I love a bit of Eurovision and I voted for this song this year but this song deserves to be this weeks video vault purely for the awesomeness that is the dual piano that was built by a family member for them! I want one!!! This is “Playing with Fire” and I’d happily buy their album.
Archive for June, 2010
Video Vault: Paula Seling & Ovi
Live Vault: Yae
I have been searching for ages for a full decent live song on youtube of Yae. She’s so good live as her live CD shows and finally I tracked down this beautiful rendition of “Koi No Hana” which is different version compared the album one and I quite possibly prefer this rendition. Heaven! Yae had a new single out in April and I didn’t even know but it appears to be Japanese digital only so I’ll have to track it down somehow!
Sarah McLachlan – “Laws of Illusion” Review
Some artists can pound out album after album, year after year. Sarah McLachlan isn’t one of those artists at all and leaves generally about 4 to 5 years between releases. This makes each one highly anticipated so is “Laws of Illusion” worth the wait?
“Awakenings” opens the album in what is a new tone for Sarah of late with more uptempo rock. Delicate electric guitars, speedy percussion, melodic keyboard riffs and soaring vocals. However come the chorus’ out comes the grungier guitars for real impact in a way we’ve not really heard Sarah record before. It’s still definately a McLachlan song, but just with a pinch of difference to it and its great, especially the closing section.
“Illusions of Bliss” reminds me of the Surfacing album, or maybe more of how “Solace” would sound with a full deep band rendition. The interplay of the piano and guitars and the vocal ad-lib quirks make this a wistful and playful track even if the overall tone is quite bittersweet. Single “Loving You Is Easy” is delightfully cheery and upbeat, almost like a stadium anthem with its stomping beat and rousing codas and choruses. “Changes” is equally skippy with its cute theremin solo in the middle that sounds like a bird whistle. It’s these little nuances that really signal a change in Sarah’s more band efforts to something else that makes this album a bit more unique.
“Forgiveness” is the first piano led ballad on the album and is painstakingly beautiful and effortless. As the song continues to be layered and built up, it becomes one of the more simple songs on the album tune wise but also one of the most instantly accessable and is a good point to start newcomers off with. “Rivers of Love” is a second piano based track but is the most bluesy track on the album with distant wails of guitars and waltzing drums elevating the track to something that could quite easily be a show stopper live – a real stand out on the album.
“Love Come” is a great pop rock tune with echoing guitar harmonics leading the main melody over an acoustic pop number. The result, as ever, means a smooth as baby’s botty production and another easy to remember, hard to forget middle of the road anthem again! “Out of Tune” is another rock anthem that is one of the most straight forward songs on the album and sounds like its came straight from the “Fumbling Into Ecstacy” album, which is where a lot of the songs sound like they could fit in easily. “Heartbreak” rounds off this trilogy with gusto and a guitar sounding more suspiciously like a ukelele at times!
“Don’t Give Up On Us” is a powerful rock ballad which will tug quite happily at all your heart strings, as will the rather annoyingly titled “U Want Me 2″ which is actually another slightly down in the mouth love song with a great piano riff that sounds really familiar but I can’t quite place it but then the song deviates off that to a more standard rock ballad again. It’s not that the track is bad by any means, but the piano riff sets you up for one thing, and then you get something else!
The final track “Bring On the Wonder” shifts tone completely to a fantastically aural song with harmonised vocals, piano and minimal anything else. There’s a great use of vocal breath in this track and its easily one of the best songs Sarah McLachlan has ever recorded. It just struck a real chord with me.
The deluxe edition has a piano version of “Love Come” which is great and gives the song a whole new twist and emotion. There’s also a bonus DVD with 5 faultless live performances in her house with an interview spliced throughout.
“Laws of Illusion” is easily worth the wait. It’s more of the same in some respects but everything has a new glean, spit and polish on it and this is easily the most joyous and happy album McLachlan has made. For that, it deserves a place in your CD collection without doubt.
Faye Wong ~ “Eyes On Me” Single Review
“Eyes On Me” is the vocal theme taken from Final Fantasy VIII. Sung by Faye Wong, this is a love song that’s played during a certain point in the game where the lead characters love for each other is declared. The songs lyrics are a little too sickly, but do enough to demonstrate the feelings shown in the scene. The music is very sweeping, with strings complimenting the main tune extremely well. It has a presence to it as well that means you will listen to it again and again. It is a beautiful song that saw the start of having a vocal theme in every RPG a must-have. That’s the reputation it lives up to. Enough said!
The b-side to the single is a song of Faye Wong’s, sung entirely in Japanese (rather than English in “Eyes On Me”) called “Red Bean”. It follows a similar style to “Eyes On Me” but is a little more reliant on Faye’s voice and soft tinkering on a piano. It’s another nice song that has a beautiful melody that although its not catchy, still will have you swaying around in your seat to it!
To round off the single, is the Karaoke version of “Eyes On Me”, which you can sing along to with all the backing vocals still left on so you can give your own stage performance! Even the words are supplied for you!
“Eyes On Me” has been accused of being too childish, but in this reviewers opinion, I think it is a beautiful song that’s more than worthy of being the main theme.
Whispers of the Plains: Myra Flynn
Upon tuning into one of Gregory Douglass’ webshows, a special guest appeared who came across genuinely enthusastic about all and everything with an infectious personality and then when she sat at the keyboard and played a song, it captivated me! I had to find out who she was that was indeed Myra Flynn. After tracking her down, HPM was able to have a quick chat with the singer/songwriter to find out more about her…
What are your earliest memories of getting musical and what was it that made you decide to become an artist?
I was always the kind of “Look at me! Look at me!” kid, so I think when I realized that people would actually stop and LOOK AT ME when I sang a Michael Jackson song, I was hooked! I’m guessing I was about six, and not much has changed 
You’ve been compared to Adele and Joni Mitchell in the same breathe which is quite a musical span. How would you describe your music to someone about to delve in for the first time?
I would warn them that if their not into lyrics first, then they wont like my stuff. I’m really just learning how to be a good singer and musician now. For most of my life, the music has always been a bothersome vehicle for my message. I’m now realizing I may need to sugar coat the pill a bit before serving up a giant platter of personal opinion. I think I’m finally finding that balance.
You’re debut CD “Crooked Measures” was released last year. Tell us a bit about how you got to record it. Did you enjoy the experience?
That was an interesting experience because I was laid off from my day job smack dab in the middle of recording. Yikes! So I really scraped together my pennies to stay on track and finish it. Recording with Vermont producer Colin McCaffrey was a blessing. He really taught me to how to take music seriously as a profession and a hobby.
You manage to get out and play a lot of gigs around your local singer/songwriter arenas. I take it live performance is something that’s important to you?
For sure. It’s important that folks get to come see that you are a human being, not just some name behind a computer screen. I’m still a huge believer in the troubadour mentality, even with all the business opportunities the Internet has provided. There’s just something about seeing a live show, ya know?
Given the chance would you rather have a world tour or a massive recording studio to record the next album in?
Well I think I’m doing just fine recording in Vermont studios! Plus I’d rather support the indie producers, so I’d take the world tour!
You’ve been working with fellow singer/songwriter Gregory Douglass for your next future release. Tell us how you two became friends and whats going to be going on with the collaboration!
God you know, Gregory is such a magnetic, creative, hard-working person; it’s tough for everyone in his life to not latch on and stalk him a bit! Apparently he doesn’t mind my stalking though, because we spend nearly three days or more a week together. I think initially we met bitching on the street about the music industry, and realized we needed to more of it but over cocktails. After becoming fast friend, I realized he had a home studio and asked if he would ever produce my album. He agreed and it truly has been magic from there. He has helped me grow in so many ways while offering great companionship and mentorship all along.
Is there anything else you can divulge about the future of Myra Flynn?
I’m thinking a cool music video may be in the works in early 2011. Also, a Northeast tour in the spring. You can always check out my gigs at : www.myralfynn.com
Finally, what would be three key things you’d need for the perfect night in or out
IN: Red wine, a piano, and my chihuahua Polo.
OUT: Red Wine, vintage clothing of some sort, and my iPhone (AKA the thing that keeps my life together).
HPM thanks Myra for her time to come and talk to us and wishes her best of luck in the future!
Introducing… Million Dollar Mouth
Million Dollar Mouth came across my radar a little while ago but I haven’t been able to talk about them until now! The fantastic five are a great band whose sound slinks around Stone Temple Pilots-esque rock that means the music has both depth and a tune. Mike Biscotti’s vocals are effortlessly versatile and band seems so cohesive its only a matter of time before something must erupt them into a higher known status.
Here’s the promo video to their latest single “Little Dog” from their second album Villians, out now.
Sarah Slean New Album Update
Sarah Slean has been working on her double album and half of it is now recorded. Entitled “Land and Sea” her website describes the completed Land CD as groove happy, which leads me to think more “Day One” than “Baroness”. Infact Sarah has been very busy as she has annouced she’ll be making another songbook where she will cover Bjork and PJ Harvey! That’ll be something definately worth while keeping an eye out for. Finally, she’ll be making all her previous albums sheet music available to buy soon too.
The Quiet Revolution ~ New Song
Last month we spoke to and reviewed The Quiet Revolutions first collection of songs and now a new one has been added to it. Entitled “The Human Zoo”, its another fantastic track with Tracy Gibbons on vocals and is available to pick up over at their website. Hats off to independant music!
Game Walkthrough: Gitarooman (PS2)
Finally the walkthrough for the absolutely fantastic PS2 music game Gitarooman is fully uploaded (bar the tutorial level which will be added) and you can watch it in its full glory by clicking just about here!
Live Vault: Faun
HPM love Faun and we’ll be reviewing their latest live DVD release very soon however until then this weeks live vault see’s them perform the fantastic “Pungara” with a fantastic set for what looks like a TV show.
Video Vault – Fischerspooner
One of my favourite songs from their debut album, “The 15th” has a normal music video with little tweaks and quirks as things run backwards and forwards all at the same time. having just bought their 3rd album “Entertainment” and currently enjoying it, here’s a shout out to the band!
Brendan Perry – “Ark” Review
For many (myself included) Ark at one time just seemed to be an album that would never be made. I for one am just grateful to have Brendan back making music again. To say “Ark” is a master stroke of genius is possibly the greatest understatement as from start to finish it is utterly mesmorising.
“Babylon” opens to a fanfare of sythersized brass and strings before cracking out some heavy percussion and huge gong smashes as the calm and assured confidence of Brendan narrates over the top with prowess. The yang-qin is back as are various archaic reed instruments. For some, you may know the song from the 2005 Dead Can Dance tour as “Saffron” but to hear it in full studio glory in a new almost journeyman tempo, its a fantastic transformation and a great mood settler.
“The Bogus Man” opens to electronic pulses in a downtrodden lowfi trip hop world music fusion fest. It’s mixture of different electronic riffs and eerie choral overlays make for an unsettling backdrop as Brendan laments “politican, model citizen… blind ambition” to jangling bells. The sheer scope and different instruments and sounds used in just the two opening tracks alone is immense. This track also see’s Brendan’s lyrics at their most outspoken for me personally too and I found it very interesting to delve into what Perry has been thinking of the world’s state of being lately.
“Wintersun” is the most electronica based we’ve seen Perry to date and he works the wires perfectly with a wordly wisdom that his especially voice and the keyboards he meshes together creates. The mix of the old and new, the synthetic and the natural – is really key to Ark, its sound and the themes that run through it and as on all the track, here it’s perfectly pitched, especially with the percussion. This song is like an aural free fall and is utterly beautiful.
“Utopia” is the single from the album and is a swirling dramatic track full of harpsichord (automatic win for HPM!) and lots of dramatic string arrangements as Brendan slowly builds himself into a frenzy over the song. It’s such a well constructed song as it starts off quite cathartic with its massaging riffs and slowly gets more darker and foreboding as it progresses. It’s the only song that clocks in under six minutes on the album.
“Inferno” is a disquieting look at people who choose to live without social interaction. It starts off eeriely for the first half with twinkles washed over by harsh basslines until broken string arrangements and a down tempo beat are thrown into the mix. The last minute or so is my favourite section of the track as the end coda repeats to mystical rhythms.
“This Boy” starts off desolate, with a great little trick by delaying the echo on the drum stick slaps and so everything sounds very empty and dry. It’s a very lyrical track and the strings are particually moving, as its Brendan’s vocals as he can switches from outcries to creaking whimpers in a single breath. All the while keyboard choral pads gentley seranade you behind the bigger noise. This Boy is epic – as really is almost every track on the album. Nothing is done in small measures here!
“The Devil and the Deep Blue Sea” is possibly the most dance floor worthy track on the album, its also on the surface the most upbeat. The lyrics gave me a little chuckle too. It’s warm and full bodied keyboard synths fill the speakers while bleeps and buzzing bass swirl around in stereo.
The closing track is the epic “Crescent” which encompasses and holds everything I have loved and enjoyed about Ark the album. Starting off in a mysterious shroud, Brendan enters stage left to impart with his wisdom and tales of long ago. As the song continues it builds up with more and more natural and digital instruments until your whole audio spectrum is filled with pure hedonism.
Brendan Perry’s “Ark” has been a long time coming but within two minutes you can see exactly where all the time and effort has gone to. It is a masterpiece and quite unlike anything that is currently being made or released generally these days. Absolutely hands down my favourite album of 2010 so far, and quite possibly one of my favourites in the last decade. Pitch perfect!
Emiliana Torrini – “Unemployed in Summertime EP” Review
Emiliana Torrini is a great gal for releasing EP’s with single remixes and alternate versions of the main song she’s promoting. “Unemployed in Summertime” was from her “Love in the Time of Science” and is a great summery pop tune with her usual quirks and twists.
On the EP the music video version, a “Tore Johanson Remix” is present. There’s a lot more acoustic guitar and drum snares flying flying around left, right and centre and its just as great as the original version, which was a piece of sublime pop to begin with anyway.
Also on the EP is new song “7-Up Days” is more rolling folk rock and is quite unlike almost every other song Emiliana had done before or since – possibly Fireheads is the closest. It’s quite catchy and anti-hooked at the same time with its unusual chord structure and guitar side by side with Torrini’s sweet voice making it quite an interesting sound.
The EP finishes with an acoustic version of “Tuna Fish” which is slinky and sassy with some great acoustic guitar and brass interactions (possibly a tuba, but I’m not sure). Either way, its a great version and has quickly become a favourite overnight.
It’s great that someone still releases singles that have good content on them as not many artists do these days. Although this is an old example, Torrini still does this today and I for one absolutely appreciate it.
Free Sarah McLachlan Song
Amazon.com are offering a free song from Sarah McLachlan’s forthcoming album. The song is called “Forgiveness” and is available by clicking the link below!
http://www.amazon.com/gp/product/B003O9WAQQ/ref=dm_ty_trk
Laws of Illusion is out in the UK next monday!
Sitorimon vBlog #1
A bit of self promotion never hurt – this is the first of a new series of vBlogs charting the making of my second studio album. These will continue over at www.sitorimon.net but I thought I’d pop the first one here just to spread the word!
I hope you enjoy and if anyone has answers to my questions, please fire away!
“Tenerreza – The Fragrant Breeze” Single Review
“Tenerreza – The Fragrant Breeze” is the four track single of the two vocal themes taken from the game and their karaoke instrumentals following in toe.
“The Fragrant Breeze” is a pleasant uptempo number. Piano lead with bass and drums throughout, embellishes of happy computerised noises and a syntherised instrumental section in the middle make the mood chirpy and uplifting. The chorus itself is pretty catchy too. However the voice Emi Motoda is what really rounds off the piece. Her voice is smooth and confident with no ear piercing tweaks, lovely harmonies and excellent backing vocals.
Emi’s voice is more appreciated in the very playful “Birthday” which is very typical of an uptempo ballad that would usually have a very high pitched over excitable lady or child singing. To have someone who doesn’t make you squint on the high notes is somewhat of a relief. “Birthday” isn’t quite as strong as “The Fragrant Breeze” but it’s certainly no slouch either with catchy bridges inbetween verses and chorus’.
Tenerreza’s single is hardly ground breaking in terms of music or subject matter and therefore struggles to really stand out from the crowd. However Emi Motoda’s voice is very easy on the ear and the songs are definately good to listen to, so if you have some spare money going, why not give it a whirl!
“Age of Mythology Soundtrack” Review
Sometimes when you listen to a soundtrack, it can sweep you away to places other than where you body can go. At least with me, I can find myself in some exotic location, quite happily letting the music wash over me. “Age of Mythology” has an acustic sound that brings you back to the Earth’s roots. You feel settled and assured.
However like the bread in a sandwich, each end of the disc has some absolutely glorious orchestral numbers. “A Cat Named Mittens” performed by the Northwest Sinfonia Orchestra and Chorus completely stirs every sense before you set sail on the ambient acoustic adventures.
“Eat Your Potatoes” sends you down a aura of sound with bass and gentle percussion weaving a beautiful song through acoustic guitar. This is a huge favourite song of mine and I recommend this song to judge whether or not you’d enjoy the soundtrack. “Chocolate Outline” adds bells and distant bangings of toms to the equation in a more rousing melody – almost like a soft march.
“Never Mind the Slacks and Bashers” then begins to move the sound into a more mysterious ambient tone in places, almost taking on a slightly Eygptian feel to it – especially the opening. “Suture Self” brings bass and woodwind to the fore but essentially the same mechanics of a nice melody patterned out onto acoustic earthly instrumentation prevails.
Each song carries its own gimmick signiture. “Flavor Cats (In The Comfort Zone)” has some superb percussive motifs that are then repeated on acoustic guitar and the song really builds up into its own pace and speed. “(Fine Layers of) Slaysenflite” shows how well thought out the main melodies are with a seemless tune that spins around your head long after its finished. “Hoping For Real Betterness” wows you with its guitar expertise before “Adult Swim” adds tense string segments to the mix almost crossing the boarders into acoustic Spainish music!
The final tracks of the main music continue this magical display (“Behold the Science Fi” is superb) before the Orchestra return for an extremely rousing piece of trailer music (a longer reprise of the opening track) and a stunning victory theme “(If You can Use A Doorknob)” that would reawake any god from their slumber! The defeat theme is very downbeat and mellow from the orchestra too so it proves they can do both sides of the spectrum.
The penultimate track “Gary’s Reserve” is really the only song that doesnt fit. Whatever possessed them to place a jazzy dance track on the end of the wonderous non electric musical heaven and make it feel so out of place is beyond me. The song itself is still very listenable and bounces across genres from rock to reggae but just “Why?” springs to mind! Still if the only gripe on a soundtrack is that one song doesnt fit but you still enjoy that song anyway – it shows the quality of what you have purchased! The CD closes with “Eat Your Potatoes (Quiet Mix)” which removes all percussion from the original and send you away in peace.
I really cannot enthuse over this soundtrack enough. Kevin McMullan, Stephen & Chris Rippy really did put in a magic turn to create such a wonderful CD and I would heartily recommend it to anyone.
Concert Review: Gregory Douglass
A while back we gave a shout out to Gregory Douglass and his web concerts where he invited everyone along for an fun concert in aid of fundraising for his new album. HPM popped along yesterday to see how it all worked and was a happy bunny by the end of it.
Greg was joining by Celloist Mo and they took requests, chatted away to the virtual audience and generally had a great time. The quality of the stream was great and it really was like having you’re own concert in your own house and the feeling of it was that you were being given something quite individual and special to you. Greg can certainly wow the crowds too with electrifying performances of songs past and present and although it was a relaxed mood, once the first notes were played for each song its hard not to be captivated by his stage presence.
We recommend you all pop along and see what the fuss we’re creating about it and HPM is certain you’ll enjoy it!
Video Vault – Peter Ulrich
It seems such a shame Peter Ulrich has never been able to make a real music video, but this beautiful video made by musicaeternal for “Nothing but the Way” is one way of making up for it. I particularly love the opening sea arrival section.
John Williams : Making of Memoirs of a Geisha Soundtrack
I absolutely adore the soundtrack (and film) to Memoirs of a Geisha. This video I found on old faithful tube, is taken from the DVD extras. I have the soundtrack and it’s beautiful and you’ll hear the main theme several times here, as well as the making of the soundtrack and interviews with John.
