(12 March 2006) Whereas the band's eponymous 2003 album exclusively featured the vocals of founder member Evelyn Downing, Salt On Skin (MERM02CD, 2006), the new seven track mini-album from Mermaid Kiss, reflects their changing line-up over the last couple of years and is something of a transitional work. It features two songs sung by original vocalist Evelyn Downing, two by Kate Belcher who was with the band for a relatively short period in 2004-05 and three songs with new vocalist Kate Emerson.

On first hearing the new album what is immediately striking is how different all three vocalists sound to each other and yet how each song retains the Mermaid Kiss sound. Having three different singers could have led to a disjointed feel to the album, but in fact this variety is actually one of the album’s strengths. Indeed, one of the pleasures of Salt On Skin lies in hearing the different qualities that each singer brings to the music.

While Evelyn Downing's contributions to the album are perhaps the most atmospheric, there is a smooth confidence and effortless quality to Kate Emerson's voice that really suits the songs on which she performs. However, the real vocalist find on this album is Kate Belcher; there is a fragile quality and an emotional texture to her singing that makes it really special. She has a very youthful voice that still has those edges that tend to get smoothed out over time with a lot of singers.

The song writing and production of Jamie Field and Andrew Garman on Salt on Skin represents a real leap forward for Mermaid Kiss and a pristine mix and sensitive arrangements by Andrew allow all the elements of the songs to shine through (the only criticism being that some of the fades on the songs seem a bit abrupt to these ears). It's also good to hear the band experimenting with a wider palette of instruments and sounds than on previous releases. While the quality of the song-writing with its intelligent lyrics and superficially uncomplicated structures is immediately rewarding, the arrangements and soundscapes that the band create also repay repeated listening as subtle layers of sound reveal themselves. Salt On Skin has a much more commercial and accessible sound than their previous work but still retains an important element of originality and deserves to gain a wider audience for their music.

"Blushing Bride" is a great opener that introduces newest vocalist, Kate Emerson. Atmospheric drones and spiky guitar work open the song and introduce us to the Blushing Bride, an ambiguous female figure of desire and fear who haunts the singer’s dreams and nightmares. This song represents a much harder sonic edge than we have previously heard from Mermaid Kiss and is all the better for it. A memorable sing along chorus and a couple of suitably flashy and melodic solos from Panic Room and ex-Karnataka guitarist, Paul Davies, completes the package.

"Walk Away" is another new song with a different singer and a change of pace. This is a jazz inflected song with a lovely breathy vocal performance from Kate Belcher and a bouncing bass line that lifts the choruses. A nice jazzy piano and guitar interlude flesh out the song. "Hollow" sees original vocalist Evelyn back in the driving seat as singer and songwriter. More like the Mermaid Kiss that we've heard before but with a more expansive sound. Imagine a collaboration between Kate Bush, David Sylvian and Eric Satie this is very atmospheric music with a filmic quality to it and a sinister turn to the lyrics that speak of obsession and love turned to something much darker.

"Human Zoo" is the standout track on the album. It is a very creepy song with a great Peter Gabriel-like groove to it. This sounds like the soundtrack to one of those weird dreams--you know the kind of thing--a young girl walking through the woods glimpsing figures in the trees with strange animal heads and before you know it you wake up screaming. This one features nice choppy chords and a blistering guitar solo from Nigel Hooton. Human Zoo has a really tight arrangement and a lumbering groove that just sucks you in and drags you along with it.

Starting with some lovely flute work from Evelyn before the rhythm starts and an understated piano motif introduces Kate Emerson's voice in "Hard Row." The song has a marvellous spacious feel and evokes the dry open landscapes and cloudless skies that the lyrics speak of. A song for everyone who thinks that attending a stadium rock concert is going to solve the world's problems.

"Volcano" is another atmospheric track that evokes Ninth Wave-era Kate Bush with it's opening backwards vocal and spooky keyboard and guitar parts, but also manages to transcend its influences to make a very striking and individual sound. As with many of Evelyn and Jamie's songs the smell of sulphur is never far away with this tale of relationships gone awry and something sinister moving through the heart and mind.

"I Go To Sleep" is the simplest of the songs on offer here--this is that rare thing--a Mermaid Kiss song that doesn't deal with the darker and sinister aspects of life and the imagination. Compared to the songs that precede it this almost feels like a sketch rather than a finished song, but as a simple piano and vocal piece to finish the album it's a suitably gentle ending with its lyric of retreat from the cares of the day into peaceful sleep reflecting the simplicity and serenity of the music.

Salt On Skin is available from the band's website and for under £5.00 for nearly 30 minutes of music is a well worth investigating. Those in North America can obtain the record at CDBaby. If Mermaid Kiss can produce a collection of such consistent yet varied songs on their next full-length album then they should gain many new fans.--Jonathan Edwards in Swansea, Wales and Russ Elliot in New York

(06 March 2006) There comes a point in certain musicians' careers where they move from simply being one of many to become a significant or a major artist. This has nothing to do with the number of albums they sell, nor whether they've been signed to a major label, but everything to do with having accumulated a quality body of work that shows progression over a period of time. With the release of her seventh album, Rachael Sage has made an unanswerable case for such elevation.

Rachael Sage's latest album, The Blistering Sun (Mpress Records (USA) R6363-2, 2006), continues to present her stunning musical prowess, personal warmth and expressive vocals. This fifteen track CD combines meaningful lyrics with superb piano accompaniment. Her diverse style emanates throughout and there is an overall upbeat tone to her music. Rachael's talents as a singer/songwriter and talented pianist showcase her expressive pop/rock and sometimes folky style. She received the 2005 Independent Music Award for Best Folk/AAA artist and the 2005 OutMusic Award for Best Songwriter for her previous CD Ballads & Burlesque. Most recently she was invited to be a Judge for the 2006 Outmusic awards.

Rachael has often been compared to Ani Difranco, less perhaps these days for the similarity in their music and more because they've both gone their own way, developed their own labels and thus avoided the pitfalls that seem to befall so many female artists who sign to the majors. And how many of them will record three albums let alone seven? However where Rachael scores over Ani is that she's far more careful about what she releases--there's much of Ani's back catalogue that one can easily ignore, that one is actually better ignoring, and even her best albums contain a number of tracks that a more discerning artist would not have included. This is not a criticism that can be levelled at Rachael Sage.

Rachael's previous offering, Ballads And Burlesques, was a superb collection of songs, one of the best of 2005, but The Blistering Sun is something else again--a stunning musical experience that, literally at times, leaves one grinning inanely in admiration and sheer disbelief that something can be this good.

Everything she tries comes off spectacularly--and she attempts any number of audacious musical somersaults, illusions and high-wire walking. Her arrangements show an imagination that's breathtaking in both scope and ambition, the instrumentation is varied and innovative--oboe, clarinet, cello, trumpet, accordion, strings, woodwind--yet they're used sparingly and judiciously. Nowhere does she succumb to the temptation that many fall to--to swamp the songs, to use things simply because one can and they're there. Here, there's not a note out of place and the musicians seem to understand exactly what she trying to do and play their part to perfection. And throughout, her singing and playing is exemplary.

Listening to The Blistering Sun is to experience an exhilarating musical ride with an artist whom, for the hour or so this disc lasts, seems to have touched heaven. Every song is different and she allows the song to dictate the style, rather than try and force any song into a particular stylistic mould. To select any one track as being better than any other is a past-time for fools.

There is tremendous passion and diversity throughout this collection. Her vibrant style is complemented by some talented musicians. The Blistering Sun features the talents of trumpet player Russ Johnson, drummer Dean Sharp, percussionist Doug Yowell, guitarist Jack Petruzelli, cellist Julia Kent, violinist Allison Cornel, organist Julie Wolf and bassist Todd Sickafoose.

The opening track, "Alright, OK," has a swinging, upbeat melody that is also playful. Rachael's presentation is peppy and almost teasing at times. The song's sassy tone is very catchy. She follows with the dynamic, energy driven "Featherwoman." Her stunning vocals make this song a standout, singing of independence and courageous individuality. Her ethnicity comes through in "93 Maidens" which is the tragic, yet heroic story of Chaya Feldman and her classmates who died rather than submit to the Nazi's requests during World War II. This is an inspiring and passionate tune.

"Wildflower" is another pop melody that has a beguiling beat and great instrumentals. The bluesy ballad "Violet or Blue" has a tender, sensitive feel with Rachael's lovely vocalization. Supported by wonderful percussion, this melody also has fabulous trumpet riffs that are outstanding. The jazz infused "Lonely Streets" has the listener tapping their toes and snapping their fingers to the infectious beat. She has a sultriness that is highlighted here. The lyrics in "Older" begin with quotes from Talmudic text, "If I am not for myself, then who will be for me?" She brings a beautiful simplicity to this tractate of the Mishnah.

The snazzy "Hit Song" is infused with pure jazz instrumentals backing Rachael's captivating spoken word. Her next song, "Burning Witch," continues with her sultry, jazzy vocals. She brings a breathy and carefree feel to this stunning melody and Russ Johnson's trumpet adds to the panache. Piano instrumentals open the insightful "Paperplane" and her elegant style continues with the graceful "Proof."

"Surprise" contains the reference to the title of this album. She seduces the listener with this edgy and expressive song. Rachael has a soft, sensual touch with "Anything, Anywhere." Stunning cello instrumentals bring out the emotive grace of this piece. Her diverse talent is evident with the moody and vibrant "C'mon Over." She ends with the lush "Calypso" with its powerful, poetic lyrics.

The Blistering Sun is a wonderful collection of songs and Rachael Sage's best effort to date. She's right on the money with the piano hooks, expressive musicality and her poignant vocals. Her flamboyant personality shines through her music, enrapturing the listener and leaving them yearning for more. She is a tenacious performer with a marvelous talent, and her passion is worn on her sleeve.

The Blistering Sun is one of those extremely rare albums that comes as close to musical perfection as it's possible to get. Listen and be amazed.--Jamie Field in Herefordshire, England and Audrey Elliot in New York

(12 March 2006) Beauty abounds with Sissel's newest release, Into Paradise (Universal Classics (USA) B0006140-02, 2006). Her distinctive and exquisite soprano voice explodes with magnificent interpretations of an eclectic assortment of operatic melodies, classical favorites, and traditional folk and some pop melodies. Her accomplished ethereal tones create a poignant collection for all to enjoy.

This Norwegian chanteuse engages her listeners with a variety of tunes which exhibit her depth of range and emotive charm. There is a purity to her voice with her classical crossover renditions. This album continues to showcase her effortless vocals as a followup to her 2004 release of My Heart. The songs on In Paradise were recorded in Norway with the internationally renowned Trondheim Soloists.

When she sings, Sissel shows her passion for her craft, or rather her gift, by her sensitive recordings. The CD has an assortment of genres ranging from Mozart and Bach to Puccini to Abba, interspersed with some traditional Norse folk tales. Especially notable songs are "Wachet Auf" by Bach, "Marble Halls" and the memorable "Sancta Maria." Sissel says, "I like the variety of doing a bit of everything. The style of music is not important to me, as long as it has good melodies. Sometimes at concerts I like the music when it is groovy, and other times I like when it is haunting. A lot of classical music has that element, and folk music as it, too."

Her radiant voice carries the listener to the varied moods of her music, celebrating a diversity of styles. Her love for singing is evident with the touching and soothing tunes. The notes are crystalline and Sissel easily shows off her vocal range. Sissel says, "My heart is in beautiful music, music that touches me."

Sissel has kept busy since her March 2004 release of My Heart. Most recently, in May 2005, Sissel performed with the Mormon Tabernacle Choir in Salt Lake City, Utah. She joined the choir to commemorate the Centennial of Norwegian Independence from Sweden, which was being celebrated in 2005. A majority of the Tabernacle Choir count their ancestry from Norway. Sissel sang the ABBA song "Like An Angel Passing Through My Room," "Vitae Lux," and "Herre gud, ditt dyre navn" with the choir. In the spring of 2006, Sissel is launching another US tour.

There are two different versions of Into Paradise, rather than the same album being released in both the UK and the USA. The UK album contains 14 tracks, while the USA album features only 12 tracks. However, the USA version hasn't just dropped two tracks from the UK version. It has dropped four songs from the UK release and added two others. The songs which are on the UK version, but not on the USA release are: "What Child Is This," "The Sleeping Princess," "Salley Gardens," and "Ave Verum Corpus." The songs that have been added to the USA release, which are not on the UK album are: "Bereden väg för Herran" (from Sissel's recent "Nordisk vinternatt" album) and "Adagio."

Into Paradise is a delightful album with its sweeping orchestral melodies and ethereal vocals. Sissel doesn't disappoint with her angelic and pure tones. The listener is left with feelings of joy and begging for more. She is a mega-star with a mega-voice.--Audrey Elliot in New York

(12 March 2006) We first became aware of Kara when they supported Magenta at the Classic Rock society early in 2005. The performance then was full of promise, with some excellent guitar from Colin Mold and an eye-catching contribution from singer and multi-instrumentalist Kirsta Johnston.

Though the band is based in the South East of England, Kirsta is a Scot, which gives the band a Celtic feel that will certainly appeal to fans of Iona, Clannad, Karnataka and Mostly Autumn. Atmospheric keyboards, recorder and flute compliment Kirsta's clear, folky vocals and Steve Barfoots sturdy percussion. However, the most impressive aspect of the bands’ sound is the superb, fluid guitar playing of Colin Mold, which certainly reminded us of the virtuosity of Dave Bainbridge of Iona and Paul Davies of Karnataka on this, the bands self-titled debut effort (The Kara Album, Homeland Records (UK) HR01, 2005).

Keyboards and acoustic guitar introduce the album opener, "Sanctuary." Kirsta performs her lead vocal slightly off the main beat, which can be an acquired taste, but here enhances an uplifting, melodic song with a beautiful closing guitar break from Colin. The riff-led "Things Happen" is up next, with a pleasant lead vocal from Colin bolstered by Kirsta's harmony, a pleasing song with an excellent, progressive end section. The perennial folk standard "She Moves Through The Fair" is, thankfully, rendered almost unrecognisable thanks to the rhythmic, dance-like tone, lovely keyboard voicings, and a main melody line taken initially by acoustic guitar, then recorder. As an instrumental it is a delight, and an album highpoint.

Piano introduces the lovely ballad "Time," with female and male voices combining beautifully, before a charming recorder melody closes the song. "Eye of the Great God" is mainly instrumental, led by gloriously melodic lead guitar in a style that fans of Iona and particularly Camel will find familiar. The piece pauses momentarily for a vocal section, before returning to the main melody to its close. Fabulously written by Colin Mould, this piece in particular will appeal to fans of melodic, guitar led progressive rock.

"Homeland" is a simple, hymn-like ballad written by Kirsta, and featuring her own recorder playing, while "The Gathering" is another dramatic, guitar-led instrumental, with a strong main melody and some excellent percussion from Steve. A gong introduces "Kingdoms 1," which has a strong feel of the East about it, with its exotic percussion and its powerful guitar, and leads into "Kingdoms 2" which combines many of the bands strongest points, some fluid, melodic lead guitar combined with some excellent acoustic lines, and a lovely lead vocal from Kirsta. The lively acoustic guitar-led end section, leading into another recorder solo is particularly impressive. These elements all combine to form a suitably powerful and melodic end to an invigorating 40 minutes.

The album has some minor faults--these are mainly sonic and performance imperfections brought about by the budgetary constraints and short recording time. Some may feel that the band could "rock out" a little more, something they threaten to do regularly. This may come with the help of future live performances, However, the band are such a promising find, and the album so well structured and composed, that it is possible to forgive them almost anything. An excellent and hugely encouraging debut.--Stephen Lambe in Cheltenham, England and Russ Elliot in New York

(12 March 2006) Having been playing music together for some time in one form or another, Lynn Davison and Cole Coleman realised that there was a unique chemistry between them, and so decided to form a duo, built around Lynn's warm, rich vocal and keyboard arrangements and Cole's guitar playing. In particular, the duo's music showcases the Laud, an instrument looking not unlike a lute, with a sound somewhere between a mandolin and a 12-string acoustic guitar. All this gives their debut album Forward Motion (DHW Records (USA), 050501, 2005) a unique character. Though the instrumentation is largely acoustic, the arrangements sound beautifully lush with the addition of Lynn and Cole's keyboards and strings, not to mention some tasteful backing vocals. The overall feeling is beautifully warm and intimate with vocals high in the mix, and Cole's guitar and laud also prominent.

"You and I and All the World" kicks the album off in typical, uplifting fashion. The lyrics throughout give a largely positive, "quantum" world-view, and this song lays down this attitude like a mission statement. Lynn also demonstrates her remarkable vocal range, with a vocal performance ranging from a low purr to a high soprano. "Castles in the Sand" continues with some impressive lyrical twists and turns and an attention grabbing orchestral arrangement on the chorus. "C'est la Vie" continues with some interesting use of programmed drums. Cole's laud at its finest and the song's chorus is one of the finest on the album. Cole takes over on lead vocals for a charming cover of Cat Stevens' "Moonshadow," with Lynn's backing vocals sung an octave above Cole's lead, adding to the arrangement's charm. "Heal," meanwhile, is an album highlight, sounds of the sea introducing a spacey, spine tingling song with a beautiful keyboard-based arrangement.

A lovely Laud passage introduces "One More Day," with Cole sharing lead vocal duties with Lynn, and their vocals combine beautifully on yet another uplifting chorus. "Cryin'" is a quirkier, folkier song with a lovely vocal arrangement and poignant lyrics about the sadness of a relationship break up. The title track is up next, examining the same subject as the song before, but giving it a much more positive slant via an emotional vocal from Lynn, while the arrangement combines acoustic guitar and strings beautifully. "Our way Back Home" introduces a Zeppelin-esque acoustic character with massed guitars prominent, and a lovely chorus, while the simpler "Sanctuary" features some lovely guitar and a superb vocal arrangement "Our Leaning" is the perfect album closer, a delightful sing-song chorus illustrating a bittersweet, but largely positive lyric.

The album is available in the USA from amazon.com and in the UK and EU from SonicBond. Those that enjoy acoustic music without unnecessary folksiness, not to mention song writing of the highest quality will enjoy this album immensely. The songs have a likeable, bittersweet quality to them that leaves the listener moved, relaxed and uplifted all at the same time. Forward Motion is an album of beauty and warmth, by a duo that deserves a huge following, and might just get it.--Stephen Lambe in Cheltenham, England and Russ Elliot in New York

(16 April 2006) Bebek is a rapidly emerging band from Philadelphia, PA. Since the release of their debut self-titled release a year ago, the band has secured a significant worldwide following. They have played many of the most popular venues in the Philadelphia, PA area and this has contributed to their growing success. Bebek's identity continues to develop in their new EP Open Eyes.

Open Eyes has two notable improvements over their debut album. The recording and productionquality is substantially improved with Lynn's lead and harmony vocals mixed just perfectly, well above the instrumentals, which are also superbly and richly arranged. The photography is also notable. A stunning image on the back of the accompanying booklet is an example. The band's new photographer has finally captured the incredible physical characteristics of the artists, clearly understanding the importance of the female singer's image to the band's promotional efforts. Additonal photos from the session are presented our interview.

While several of the songs are improved arrangements of earlier versions on the band's self-titled debut album, the new recordings go a distance to explore a broader range and expressiveness in Lynn's vocal treatment as well as heavier guitar-based arrangements. The lush instrumentation has worked extremely well and certainly will attract additional listeners while offering current fans exclusive improvements in some of the band's best work.

The new songs continue to stretch the band's virtuousity and highlight Lynn's vocal dexterity. The crystal quality of her voice is evident in every track. And she has that unique ability to sing in a sexy and sultry voice while hitting high notes in a classical crossover style. The band are reported to be incredible in a live setting. Spanning rock, funk, jazz and R&B-oriented textures, the band attracts a wide audience. This new fantastic new EP serves as a meaningful waypoint on the journey to their next full length album.

(23 April 2006 updated 02 August 2009) Landmarq's recent career has been a stop-start affair. Although Musical Discoveries featured artist Tracy Hitchings (feature) has now been an official member of the band for ten years, she has recorded only one studio album with the band The Science of Coincidence (1998) and two live albums Thunderstruck (1999) and Aftershock (2002). Since those albums were recorded, the band has had two changes of keyboard player, with the talented but mercurial Gonzalo Carrera (now a member of the revamped Karnataka) replacing Steve Leigh in 2002, only to move on himself, to be replaced by the excellent Mike Varty, whose other projects include the resurgent progressive rock band Credo and Jannison Edge. Meanwhile, drummer Dave Wagstaffe continues to play in the Oliver Wakeman Band, bassist Steve Gee has played with former Yes guitarist Peter Banks and Tracy continues with her vocal coaching career in London.

When we briefly met with members of the band at the Progaid recording session in early 2005, they made it quite clear that they wanted to increase the amount of time spent on Landmarq, with a new album and DVD in the works. With this new album due later in 2006, the DVD project, a brilliant 85-minute performance filmed in Katowice, Poland is now happily with us. Entitled, Turbulence - Live in Poland (Metal Mind Productions (Poland) MMPDVD 0062, 2006), the all-region DVD is marvelous. The nine-track digipack album (Metal Mind Productions (Poland) MASS CD0957 DG, 2009)perfectly compliments the DVD edition.

Overall, the concert is beautifully shot, a good theatre venue providing excellent lighting and back projections, and there are no other frills. The concert is shot as played without the extra effects that can so often taint a live DVD, and the camerawork throughout is tasteful with good attention to detail. As for the music, the intention is clearly to present as much new material as possible, though some of it has been played live for a years), with only new arrangements of "Landslide" and "Lighthouse" featured from the released back catalogue.

Overall, this material comes across very well indeed. While the music provides few real surprise, this is excellent progressive rock, with plenty of dynamics, changes of pace and quality musicianship--the factor that makes the music special is the way that the music combines--and occasionally clashes with the singing and writing of vocalist Tracy Hitchings. Unusually for a progressive rock band with few metallic leanings, Landmarq have always employed power singers, firstly with Damian Wilson and now Tracy, whose leanings are clearly in two different areas--towards the epic, emotional music of hard rock bands like Heart, and towards West End/Broadway musicals. This gives the music a melodic and emotional edge not always associated with progressive rock.

The set begins with the fabulous "Entertaining Angels," an atmospheric keyboard / guitar opening out into an excellent slice of melodic progressive rock, with Tracy's vocal melody showing a distinct Heart influence. The lengthy "Calm Before The Storm" continues the set, with a jazzy opening section leading into the brooding, minor key song "Strange but Beautiful," itself segueing into Steve Gee's powerful, complex "Spiderman" with the edgy instrumental "From the Abyss," giving Gee, Varty and guitarist Uwe D'Rose the opportunity to solo impressively. The lovely ballad "Prayer" is up next, with a great vocal performance from Tracy. A dramatic piano solo heralds the epic "Thunderstruck," an older piece with a thunderously complex unison keyboard / guitar motif, which leads into a more playful and jazzy mid section before a Marillion-esque crescendo builds to a powerful climax.

"Walking on Eggshells" begins with some delicate guitar before becoming a lovely ballad with some impressive ensemble playing, while the jaunty instrumental "Landslide" allows the band to let off steam, and gives Dave Wagstaffe the chance to solo impressively. The excellent "Timeline" is up next, a strong slice of progressive rock with an impressive chorus, followed by the equally impressive, up tempo "Mountains of Anglia" written by Steve Gee, which has slower mid section that should appeal to Pink Floyd fans. The set closes with the classic "Lighthouse," a big, theatrical ballad building into powerful progressive work out with each member of the band again able to let rip.

This is all excellent material, played with subtlety, skill and dexterity by a mature and confident band. Uwe D'Rose, in particular, is hugely impressive bringing huge versatility and economy to his playing, while newcomer Mike Varty keeps up the standard of the band's keyboard players.

The DVD has some tantalising extras, including video footage from various eras of the band, plus some side projects. There are some worthwhile audio-only tracks that completists will want, and the various other extras, like interviews and band biographies are also pleasingly professional. However, it is the concert that most will buy this DVD for, and it is both a superb live record of Landmarq in action and an appetising taster of the delights to be found on the new album.--Stephen Lambe in Tewkesbury, England and Russ Elliot in New York

(25 April 2006) Labelling music with broad genre definitions generally tends to serve musicians poorly, often lumping disparate bands together and ignoring any individuality in sound. However, Pitch Black Dream's description of their music as electronic ambient pop is about as accurate as they come.

Pitch Black Dream is Rich Gaglia (synths, guitars and programming) and Bernadette McCallion (vocals). Fading Away (PBD002, 2006) is the duo's second album following the successful 2003 debut Never Going Home (review). The music is probably best summarised as beat driven, with ambient undertones and pop overtones. In a densely populated musical area, it's to Pitch Black Dream's benefit that they use guitars to give the music more colour than is often the case in a genre where synths and programming dominate and can render the music flat and bland. Certainly Rich creates some gorgeous laid-back moods and textures for Bernadette to float her vocals on. And for the most part the combination works well.

The opening track "Cause Of Death: Unknown" is as good as anything the genre has produced. On the other hand, some tracks don't quite match up to the best the duo have to offer, the overtly pop "Here We Go" for example sounds a little like something Madonna might slip out as a filler third track on a CD single hoping no-one would notice. On the other hand, "Taking Me Down" and "Say Yes" are lushly arranged and gorgeous pop-oriented tracks, memorable melodies and all. The thick guitar-laden "Hypnotized" is dramatic contrast and, with Bernadette's voice still in focus, clearly shows the duo's virtuousity.

Unfairly perhaps, albums in this genre so often stand or fall on the strength of the vocalist. Bernadette's delivery is uniform and most delightful throughout, mellow, relaxed and breathy on occasions. On "Anywhere" she sounds not unlike a Sarah Cracknell (Saint Etienne) but perhaps the music would benefit from a wider variation in tone from time to time. She seems to be singing well-within herself for most of the disc and on occasions and we certainly believe she could release herself and let the power she we are sure she can deliver emerge once in a while.

Generally, the song-writing is excellent and when the duo get all the elements right in a song, which they do more often than not, the music delivers. The closing track "Downtown Tonight" is another gorgeous example. On the odd occasions when something isn't quite up to par, the songs tend to pass by without impinging on the memory at all. Overall though, Fading Away is a hugely enjoyable album and should serve to build on the success of their debut. And as an album to drive to on warm summer nights we doubt it'll be bettered this year.--Jamie Field in Hereford, England and Russ Elliot in New York

(12 March 2006) The Corrs have gone full circle back to their roots with their newest release, Home (Rhino (USA) R273217, 2006). Fifteen years ago, the group was internationally renowned for their fusion of pop songs and traditional Celtic instrumentation. Their current CD is a collection of thirteen traditional and modern Irish songs performed by the four siblings: Andrea on lead vocals and tin whistle; Caroline on drums, bodhran, piano and vocals; Jim on keyboards, guitar and vocals; and Sharon on violin and vocals. Driven by the siblings' passion to shed new light on traditional songs and airs, this radiant collection features the crystal clear production and brilliant harmonies for which the band is celebrated.

The album is a tribute to their late mother, Jean, who passed away in 1999. Their mother had a handwritten songbook that provided a major source for the material for their album. Andrea said, "She used to play every weekend in pubs with Daddy, and she'd written all of these Irish songs out in a book. They're songs we've loved over the years, and because our parents played them in their band, they're very special to us." The album also contains two songs in Gaelic marking the first time The Corrs have recorded in their mother tongue.

These treasured and traditional songs have been reinterpreted by the quartet. Andrea's heartfelt vocals are pure and crystalline, and the Irish reels like "Old Hag" and "Haste to the Wedding" are real toe tappers. This collection is full of acoustic and orchestral sets, which is definitely The Corrs' forte. Their fans have been begging for an album for years that was more traditional, and this CD has filled the bill. It was Caroline Corr who initially suggested revisiting the traditional form, since “all over the world people tell us they love our Irish stuff and that they want to hear more of it.''

The emotions pour forth in the two moving Gaelic tracks, "Buachaill On Eirne" and "Brid Og Ni Mhaille." There is warmth in Andrea's emotive performances. These tracks were supported by the pure production of Mitchell Froom, the drumming of session veteran Matt Chamberlain, and the strings of the BBC Concert Orchestra. Their arrangements certainly blend and eclectic style in their songs and wonderful instrumentation by these seasoned performers.

Besides their own arrangements of time-honored Celtic classics, the Corrs also present engaging renditions of Anna McGarrigle's nostalgic "Heart Like a Wheel" (which Jim Corr had played with Dolores Keane in his days as a session musician), Phil Lynott's dynamic "Old Town," and Richard Thompson's melancholy "Dimming of the Day." The ethereal and poignant vocals abound throughout this collection of songs, evoking the raw beauty of Ireland. Home includes songs that span a millennium of Irish music from "Return to Fingal," a song music scholars say is at least 1,000 years old, to "Old Town," a song written in 1982 by late Thin Lizzy frontman and fellow Irishman Phil Lynott.

Andrea Corr says, ''We've always blended our Celtic influences with the songs we write. That's the root of one side of our music and our inspiration. It's a big part of who we are. We felt we owed it to ourselves and to the fans who complain every album that there's not enough of the traditional Irish element. We've definitely crushed that complaint on this record! Now people will probably say 'where's the pop?' It's very earthy and raw. There's nothing arch about it. And we called it Home because it's just the truth, isn't it? That's the place it all comes from.''

Any fan of Irish music will appreciate The Corrs' superior and hauntingly beautiful album, where they honor their Irish/Celtic musical heritage with a contemporary flair. Every time they break out the tin whistles and bodhrans to accompany Sharon's violin and Jim's guitar, the band brings the house down. The band has succeeded in their earthy and natural renditions of the traditional and there is a poetic flair to the songs on this CD. This is a stunning album and one can only say that Home is certainly where the heart is.--Audrey Elliot in New York

(12 March 2006) Indie artist and Virginia-born Julie Loyd is an acoustic folk singer/songwriter with three CD's in her discography. She relocated to New York City to attend NYU to study gender, sexuality, and performance at the tender age of seventeen. While at college, she performed at university events as well as bars in The Village. She built up a reputation for her solo performances and during her sophomore year, she created her own label, Siren Records, and released her debut album, Self Portrait #94 in 2000. The next year, she released her second independent album Fate Says He's Sorry, and her third CD, Waiting Room came out in 2005.

Her background is in dance and musical theater, and Julie loves to perform. She began songwriting at age sixteen and hasn't stop since. She has a distinctive percussive style when she plays the guitar and creates a vibrant on-stage personna. Julie says, “I’m tired of folk being seen as boring. Just because I’m playing an acoustic guitar doesn’t mean I’m going to be singing about the mountains—and if I am, I’m singing loud.” Any night of the week you can find Julie in front of a crowd wailing away on her guitar— wearing another hole in the finish, weaving a tune with a set of gutsy vocals and stomping out a rhythm with a set of steel-toed combat boots. She uses her movement experience to step inside her songs, contorting, kicking, and undulating to the beat of her own percussive guitar playing.

On Self Portrait #94, Julie has a sultry yet edgy, folky style with powerful and energy driven vocals. Her acoustic guitar is outstanding and Julie's storytelling abilities merge in her music. She incorporates her gifted writing style into sensitive and forceful lyrics, and blends effortlessly with her wonderful melodies. She has great accompaniment with supporting players, Jay Punyanitya on lead guitar on "Crumbling Plaster," Lara Hamilton on flute on "Trouble With a Small Town" and Mark Dennison on cello on both "Maybe Then" and "Have You Been Sleeping." Her music is strong, independent, and has a raw, earthy quality.

In 2001, Julie hooked up with a fellow NYU student, Raky Sastri. He recently had finished training with a former member of the Blue Man Group and added his versatile rhythm's to Julie's music. He appears on her second album, Fate Says He's Sorry. This album shows her growth and features a more folk/rock feel in her songs. Her distinctive percussive acoustic guitar is still prominent, although there is a more innovative pop feel to her music.

Some standout tracks on Fate Says He's Sorry include "Books," "Beautiful Voice" and the title track, "Fate Says He's Sorry." Besides the high quality production of the CD, her lyrics are captivating and touching. Julie's songs let the listener have an inside view to her thoughts, experiences and feelings, which casts a more personal contact to her musical genius. You can't help but feel emotionally touched by the depth of her emotive performances.

Julie describes her music as fusing confessional acoustic-rock with innovative pop production. Her third album, The Waiting Room, continues her expansive journey with her edgy folk/rock. She maintains her gutsy vocals and percussive guitar, showing a driving energy throughout her music. Her aggressive style is powerful and honest, layered with unbridled energy and self-assuredness in her vocals.

There is a haunting air to "Rocket Boys" balanced with the energy-driven pop songs such as "Secret of Your Own" and "The Independent." Some other noteworthy tracks include "Tuesday to Tuesday," "Taste of Copper" and "Normal." In addition to her chunky guitar, she adds the bassoon, French horn, accordion and recorder to add particular flair to her already impassioned music.

Julie seems to be on a perpetual touring schedule, playing more than 170 shows a year. She has performed with notables such as Shawn Mullins, G-love and Special Sauce, Alana Davis, Michelle Malone, disappear fear, Edie Carey, and Chris Barron (of the Spin Doctors), to name a few. Julie's driving talent and musical passion is evident in having independently released three albums in five years.

Julie's music tends to grab the listener and there is an intensity to her style that is captivating. Her music ranges from folk to innovative pop/rock with her wailing vocals and percussive guitar. The high energy is heartfelt and sincere. Her albums are worth listening to again and again.--Audrey Elliot in New York