(05 November 2005) Charlotte Martin concluded 2005 with her second coast-to-coast headline tour that will culminate in the live recording of Something Like A DVD. It will certainly capture the vibe that is only produced in one of Charlotte's live performances. Charlotte offerred audiences an exclusive on-tour EP entitled "Darkest Hour" during her first round of headline shows earlier this year. She is celebrating this tour with the release of her latest EP Veins.

Charlotte's writing on this recording continues to mature significantly. There are seven highly varied and somewhat "darker" studio tracks and also a live rendition of "On Your Shore" that gives a high quality glimpse into what her strictly-solo live performances are like. Presently available from popular online resources, the self-released EP is an absolute treasure.

The EP opens with the robust self-titled rocker, crisp percussion perfectly underscoring piano and Charlotte's powerfully soaring voice. The singer's vocal excursions reach through her range and are filled with emotional energy supporting the lyrical message. "Bones" is a tenderly sung ballad with rich keyboard washes supporting the gentle melody. The sweetness of Charlotte's voice perfectly expresses the content.

Thick bass guitar and percussive elements drive "Under The Gravel Skies" beneath the heavy reverb of Charlotte's vocals. Her vocal power is evident in the soaring notes of the chorus and especially in the a capella middle eight; layers contribute additional texture to this track that grows significantly on the listener with repeated plays. This is a tremendous track in her live show.

The upbeat electronic rhythm and heavy bass riffs within the pop-oriented "Four Walls" make it one of the EP's sure standouts. Charlotte's incredibly powerful vocals span the entire song. Expressive vocals work with the powerful hook to produce a very memorable track. "Cars On Crescent" is an atmospheric instrumental played on piano. Used as the intro to Charlotte's live show this tour, and with musical themes not far from some of Charlotte's other material, it is tremendous.

The simply arranged piano ballad "Days Of The Week" is sung expressively in the middle of Charlotte's range. The piano is tender and further string riffs add texture to the number. The final studio piece, "Root," is a Charlotte Martin classic track soaring vocals sung atop percussive piano. Her tremendous lead is backed with harmony vocals adding great texture. The piano instrumental in the middle eight is reminiscent of "One Girl Army" but shorter.

The EP concludes with a powerful and rousing live rendition of "On Your Shore." The extremely well recorded track is a perfect souvenir of her live shows this tour. Listeners will certainly get a glimpse into the tremendous on-stage performance of Charlotte Martin. Veins is a superb EP and a perfect appetizer to her forthcoming album due out in early 2006.  

(20 November 2005) Kate Bush has long been the quintessential reference of female vocalist enthusiasts. So when the news of her first album in over a dozen years arrived earlier this year, it created a frenzy among her fans, female music lovers and critics alike. The double album, entitled Aerial (Columbia (USA) 82796 97772 2, 2005) was released almost simultaneously in England and America on 21 and 22 November 2005. A two-track single entitled "King Of The Mountain" was released as a teaser on 24 October 2005 with a b-side cover of Marvin Gaye's hit "Sexual Healing."

Critics have regularly invoked Bush's distinctive soprano voice and the lush, ethereal style she introduced back in 1978 with the single "Wuthering Heights" in describing other quirky alt-pop darlings such as Bjork and Tori Amos. This list of musicians who have cited Bush as a source of inspiration is even more diverse and include featured artist Charlotte Martin. "People lhave made very nice comments," notes Bush, now 48. "And my friends have been telling me for years how they hear my influence. That's the best thing you can ask for."

But Bush admits that she herself "doesn't listen to a lot of contemporary music. That's quite deliberately so when I'm working on a record myself." And despite her decade-plus disappearance, Kate Bush has indeed been working lately. She describes two-CD set, Aerial as part concept album, part straightforward song collection. The decision to record two separate discs stemmed from her 1993 release The Red Shoes. The discs are titled A Sea Of Honey and A Sky Of Honey respectively, the second disc being a conceptual piece with a bird theme.

In hindsight, I think my last record was too long," Bush says. "Some of my better songs were on it, but they got lost I was trying to give people as much for their money as I could. But people have very short attention spans now. It seems everything is just a moment away from the fast-forward button."

While Kate Bush had planned to take some time after The Red Shoes, the path to Aerial provded longer than anticipated. "Since I was 17, I had been just making records and promoting them. I wanted a break. I spent more time with friends, went to see movies, just got on with my life. I thought at first I would take a year off, but it turned into a very long gap." Part of the reason for that was the namesake of the song on Sea entitled "Bertie," Kate's 7-year old son by her longtime partner, guitarist Danny MacIntosh. "I have a little boy, and I wanted to spend a lot of time with him," she says heartfully. Pressed to elaborate on the joys of motherhood, she reveals, "I have to watch myself because I could talk about him all day." She continues, "I don't have as much time now because I've got other things to think about. We've got a lot going on based around where we live, and we don't want to disrupt that."

Twelve years is a long wait and in some senses there's no way that Kate Bush’s new double album Aerial was ever going to match the extremely high expectations of many of her fans. Reviewing Kate Bush has always been difficult--she's unique, so comparisons are impossible, except in the sense that next to just about everybody else, she shines. Perhaps the best way is to try and evaluate how Aerial stands up with her other work.

A Sea Of Honey opens with the excellent "King Of The Mountain" with its, slow, loping, unemphasised, reggae rhythm. As a single it stands out in the current charts as a beacon of invention, intelligence and musicality. But then we’d expect that from Ms Bush. Unfortunately though, the album doesn’t actually get any better than the opening track.

Throughout the 1980s Kate Bush was known for being an incredible innovator. Her brother, Paddy had a unique fascination with ethnic instruments and her association with Pete Gabriel meant she was among the vanguard of mainstream musicians to experiment with world beats, and she thought nothing of slamming a pipe solo into an otherwise fairly conventional prog/rock track ("Night Of The Swallow") or using the close Eastern European harmonies of the Trio Bulgarka instead of the bog-standard female rock trio backing singers. She was also an early perpetrator of immensely full and powerful multi-rhythm percussion tracks ("Sat In Your Lap"). One of the most disappointing aspects of Aerial is that it contains virtually no innovation at all, unless you count the mercifully brief appearances of Rolf Harris on A Sky Of Honey.

Play Aerial back to back with most of of her previous work and it clearly lacks flair and bravura. This also throws up another difference, most of the songs fail to develop in any meaningful way. They start and then continue in the same vein until they end--and this is bought into even sharper relief by the fact that the tracks are also generally longer than on previous albums--and in most cases far too long to be sustained by the musical ideas they contain. There's also a distinct lack of memorable melodies.

"Prelude," the opening to A Sky Of Honey, is a short piece that sets up a lovely atmosphere. The first couple of minutes of "Prologue" that follows also show enough to make one hopeful that 20 years on, a second "Ninth Wave" might be unfolding. It's a false dawn since "Prologue" wanders along for almost six minutes completely losing its attraction before Rolf's first appearance. There are fleeting glimpses of brilliance in "Sunset," but "Somewhere In Between" was viewed horrible with an unbelievably irritating drum track by one reviewer and the best song of the album by another. It is the split opinions on the material that will likely set this album apart from all of Kate's prior albums.

Just to confound, it's only when we get to the final two tracks, the two longest on the set, that you suddenly realise how much better Aerial might have been. "Nocturn" has a beautiful feel to it and perhaps the mesmeric opening vocal melody was a result of Kate having listened to an awful lot of albums by Bjork. The track develops slowly but powerfully, with some wonderful harmonies and some exquisite acoustic guitar soloing back in the mix. There's a sense of build rather than the meandering that has been so predominant till this point.

The closing and title track "Aerial" opens with some minimalist string sounds reminiscent of composers such as Philip Glass and Steve Reich. The powerful repetitive rhythm, when it's announced, brings a tension to the music that's been lacking over the previous hour. There's a middle section which features a duet between a twittering bird and Kate Bush laughing manically over the string pattern established in the opening. It's wonderfully mysterious and captivating and weird.

And again the final build is extraordinary, some searing electric guitar and a chorus of "ha ha ha ha." It's blistering, disturbing and energising all at the same time, inspiring one reviewer and driving one of the others crazy. When she's in this mode there’s no-one who can touch her. Perhaps the only problem with these closing tracks is that they throw into sharp relief just how pale and insipid is so much of what has gone before. One of our reviewers thought the album is worth acquiring for the last two tracks alone and considering anything else the new listener likes purely a bonus.

In the great scheme of things any Kate Bush album is something to be thankful for and cherished. This is not a bad album by any stretch of the imagination, and opinions of it vary widely, but dare we say it that after waiting twelve years for it, some will think there's a pervading feeling of an artist marking time.--Jamie Field in Hereford, England and Russ Elliot in New York

(26 November 2005) The art of making an in-concert DVD is a difficult one. Firstly, the very idea that they are being filmed can often reduce the artists' performance subtly (or, indeed, significantly). Furthermore, what passes for an excellent concert on the night often becomes less so when sound and vision are pieced together. A band needs a good performance, decent sound and vision recording, good editing and mixing--and a big slice of luck--to make the whole package work.

One occasion where all these factors have come together in spectacular fashion is on The Gathering (F2 Music (UK), 200510D2005)--a live video record of Magenta's performance at The Pop Factory in Porth, South Wales in May 2005 (review). The band picked the occasion well. They had just returned from a triumphant headlining appearance at the ROSFest festival, in Phoenixville, Pennsylvania. They were well rehearsed and raring to go. In addition, the decision to record the gig in a TV studio rather than a traditional concert venue allowed them full control over the set up, sound and recording process. It also allowed the pick up footage--shots recorded earlier in the day from different angles without an audience getting in the way – to be stitched into the film almost seamlessly. Of course, for some bands this may have made the final results a little sterile. Not so Magenta, thanks to the characteristic exuberance of the band, and a genuine connection made between the band and an enthusiastic audience.

From a technical perspective, the concert is mostly flawless. The visuals are crystal clear; the cutting is brisk without being irritating, and most importantly--and so often spoilt by under-prepared cameramen or poor direction in other DVDs--all the important moments have been captured. No guitar solo, keyboard run or cheeky grin from Christina has been left uncaptured. Indeed, such is the detail in the camera work and editing, that one suspects that a DVD of the second best shot of every moment might be almost as good as the one used. As for the sound, with a home cinema system it is difficult to comment on the 5.1 mix, though other reports suggest it is excellent, but the stereo mix is immaculate.

Best of all are the performances. The band were on top form that night, which comes across brilliantly. Christina gives one of the best vocal performances seen on a rock DVD, while the technical ability required to play such music is laid bare with the thrilling close-ups of Rob Reed, Matthew Cohen and Chris Fry. Fry, especially, gives a remarkable performance--perhaps a little more studied than his audience-wandering antics at other concerts, but the accuracy of his playing is all the better for it. As noticed when we attended the concert itself, it is great to see the band giving backing vocals full importance--an aspect of the bands performance that can occasionally be a weakness. Finally, a note of praise should be given for two unsung members of the band--Allan Mason Jones and Martin Rosser. The camerawork really allows both to shine here, with plenty of exciting close ups. The delicacy of Allan’s drumming is often evident, while the very varied work that Martin does--which stretches from stabbing lead guitar to acoustic picking via flute and orchestral sounds using his VG8 effects unit--really shines through.

The set represents the band as the reach the end of the Revolutions era, and well over half that album is played ("Children of the Sun", part of "Genetesis" and "The White Witch"), alongside "Gluttony" and "Pride" from Seven plus a variety of the shorter tracks. The dramatic "King of the Sky" wisely opens the set and both "I'm Alive" and the delightful "Call Me" are wonderfully effective. Most interesting to fans will be the first recorded outings of Demons and Overture from the forthcoming album "Home." Now very familiar after several live outings, these are both very strong pieces and bode very well for the much-delayed double album.

Finally, a brief note about the extras is required. These are decent rather than particularly essential, and their brevity may disappoint some, though Graeme Brown has put them together with considerable skill. Of the interviews, Christina's is charming, but the most revealing of these is with Rob Reed, whose obvious joy at the process of multi-layered, one man recording--fuelled by his love of Mike Oldfield's Tubular Bells album as a child--goes a long way towards explaining his solitary attitude towards the studio incarnation of Magenta. But in the end, it is the live performance that is the most important, and it is just about as perfect a concert film as you are likely to see. Outstanding in every respect.--Stephen Lambe in Cheltenham, England and Russ Elliot in New York

(21 November 2005) Although Enya has been releasing solo material for over 20 years, the announcement of a new album from one of the most enduring and unique artists of our time draws significant attention. Fans of the Irish songstress are always eager to hear her latest offerings especially since a gap of four to five years often occurs between her releases.

Enya's last album, A Day Without Rain was a blockbuster success, selling over six million copies in the US alone, and becoming the biggest selling album in the world in 2001. Enya followed this career high by contributing two songs ("Aniron," and "May it Be", the latter of which was nominated for an Academy Award) for the soundtrack to the first Lord of the Rings film, The Fellowship of the Ring.

After some well-deserved rest, Enya returned to the studio to begin work on her latest album in 2003. After several years of recording, Enya has released her sixth solo album, Amarantine and fans will not be disappointed. In fact, it is fair to say that Amarantine may be Enya's best body of work since her groundbreaking album, Watermark. While all of Enya's albums have been consistently appealing, Amarantine sees Enya exploring new territories both melodically and vocally. Critics have often accused Enya of recycling her sound. Without question, there is a sound that the entire world recognizes as belonging exclusively to Enya. Notwithstanding this fact, most fair-minded critics must acknowledge that Enya is a master of melodic songwriting and a craftswoman of the highest calibre.

Due to some novel and progressive innovations, Amarantine may actually be seen as one of Enya's most original and exploratory albums ever. Take, for example, the fact that none of the songs from Amarantine feature either Gaelic or Latin lyrics. Instead, "Sumiregusa" is in Japanese while "Less than A Pearl," "The River Sings" and "Water Shows the Hidden Heart" contain lyrics written in Loxian, a language invented by Enya's lyricist, Roma Ryan. Surprsingly, there is no entirely instrumental piece on the entire album either. Most of the freshness, however, can be found in Enya's willingness on this album to write more subtle and complex melodies.

"The River Sings" is a prime example of this. After a strange sitar and a near trance/techno drum kick begin the song, Enya begins to sing in a war-like tribal chant reminiscent of early Celtic mouth-music. Subtle Asian influences can be heard in the sharp pronunciation of the syllables. Without question, "The River Sings" proves that Enya is not a mere purveyor of formless new age music. There is grandeur, originality and mystery here.

The exceptionally moving "Long Long Journey" must stand as one of Enya's all-time best. Melodically, the song draws heavily from early American and British Isles' hymns like "All Glory, Laud and Honor." With military snares sounding throughout, Enya steadily layers each chorus with more and more heavenly vocals. The bridge of the song rings with a sublime and aching beauty. As Enya sings "Long long jouney through the darkness, long long way to go. But what are miles across the ocean to the heart that's coming home?" one can envision concourses of ships leaving harbor to a new land. This is epic and visionary music of the highest order.

Known for her melancholic and introspective ballads, Amarantine features one of Enya's best slow tracks to date--the ghostly and chilling "Water Shows the Hidden Heart." Although beginning with a touching and tender melody, the song really finds wings when Enya soars into the bridge/break section. In almost operatic fashion, Enya modulates keys as her voice resonates with silver-toned perfection. In the repeat of the bridge/break section, Enya splits her voice into two counterpoint parts that can only be described as "awe-inspiring."

The title track and first single "Amarantine" is a nice and romantic continuation of "Only Time" with a waltz tempo and gently plucked pizz and orchestral swells. It is refreshing to hear Enya sing some of her highest notes to date. The opening track "Less than a Pearl" recalls the cinematic sweep of her song "The Memory of Trees." Native American in tone, Enya uses her vocals to create a near ceremonial chanting textures. "If I Could be Where You Are" fits nicely alongside classic Enya love-ballads like "On Your Shore" and "Exile." With its heartstopping chorus and celestial melody, "If I Could be Where You Are" is one of the highlights on the album. "Amid the Falling Snow" is a picaresque and sweet song with bowed strings and story-book like melody: truly heavenly, and perfect for the winter season.

"Drifiting" is a near-instrumental number that is interrupted only toward the middle-end by some of Enya's famous choral "ooohs" and "ahhhs." Melodically, it is more complex than some of her other pieces and works very well as a sort of impressionistic and dreamy number. While not the strongest track on the album "A Moment Lost" is, nevertheless, a sonically enjoyable ballad in the vein of "Once you Had Gold." "Sumiregusa" is an exotic and intoxicating track sung in Japanese. Although the instrumentation is pure "enya," the unusual chorus section with its sharp vocals and gongs effectively conjures up images of ancient samurai warriors and silk-clad princesses.

Another ear-opener is the pop-friendly "Someone Said Goodbye" which features a lumbering swing tempo and Abba-esque melody. Again, fans may be pleasantly surprised by this original piece. "It's in the Rain" is another standout. In addition to the rolling broken piano chords and unexpected chord changes, Enya's! voice is up front in a way that fans have not heard since The Celts.

A further advancement can be found in Enya's increasingly assured and tonally varied voice. Never has Enya's voice sounded more controlled and sublime. Never has Enya explored the range and depth of her voice more than she has on Amarantine. Enya's latest will, no doubt, be a bestseller--and deservedly so. The album deserves critical recognition as one of Enya's best efforts to date. It is as if Enya has drawn from all of her earlier works and created something new and vibrant for the world.--Justin Elswick in Provo, Utah and Russ Elliot in New York

(26 November 2005) The long-awaited full-length in-concert DVD from Blackmore's Night has arrived. The stunning two disc set includes approximately 230 minutes of recorded material and is presented in a sleeved tri-fold digipak accompanied by a lovely fully illustrated booklet. It is available in North America region free in NTSC format. Audio is available in DTS 96/24, Dolby Digital 5.1 and PCM Stereo. The European version is also region free but it features PAL encoding.

Most Blackmore's Night American enthusiasts will not have seen the band perform on stage since the band are prone to lavish productions in castle surroundings more likely to be found in Germany than North America. Fans from the rest of the world have also been limited to their compact disc recordings. The DVDs bring the live performance to the home theater and are certain to expand interest in the band both from longtime enthusiasts and newcomers alike.

The first disc contains a full concert at Burg Veldenstein - Burg Neuhaus from 2004. The band is in full splendour and Candice Night is in truly excellent form. Her live performance brings the music to life, even if the mid-section gets a bit samey. By the end of the show, following the numerous encores, the viewer is completely hooked, wishing only to see a live performance in person rather than in the home theater. Candice's extensive artistic training is evident throughout as she commands attention from the audience both on the DVD and in your home. She has tremendous presence and is at one with both the band and the audience in the show.

Blackmore's guitar work is as awesome as Night's singing. The supporting band provides tremendous arrangement, blending folk with rock in delivering the Renaissance style material. Numbers by Rainbow and Deep Purple add additional dimension to the show. We were impressed with the two backing vocalists, often overlooked in the band's albums. And Candice's command of woodwinds is never as evident as in the live performances included in this stunning package.

The first disc contains a splendid "behind the scenes" documentary, produced with the precision of the rest of the in concert performance. The effort required to deliver a Blackmore's Night show is not quite what Sarah Brightman demands but approaches it. And the audience certainly appreciates the significant effort to prepare a castle venue for a Blackmore's Night performance. A "Ritchie Blackmore guitar Special" concludes the first DVD.

The second DVD is comprised of five main sections. The first, entitled "Acoustics" includes five acoustic tracks performed in various settings, castle, dining room, etc. The artists have significant presence performing stunning a cover of Randy Newman's "I Think It's Going To Rain Today" (appropriate for Germany as one will see in the "behind the scenes" documentary). The light instrumentals are well set back to permit Candice's voice to dominate the performance. Woodwinds and violin add great texture.

Music videos also grace the second DVD. Although the two animations do nothing for this reviewer, those featuring the artists in typical music video format are delightfully captured on the DVD. A bonus is the cover of the Bob Dylan tune "The Times Are A Changin," which had previously been released on a CD single (audio) format only. We especially enjoyed the "Way To Mandalay" video, the standout of this section.

An extensive array of documentary material including various German TV performances (dubbed with simply stunning video of the performers) and the story of Blackmore's Night as well as the Candice and Ritchie story was well presented and was certainly not overdone. Those not familiar with the artists, especially how they met and Candice's extensive training prior to meeting Ritchie, will find the presentation essential.

A section called "Proclamations" includes full discography and biographical sketches of all of the artists. Interviews with the band provide some unique insights not available previously in recorded or printed media. The final section contains a slide show with some of the best photographs of the artists ever shown. They are indeed better than any available on the official websites! The second DVD concludes with "Candice Night Private Movies," a lovely amateur-produced video presentation for real enthusiasts.

Castles & Dreams is an essential DVD collection for longtime Blackmore's Night enthusiasts and newcomers alike. The value-packed two DVD set is available for under $20 at amazon.com new while second hand copies are already available for substantially less. Video and audio production are superb throughout the 230 minutes of recorded presentation and the material spans the band's entire catalog dating back to 1997. It is a tremendous testament to both Ritchie Blackmore and Candice Night.

(26 November 2005) The Christmas single is a staple aspect of British Christmas celebrations, with huge amounts of money spent in the UK on betting upon which piece of seasonal music will be number one in the singles charts on December 25th. One single unlikely to inhabit this spot is Mostly Autumn's "Spirit of Christmas Past" EP (Mostly Autumn Productions (UK) AUT9333, 2005), though not for want of quality. Those that have seen the band live at one of their legendary Christmas concerts--either at the Lion Inn at Blakey Ridge or at the Limelight club in Crewe--will agree about the warmth and humour at these shows. They are a band that revels in the joy and sentimentality of the Festive Season.

This brand new EP brings together two new pieces of music, with three well-known Christmas songs. The simple, tasteful packaging, designed by Chris Walkden, doubles as a Christmas card--a nice touch. The first song in Bryan Josh's "Spirits of Christmas Past," not a rehash of "The Spirit of Autumn Past" thankfully, but a brand new song with lyrics structured like a modern day Christmas carol. Bryan's lead vocal leaves a little to be desired, but it's a good, up-tempo song. Next up is the real highlight--Heather Findlay's "Winter is King," a stunning return to the bands Celtic-influenced sound. This features a mass of acoustic guitars, Celtic percussion and some beautiful playing from both Angela Gordon on flute and Troy Donockley on penny whistle. Just like the recent Storms Over Still Water album (review), the influence of Julianne Regan is evident in Heather's melody line and lead vocal.

Slade's perennial "Merry Christmas Everybody" features Liam Davison's legendary Noddy Holder impersonation, while "Fairytale of New York" wanders disappointingly close to impersonation of the Pogue's classic, when the band might have stamped their own character on the piece. "Silent Night," featuring Heather's warm, rich vibrato, is a delight, with a little surprise from Bryan at the end. Over all, though the production could certainly have been improved upon, this is a fine addition to both the band's output and the catalogue of great Christmas singles.--Stephen Lambe in Cheltenham, England

(26 November 2005) Solo albums from well-known instrumentalists can be a hit and miss affair, especially as they are often used as a vehicle for self-indulgence or musical virtuosity above musical content. This is not true, however, of Mostly Autumn keyboard player Iain Jennings, who has instead chosen, in the main, to showcase his song writing ability on Breathing Space (IJ01, 2005). Fans of Mostly Autumn will remember that Iain has made some telling contributions to the Mostly Autumn repertoire, including to the remarkable "The Gap Is Too Wide, " the hard rocking "Never the Rainbow" and the superb instrumental "Distant Train."

Though Bryan Josh makes a couple of brief appearances, the album is also an opportunity for Liam Davison to show off his considerable talents as a versatile and atmospheric guitarist, while Iains brother Andew Jennings, as one would expect, plays all the real drums. Most of all, the album is a showcase for the stunning vocal ability of newcomer Olivia Sparnenn. Olivia will be familiar to those who have seen Mostly Autumn live during 2005, as she has often provides backing vocals. Her voice lacks the warmth of Heather Findlay, but makes up for it with her stunning range and power.

"Forgive of Surrender" is a good opening, an excellent up-tempo song, leading into a synth-dominated coda. Gentle piano introduces the stunning ballad "I’ve Been Thinking," beautifully sung by Olivia. "Shades of Grey" uses programmed percussion to good effect, giving the song a hypnotic, eastern quality, while Iain provides a superb synth solo with a similar feel to the one in "Mother Nature." "No Promises" begins gently with piano and vocal, before building into a satisfying ballad with a brief, restrained solo from Bryan.

"Man Made Circles" is a hypnotic, driving instrumental allowing Liam and his effects board full reign to let go, building gradually in intensity over seven minutes. It is a nice idea, which grows on the listener after several plays. A shimmering keyboard introduction heralds "Wasted All the Time," a gentle first verse building into a powerful rock chorus with a lovely hook. The glorious "Belief" is an album highlight, a lovely piano riff introducing an emotive ballad featuring a typically heart-breaking solo from Bryan, and a gorgeous led vocal from Olivia.

Iain clearly specialises in big, emotional ballads, because he follows "Belief" with yet another one--the superb "You Still Linger," with the tension of the verse releasing itself in a beautifully sung, Beatlesque chorus. The effect is slightly diminished by a rather unnecessary instrumental coda, which nevertheless features some fine guitar from Liam. "Escape," another instrumental, closes the album, borrowing from both modern trance music and the ambient soundscapes of Vangelis and Tangerine Dream for its template.

Overall, this is an excellent solo effort from a hugely talented and generous musician. The production leaves a little to be desired in places, though the largely synthetic "Escape" is stunning, and structurally, the album is a little ballad-heavy. Having said that the slow songs are all so good, one wonders which he could have dropped. Certainly, the keyboards, though prominent, are not overbearing, and in Olivia Sparnenn, Iain has unearthed a real talent that we hope to hear a great deal more from in the future.--Stephen Lambe in Cheltenham, England and Russ Elliot in New York

(30 October 2005) Claudia DiNatale released her EP My Life in 5 Songs (Figleaf Entertainment (USA), 75020 52672 3, 2003) in October 2003. In August 2005 she released her full length debut CD The Little Things (Under The Radar (USA) UTR-0028, 2005). "There has been a lot of growth since then," according to Claudia. "The lyrics have matured, and The Little Things is much more from the heart. It is a little more alternative, and the EP was more pop." Her music is likened to that of Sarah McLachlan and Dido, but Claudia's own personality and style stands out.

She first began songwriting about four years ago and has been honing her skills ever since. The Little Things was primarily co-written with producer/musician Rob Arthur. She said, "Usually I would write the lyrics and Rob would arrange the music or chord structures. It worked well, as having someone with different input can help open your eyes and mind." She and Rob had collaborated previously on her EP.

Claudia sings all the lead vocals and plays piano on her album. Special mention also goes to her supporting band members: Rob Arthur on rhodes, bass guitars, piano and minimog; Rich Mercurio on drums; Jack Petruzelli on electric guitars; Rob Calder on bass; Tony Widoff on synth strings; and Jeff Allen on bass. They have a winning combination with their catchy melodies and great lyrics.

This Canadian songstress was born in 1981. She began piano lessons at age six, and at age nine, she developed an interest in musical theater. The starred in famed musical productions such as "Oliver," "Fiddler On The Roof," "Evita," and "Little Shop of Horrors." By the time she was sixteen years old, she started operatic voice lessons. "At 16, I started to take music more seriously," she recalls. "I took classical lessons to better my voice and a couple of years later I started to do demos. I never sat and thought, 'one day I am going to be a famous singer,' but it has worked out that I am pursuing it professionally.'"

Claudia said, "I concluded long ago that music really is a calling for me. It may have started as a hobby, but it's so much more now. I get energized from music, and I convey my own energy with music. It's that simple." The contemporary pop songs Claudia and Rob have now written express the common problems and challenges of everyday life in relationships and love issues. Claudia has a wonderful musical range and she explores the varying pop sounds with her sweet and powerful voice.

The title track, "The Little Things," is a haunting and melodic song. Claudia's soaring vocals are stunning, as she injects power and passion into her work. This song was her first single, and it is definitely a catchy and memorable tune. The soft ballad, "Been With You," is reminiscent of Dido, but Claudia's own personality shines through. She exudes a tender quality to the material. "All Illusions" and "This Little Universe" are upbeat pop songs with a lot of pizzazz.

Another standout track is the soulful ballad, "Get Love." She is expressive and emotive in her rendition. The backing instrumentals certainly complement this sensitive and moving song. The beat picks up with the spicy "Not Gonna Take Me Down." Claudia continues with her striking vocals and her impassioned approach. She gives the song a great deal of soul. She engages the listener with her angelic voice in another ballad, "Love Wins Everytime." She has a soothing tone and heartfelt emotions come through.

Claudia DiNatale has come a long way with The Little Things. One can easily hear a superb and an emerging talent arising from these twelve tracks. Her beautiful vocals are top notch and captivate the listener. As she matures in her songwriting, it will be interesting to see what she comes up with next. This album was well produced and has stunning results.--Audrey Elliot in New York

(30 October 2005) Born in Tampa, Florida, Beth Hirsch was spotted playing in a Paris café by Nicolas Godin and Jean-Benoît Dunckel (aka the French retro-chic band Air). This chance encounter led to her singing on their Moon Safari album. Those expecting a continuation of the Air sound might be tempted to leapfrog over Early Days to her later Title And Idols album: this would be folly, as though Early Days (!K7 Records (Germany) !K7O91CD, 2000)is very different, it is a quite exceptionally beautiful and uncluttered album.

The instrumentation is deceptively simple, mostly just guitar (Phil Hudson) and double bass (Arnie Somogyl) with occasional additional color from piano (Paul Simms) and most notably cello (Laura Fairhurst). The short instrumental passages that are sprinkled throughout the pieces are perfectly judged and seamless. Without doubt, though, the focus of this CD is Beth's voice. It's so good to hear an album where the voice and song take priority over the arrangement and production and Paul Simms is to be commended for his restraint and in ensuring the arrangements compliment rather than overwhelm the voice.

The upshot is a wonderfully atmospheric album in a similar vein to say Colin Blunstone's One Year or Nick Drake's Pink Moon. Beth Hirsch also shares with these artists a distinctive, almost hypnotic voice which she uses to great effect, varying her delivery to fit the mood of the song--sometimes soaring, often haunting or reflective, but always thoughtful of the actual words she's singing.

The nine tracks on this album barely scrape past the half-hour mark, but what the disc may lack in quantity it more than makes up for in quality. It's almost invidious to try and select a best track as each has its own spell to weave, and no one song could be called representative of the collection as a whole.

Whilst we're certain Beth will go on to produce other fine albums, they're almost certainly going to be very different to this one. The music on Early Days sounds as if it was created in one of those happy moments of serendipity when all the right people happen to be in the right place at the right time to produce something a little bit special. We're glad the tape was running!--Jamie Field in Hereford, England

(05 November 2005) With Invisible Ones (Saddle Creek (USA) LBJ-75 CD, 2005), Orenda Fink has creatively expanded upon her eerie Azure Ray country/goth roots, and created a empyreal, inspired collection of neo-folk songs. Like Maria Taylor--the other half of Azure Ray--Orenda decided that she wanted to experiment with new styles and forms of songwriting (Maria Taylor's 11:11 album review). The songs on Invisible Ones were Inspired by Orenda's travels to India, Cambodia, and Haiti, Orenda and incorporate her thoughts and feelings about the human condition. Topics of spirituality, race, mysticism, love, betrayal, and identity inform these songs.

The album was engineered by Andy LeMaster (Now It's Overhead) and co-produced by Andy LeMaster and Orenda Fink and features appearances by Todd Fink (The Faint), Scott Amendola, Dave Sitek (TV On The Radio), Martin Perna (Antibalas), Dan McCarthy (Mayday and McCarthy Trenching), Nate Walcott (Bright Eyes, The Faint, Rilo Kiley), Patterson Hood (Drive-By Truckers), and Rozna Zila and Sandy M. Saint-Cyr (Troupe Macandal).

Invisible Ones sees Orenda Fink joining the company of such acclaimed acts as Cowboy Junkies, Thea Gilmore, Carla Werner and Sarah McLachlan. The noisome, but strangely restrained "Leave It All" is a rock/folk ballad that for all of its electric guitar work still leaves space for Orenda's supernal and lush harmonies. Easily the standout track on the album, "Invisible Ones Guard the Gate" is another deeply visionary number that sounds like a jam session featuring Fiona Apple, Alison Krauss and Suzanne Vega. With its haunted piano bar saloon-type instrumentation and elegiac lyrics, "Invisible Ones Guard the Gate" is the type of song that burns itself into the mind and heart.

The quirky "Blind Asylum" is a strange melding of bluegrass and neo-classical styles that relies upon rapidly plucked pizz strings to accompany Orenda's phantasmal crooning. "Les Invisibles" is a unique and emotional piece featuring a Haitian choir.

"Miracle Worker" is another deeply appealing song that is epic in an 80s-esque sort of way--transcendent piano and booming percussion bring to mind songs like Dream Academy's "Life in a Northern Town." "No Evolution" pulls from 70's rock and soul influences and allows Orenda to use her voice in a more assertive way. "Easter Island" is a lovely and spooky rumination that conjures up a dreamlike state of subtle menace and anger. The tribal rhythms and sharp voices of the indigenous choir on "Animals" contrast beautifully with Orenda Fink's smooth and ghostly voicings.

Like her fellow Azure Ray band member, Maria Taylor, Orenda Fink has proven that she is more than just a female shoegazer artist with another pretty voice. With material that is both more experimental and musically diverse than Azure Ray's, "Invisible Ones" stands as a bright star in the musical universe. Ms. Fink has every right to be proud of this nuanced and exceptional record.--Justin Elswick in Provo, Utah and Russ Elliot in New York

(05 November 2005) Histoires d'Eau is Swiss chanteuse Sandrine's debut release. Influenced by the trip-hop sounds of Lamb, the cool aesthetic of Dido, and the europop sensibilities of Telopopmusik, Sandrine has crafted captivating album full of catchy melodies and hip, cool ambience. While many of the tracks contain French lyrics, this feature only adds to the exotic appeal of the album. Vocally, Sandrine shares some similarities with world-famous French diva Mylene Farmer and neo-folkster Keren Ann--all three have that clear yet intimately breathy style that resonates sweetly in the ear.

Musically, the tracks on Histoires range from trippy chill numbers to drum & bass to strong europop. Throughout, Sandrine's melodies and vocals remain consistently entrancing. By surrounding herself with talents like producer/programmer Christian "wicked" Wicht, well-known mixmaster Bitstream Dream, Angina P, Govinda, Heckle & Jive and Summer Kelly, Sandrine has ensured the creation! of a beautifully rendered album that easily stands with the best downtempo/electronica albums around.

The sexy "Les Larmes d"Isis (Govinda Mix) is a groove filled spacy track comparable to Vanessa Daou's best work while "Dis-Moi" is an insanely hooky track with a lumbering beat and pitch-perfect melody. The sensual "Ramene-Moi" is a darkly seraphic piece of music that uses understated acoustic guitar and subtle percussion to highlight Sandrine's delicious vocals. Part folk, part electronic, "Ramene-Moi" is one of those rare songs that lingers in the heart and mind. "Atlantiques" is a strong upbeat dance number that pulses with joyous energy. Far from being a standard "trance/club" track, Sandrine has imbued this number with incredible soul and power.

"Aller Vers Demain" pulsates at a mid-tempo rate, accentuating Sandrine's intimate and ruminating vocals. Again, Sandrine shows she is a master of mood nuance, creating images of a mysterious Parisian night. "Eclipse" will definitely appeal to fans of Balligomingo with its expansive sonic palette and ethereal vocals. The swirling beats and aquatic patina of "Still Breathing" draws favorable comparison to the best work of the Solar Twins.

Proving herself to be a striking vocalist and songwriter, Sandrine is definitely an artist to watch. It is apparent that she has invested a great amount of artistry and passion into the music--and this honesty and freshness cannot help but resonate with the listener. We are thrilled to witness the arrival of such an exceptional artist. Fans should also be aware that Sandrine performed vocals for the 5-track EP project by Suisse Modular entitled "Fly Me to the Lunar" which was also produced by Christian Wicht.--Justin Elswick in Provo, Utah