitar, Pachelli has threaded his way through
a number of genres and projects -- from rock to blues to jazz to Christian, from advertising
jingle creator to TV-show host. He chooses here to his combine his classical and fingerstyle
techniques to fine effect. Pachelli assembled over a period of six years these 15 tracks, most
of which are his own compositions. His sense of melody impresses, especially with "Finally,
Sun", "Let the Children Frolic", "County Fair" and "Young King David", all of which sound exactly
like their titles (I love it when this happens). The talented guitarist and arranger gets more playful
with "All Night Long" and "Peace Piece", his two strongest tracks. Covers include his sensitive revisit
to "Amazing Grace". Pachelli’s ease of movement as he glides from genre to genre to genre -- often within
a single composition! -- provides much delight.
©
Fred Kraus
Daniel Carlson "Now" 2004
Daniel Carlson is the son Burt Bacharach and Radiohead don't know they have, first cousin to Brian Wilson.
"Now" has a sound as distinctive as it is unswerving. Recognizing the limitations of his voice, Carlson keeps
it very velvety within a small range, adding layer on layer of sound. And what sound it is. All gorgeous:
mellotron, strings, French horn over a foundation of synth and acoustic guitar. The effect is visceral:
mellow, downbeat, and hypnotic. The EP meanders -- a verb from Carlson's bio -- from one cut to the next and you
don't know it, an effect enhanced by little or no space between most of the tracks. The lyrics sound pretty,
too, but they're incidental as they float by listeners carried along on luxurious waves of smooth.
©
David Kleiner
Steve Barney "Treeline", 2004
Steve Barney plays six and twelve-string guitars and composed all selections on this, his debut recording.
His style recalls an earlier era of fingerpickers, chief among them John Fahey and Jorma Kaukonen. As one
might expect from these comparisons, Barney's strengths are his strong melodic articulation and rhythmic
drive. Two of the CD's best pieces are "When the Snow Flies" and the minor-keyed "If I Close My Eyes",
the latter making good use of dynamics. Barney presents a cohesive, well-played and listenable set of
performances. With more variety in tempos, volume and tone color, he could be among today's top
steel-string fingerstylists. "Treeline" is a solid effort and deserves to sell well at his gigs and
among his growing audience.
©
Patrick Ragains
Erik Balkey "While the Paint Dries", 2004
There's a whispery quality to Erik's voice and a quiet intimacy to his songs that makes you want to lean a little
closer to the speakers. With sparse but not stark arrangements of guitar and vocals mostly, there's a great
variety of topics here, from the uplifting "Give Love Amen," with gorgeous back-up vocals from Tom Prasada-Rao
and Cary Cooper, to "Baseball Is In My Blood." The standout song is "God's Poet Now," written for Dave Carter;
it wraps loving words around a likable melody that sounds like something Dave would've written. The distorted
vocal and guitar on "Silent Night" are too harsh - it seems out of place in this collection of contemplative
songs. Lean close and enjoy this fine release.
©
Jamie Anderson
David Matthews, "A Fall Too Far", 2004
David-with-a-D, not Dave, Matthews, might get away with it were it not for the quirky phrasing, extended lyrical
interludes, hypnotic repetitions, successions of movements, and rhythmic collisions that remind you of... well,
Dave Matthews. But if you can get past that, the guy makes enjoyable music. Some of it, were it to receive
big league-style payola promotion, could even qualify for the next big indie thang sweepstakes. Take
"Knock Out", for example. Or "Ready or Not". I feel radio vibes here. But I'm not going to tell you who
his voice reminds me of. Aside from you-know-who, there's a strong Michael Hedges thing going on in his
angular acoustic guitar playing. I like it when he colors outside the lines. Here's my advice, cheap as
it comes: a) change your name, b) change your music, c) add a middle initial or name (David St. Matthews?),
or d) join a band.
©
Steve Klingaman
Ben Burdick "Acoustic Musings", 2004
Solo instrumental guitarist Ben Burdick says that his specialty is diversity. The excellent double-tracked
compositions on "Acoustic Musings" eloquently speak to explain this ambiguity. The title track is an intricate
and ethereal jazz outing. "Let it Slide" is a hammering blues which modulates from brazen boogie to a Dickie
Betts-like melodic sweetness. "Jazzy Country Thang" seems an homage to Chet and all the other country gentlemen.
Burdick contradicts the jack-of-all-trades aphorism: he truly is master of all.
©
Alan Fark
Jon Wood "One to Five", 2004
"One To Five", the latest release by UK guitarist/songwriter Jon Wood, is a glorious work of acoustic imagery and
composition. His fingerpicking style touches a variety of formats that blend together and complement each other to
perfection. On "Slow Burn", Wood travels up and down
the fretboard, and each note resonates a deep tone and texture you can almost feel. He’s joined midway through by
Eamon McLoughlin on violin, who adds depth to the imagery as both instruments mirror one another, changing
tempo as if they’re dancing. "Horse Nails", is a country roots, folksy blues style ballad, with Tobias on
vocals, who penned the lyrics. Phil Mills on lap steel guitar gives this tune its haunting sound and old west
flavor. Wood changes course with, "It Means Everything To Me" a jazzy blues number with a great opening sax
solo by Josie Owens. The highlight is Lenna Santamaria's vocal performance, her smooth and sultry vocals
conjure up images of a smoke filled nightclub. The crowd suddenly becomes hypnotized the moment she’s up
on stage as her soulful voice slowly consumes the entire room, an enjoyable change of pace. Another great
track is "Maybe Girl", a contemporary acoustic pop style tune you could easily find playing on the radio,
like a frequently requested song with a top ten feel, it’s got everything working here. David Jordan
delivers a solid vocal performance, Linda Game adding her magic on violin and Jon Wood providing a
steady acoustic beat.
"One To Five" is a genuine masterpiece, reaching deep down into a well of emotion and stirring the soul.
©
Pam Dow
Myrrh Larsen "Unstrung", 2004
A breathy tenor and songs of young, dislocated love mark this seven-song debut by Myrrh Larsen. This is acoustic
angst for teens. The settings, as well as his voice, remind this reviewer of David Crosby, especially in "Here in
My Arms"-and that's a good thing. Alas, it belies, as does Crosby, a certain cloying sentimentality. Lyrics can
be nasty critters, they'll come back and bite you, and this type of music requires their notice, so one had better
get it right.
A pop sensibility fuels the writing, underscored by the inclusion of the Blondie hit, "Call Me." But
channeling Deborah Harry is risky and it falls flat. The recording retains the ambiance of its
home-studio vocals, with some nice nylon and steel string fills, as in "January." The settings are
the strength of this record, and Larsen's voice shows promise. It's never a bad thing to be young and hungry.
©
Steve Klingaman
Brendan Thomas "Forever in Motion", 2004
Written, performed, produced and recorded entirely in his bedroom, this album is a testament to what you can do with
home equipment. His stream of consciousness lyrics coupled with ethereal vocals remind me of Moby, without the
pounding bass so prevalent in club music. A rhythmic guitar is the driving force in "Dreamscape of a Romantic";
there's an interlude of delicate finger picking, then more of the strong strumming culminating in a crescendo of
guitar and keyboards. Many of the songs use electronic or found sounds, like the heartbeat that begins the
melancholy "You Always Wanted to Fly." Touching on familiar themes of life's lessons, his lyrics wander a
bit but fit into the sonic scheme of this songs
©
Jamie Anderson
Marlee Grabiel "Ready or Not", 2004
Tiny Jasper, Indiana isn't exactly the Mecca for musicians. The flipside to this stark reality for singer-songwriter
Marlee Grabiel is that she's got to be the most talented person in town. In "Small Town Blues" she sums up the
dilemma of every creative person yearning to fulfill their destiny: how does one balance economic (and hence,
geographic) circumstance with ideas which brim over to be shared? Although her guitar work is still a bit
unpolished, her bluesy voice is commanding, and at age 23, time is on her side. Like another famous small-town
Hoosier before her, John Mellencamp, Marlee has the voice, songwriting talent, and the song subjects right in
front of her to connect with Everyman.
©
Alan Fark
