(10 February 2008) E.S Posthumus first announced themselves to the world of music with their earth-shattering debut Unearthed (review) in 2001. An album blending the majestic orchestral instrumentation of film scores with electronic sound waves, hypnotic drum beats and otherworldly vocal effects, creating a strikingly cinematic listening experience. It was an album filled with experimentation, of which the project allowed and indeed thrived upon, for E. S. Posthumus founders and brothers Franz and Helmut Vonlichten. Two individuals brimming with ideas of innovation and large ambition within the music they composed who were granted the use of an orchestra to weave such sounds. Sounds that captured the imagination of many and led to the release becoming the third biggest selling album in independent site C. D. Baby's history. The album's standout track "Nura" is well known as the theme for the CBS television drama Cold Case.

A lengthy seven year gap followed, with snippets of information being disclosed regarding a follow-up release, before second album Cartographer (Wigshop Records (USA) WS2237, 2007) finally saw the light of day earlier this year. A sprawling double album depicting a fictional group of explorers from the island of Numa. Inspired by the tale of an ancient map "Piri Reis" being discovered in 1929, depicting islands on the Antarctic coast concealed under ice for over 6,000 years, the concept imagines this civilization navigating the far corners of the earth and seeks to conjure imagery of their adventures, whilst telling their stories through the beauty of song. This album is expected draw significant attention from fans of Adiemus, Karl Jenkins, Praise and Miriam Stockley.

The first disc of the album features emerging vocalist Luna Sans accompanying the brothers' sweeping, breathless instrumentation as she sings the lyrics of a made up language, unique to the world E. S. Posthumus seek to take you to, and to the people existing within it. Taking the film score-esque compositions of debut Unearthed to a more refined, developed and well-honed level of maturity, the thirteen tracks on offer implement dramatic strings, angelic choir-work and stirring orchestra drums that dip and soar within Luna's fresh, spiritual vocal delivery. Luna holds a smooth, serene voice that flows freely and caresses the ears with its dreamy emotion, resting perfectly alongside the immersive instrumentation that is wonderfully mixed. Every instrument is given room to breathe and be captured within a huge production allowing each listener the freedom to be whisked away to wherever it is they wish to be taken.

Opener "Nolitus" introduces the album with a gentle, uplifting welcome as whispy flute work dances atop swaying strings, before being joined by piano and the breathy vocals of Luna. Through her voice you are taken to cloudless skies of peace and tranquillity as she glides her way through a chorus backed by vibrant drums and rising violins, breaking loose with the adventurous sound of a flute that spirals away to the distance, before Luna rejoins the mix, easing the song on its way. "Isunova" picks up the pace with a dramatic song filled with diverse, epic instrumentation that features engulfing, layered vocal work and clattering orchestra drums to create emotions of urgency, feelings of exploration and a breathless excitement. Following verses rising with dominant strings, the bridge sends this song to an explosive climax as drums grow louder, strings weave dangerously and the volume increases in intensity, before the multiple vocals of Luna return to calm and ease the restless energy of the music.

"Marunae" sets a driving pace with strings that move to and fro against powerful drums, allowing Luna to mimic the haunting emotion gifted via the orchestration. Her vocals ring with desperation. With a lost, pleading, tone that matches the sparse orchestration as it traps the listener in a blurred world of thrilling fear, perhaps isolation, that is consoled by hints of freedom, conveyed through a bridge creating a rising feeling of hope within the shifting string-work. "Mosane" instills sights and sounds of the oriental, even middle-eastern, through swirling orchestra and pounding tabla beats in a vibrant piece, whilst the later-placed "Caarano" presents Luna at her most captivating. Her voice swims through subtle piano and serenading strings in a song brimming with romantic imagery of blissful sunset-surroundings, of oceans lit up by the warmth of the stars. The listener is invited to embrace these feelings of love and hope as you lose yourself in Luna's exceptional voice. The disc closes with the soft acoustic guitar and crystal-clear drums of "Nasivern" bringing well over an hour's worth of music to a fitting close.

The second disc is entitled Piri Reis Remixes. It includes re-worked, purely instrumental, renditions of the songs featured on the first disc, with two exclusive bonus tracks. With this disc the feel is very much like that of debut Unearthed as the imaginative instrumentation is given the chance to shine. Luna's vocals are replaced by gigantic choirs, moving splashes of piano, even the distortion of a guitar, to create a majestic collection of epic pieces that find the brothers perfecting the ambitious sound they delved into on their promising debut.

The introductory "Ashielf Pi" steadily builds from electronic pulses and haunting brass orchestra to an explosion of electric guitar in a brief, gripping opener, leading into "Oraanu Pi." Again implementing the power of the crescendo which the Posthumus brothers thrive upon, it's a piece that perfectly demonstrates the capacity for exploration their music invents. Your imagination is sent skywards to lands untouched as the senses are surrounded with grandiose female choir work, the drifting notes of a flute and dramatically placed strings that wrap around the choirs, guiding this breathless piece on its way. "Isunova Pi" is without doubt a highlight, presenting one of the most exciting compositions the brothers have composed to date. A 'mini-epic' of sorts that wouldn't feel out of place as part of a big-budget move score, it flows with an awe-inspiring feel of discovery, of endless, limitless possibility as strings and choir merge with warped electronics and pounding drum beats in an irresistibly moving roller-coaster ride of emotion. Closing with fierce string movements and heart-stopping choirs that set the heart racing, it's a journey you never truly want to end.

Other tacks of note "Caarano Pi" and "Vorrina Pi" both present sweeping, captivating moods of serenity and of sublime peace through delicate waves of hushed choir and subtle strings. The former flows freely as the orchestra washes over picked acoustic guitar with a dreamy ease, whereas the latter captures the feel of solitude through soaring flute that breaks through a rich tapestry of sound. A sound carried by the freedom of a production that allows it to to reach the places the composers wish it to go, with a refreshing clarity.

In Cartographer, E.S. Posthumus have excelled themselves. Dipping their toes in the water with debut Unearthed, an album packed with ideas and experimentation, Cartographer sees them developing their unique sound to craft an album they can be truly proud of. Beautifully mixed, epic in its scope whilst encapsulating numerous emotions through the exciting blend of orchestra and voice, Cartographer is a gift to the world of music. An album to let loose the imagination, to take you to places you never thought music you could take you, or quite simply, to move you. Essential.--Jim Hall in Derby, England and Russ Elliot in New York

(09 February 2008) Shine (Cocoon Records (USA) 060868, 2008) is Sarah Bettens' second solo album. In a time of sterile studio-sound productions, Sarah surprises with a highly personal album that provides musical and lyrical content that is direct and rough, and that penetrates your soft spots. Produced by Brad Wood, the album succeeds to give a very intimate feeling. Listening makes one feel bare and exposed, caught in the action, as if Sarah and her band are playing in the very same room, directly engaging the listener.

Sarah's voice, as always casts a spell, being mysterious and husky, yet smooth, velvety and energetic all at the same time. At times it truly shines above the crisp texture of guitars that defines Sarah's sound since the beginning of her career in her former band K's Choice. At other times her voice cracks in honesty and pain. Maryanne Marino enthusiasts will naturally be drawn to Sarah's vocal work.

The album opens with "I Can't Get Out," a song that is the narrative of a young insecure woman, trapped in an emasculating relationship. The song succeeds to describe this smothering feeling of being stuck in one's own circles, flooded with shame and disappointment of a strange self. The repetitive chorus-line visualizes that scary cycle. Sarah's voice which stretches on top of an aching blend of melodic guitar lines and cymbals provides a spinning result, as the narrator submissively accepts her faith; in the simple acknowledgement "this is all I know to be."

Bearing the album's title "Shine," the next track is quite the opposite of the previous one. Out of bitter-sweet stripped down verses, an open chorus arises with major hopeful chords that cast some optimism and warmth upon the listener. "Daddy's Gun" is a mysterious saga that discusses the unbearable lightness of teenage access to firearm. The static guitar line, the soft military roll in the back, the ghost-like vocal backgrounds, and the low-story telling main vocal melody, all combine well together in creating an atmosphere of suppressed violence and stress. Sarah portrays a small picturesque U. S. town, while under the surface danger approaches, a clear result of the influence of the Belgium's artist past years in the States.

"Just Another Day" is a melancholy beautiful ballad of mature love. This common state in a relationship when realism takes over, and the blinding light of romantic love is replaced by lucid white neon. Totally stripped down to guitars, soft brushing drums and a single vocal line, this song captures the listener in its sincerity.

"Pave the Way" is a beautiful personal confession. Whether it is fictional or autobiographic, it conveys the process of coming out. Picturing the painful and brave aspects of being different, it is a manifesto of individuality and courage, and in that sense, relevant to any listener, gay or straight. "Driving Alone", is a great morning song, evoking energy and healthy common sense; "If I took everybody seriously, who said they loved my show, I'd be going left, going right, and standing still at the same time, but I'll go whenever I need to go ..." is a unique declaration, of self irony which pauses Sarah in a very realistic position that is the contrary of what we imagine rock stars to be.

"Coasting Speed" is another great song. Bewitching with its unique groove and minimalist melodic line, it is one of the album's pearls. The album closes with the chilling ballad "The Soldier Song." Once again, the American daily agenda invades Sarah's reflections, and emerges in the form of this moving narrative of a soldier posted far away from home. With nothing but her velvety voice and an acoustic guitar Sarah raises eternal existential questions of the necessity to fight or die for an ideological reason that isn't really yours.

Sarah Bettens is a truly gifted singer-songwriter that once again has succeeded to create a musical realm that is organic and true. She doesn't try to revolutionize the sound of the rock world, but concentrates on capturing the human experience in its full range. Compared to a multi-million dollar sci-fi Spielberg production, this album is more like a well directed Sydney Pollack drama, defined, intense and moving in its authenticity. On first hearing, it is pleasant and mellow, but on second and third, it is an album that takes you places from deep inside.--Yael Akron of Manga in Tel Aviv, Israel; edited by Russ Elliot in New York

(09 February 2008) Renowned musical artist Olivia Newton-John has released her new CD, Olivia's Live Hits in conjunction with her new DVD, Olivia Newton-John And The Sydney Symphony (Live At The Sydney Opera House). The CD has a collection of ten songs from the live performance featuring some of her greatest hits that everyone is familiar with. After a career spanning more than four decades, these popular hit songs are sung with more maturity and a slightly different spin. Olivia's vocals are still superb and have, in fact, improved with age. The orchestral backing by the Sydney Symphony is certainly a highlight.

Although enjoyable, the CD is merely thirty-eight minutes long, excerpted from a two hour long concert. The DVD has twenty-seven tracks, and it would have been much more exciting to have many more of those songs added to this very brief CD. However, Olivia's Live Hits does succeed very well in presenting a smattering of Olivia's talented vocals. She performs each song with heartfelt emotion, and these classics are sung with renewed vitality and interest.

Olivia has sold more than fifty million albums worldwide, has had more than ten number one hit singles, received numerous Grammy, American Music, Billboard, Country Music and People's Choice Awards, and an Emmy Award for songwriting. She has also starred in numerous television shows, specials and motion pictures including Grease and Xanadu, both of which are currently experiencing a revival as hits on Broadway. Her co-starring role with John Travolta in Grease catapulted Olivia into superstardom. "Hopelessly Devoted To You" and You're The One That I Want" have new life breathed into them on this album.

She performs three tracks from Xanadu that has wonderful flair and a genuine quality. "Physical" is sung with a more seductive, mature tone than the original 1981 version. This once upbeat poppy melody is now evolved into a sultry and slow rendition. She has a moving duet, “Suddenly,” which features a qualified backup singer assuming Cliff Richard’s original vocal. Her signature concert encore, "I Honestly Love You," never sounded better or more sincere.

Adored by millions of fans around the globe, Olivia's ongoing philanthropic efforts have remained a major focus as she continues to give back to the community through a variety of organizations. Among them is the Olivia Newton-John Cancer Centre, which will provide a comprehensive range of services and facilities for cancer treatment, education training and research, including a wellness center for the mind, body and spirit.

Also, she remains extremely active in the recording studio. She received critical acclaim for her 2006 release, Grace and Gratitude, for which Billboard magazine said, "Newton-John is soulfully committed to every word she sings, and fans will be taken with the plush arrangements, melodic warmth and, of course, the artist's regal vocals."

Olivia's Live Hits is a condensed career restrospective of her hits. The brevity of the CD does not subtract from her beautiful musical talent as well as the charisma and allure of her singing. Although her voice has aged, Olivia continues to draw in the audience with her genuine vocals and positive vibes.--Audrey Elliot in New York

Her writing softened and she drew attention from Enya’s producer Nicky Ryan and Influx Records’ Dave Quirke. Íse was asked to sing the theme song for the movie Gold in The Streets. Creative inspiration from the project led to her debut album Angel One (2006). A track was selected in 2007 by Neurodisc Records for the Sirenes (2008) compilation.

(03 February 2008) Musical Discoveries has covered Freud and other music by Alberto Hauss since the initial 1998 UK release of the stunning album Time Passengers (review). Many interested visitors have asked our editorial staff about the Hauss Terra del Sol project since our review of Selection One in 2001.

Limited edition releases of two further Terra del Sol albums pictured on the sleeve of this variouis artists release appear to have captured the attention of enthusiasts worldwide. The 2007 Freud release The Journey (review) featuring lead vocalists Maria Sanchez and Cora O'Donovan has also captured worldwide attention. Hauss and his bevy of vocalists create celtic styled music similar in sound to Enya that generally draws attention from new age and world music enthusiasts.

Music For Contemporary Living #1 (Tantajo Records (UK), 2008) is a collection of fourteen tracks very much in the Freud and Terra del Sol genre blending pure instrumental sounds with tracks featuring the stunning vocal work of Maria Sanchez or alternatively by a new female vocalist named Lalu.

Maria is featured on: "Minhas Ondas" by White Cubes, "Bossa Suave" by Cabano, and "Meltado" by Groove Inc. Lalu is featured on: "Sea Virgin" by Sono Nove and "Papua St. Tropez" by La Tienda. Producer Alberto Hauss, also actually sings lead vocals on "Records from the Attic" with RPM Syndicate. The group have played as La Tienda at gigs in Hamburg, Germany. The album has an 'island feel' to it and will make many listeners think of the last beach holiday they enjoyed.

The album opens with "Vagues du Soleil," a lovely instrumental that sets the scene for the tunes that are to follow. Warm keyboard washes reveal sunrise, a warm summer breeze while a gentle guitar-sounding melody welcomes the listener. Lalu makes her album debut with "Sea Virgin" atop soft keyboard washes and acoustic guitar singing in French. One can not help being mentally transported to the most popular holiday resorts on the Mediterranean Sea.

Ingo Hauss continues to develop the album's island theme in the upbeat instrumental "Deeper Breeze." Soft keyboard washes underscore a lovely and percussive keyboard melody. Maria Sanchez makes a stunning debut on the album in "Minhas Ondas." She sings mid range with crystal clarity but a little air in her vocalizations. The vocal mix is perfect in both lyrical and vocalise parts. Acoustic guitar and keyboards blend with light percussion in this album standout.

The track "Records From The Attic" is stylistically true to the name. Barely sung by Alberto Hauss, the rhythmic track is well arranged with crisp percussion and bass providing the foundation for sax, keyboard and guitar instrumental contributions. The track brings visualizations of a holiday dance floor. It blends perfectly into "Bossa Suave," sung delicately by Maria Sanchez with whispy intonations.

"Metro Abesses" features a memorable accordion melody performed by Lalu and--as one might expect--is appropriately French sounding as one might expect from the title. But it fits the album perfectly with rich and warm choral-sounding keyboard washes and an an offsetting acoustic guitar part. Maria returns singing at the bottom of her range, very much in a Tina Turner style, in the track "Meltado." Arranged as a rhythmic cha cha, the blend of lush keyboard washes, John Barry-styled horns and crisp percussion, the track just works.

The album continues primarily as a collection of dance oriented instrumentals. Such is the case with "Meeting Las Salinas," written by Ingo Hauss. Brass-intoned keyboards drive the melody on top of an electronic instrumental. Much warmer but equally rhythmic both in effects and keyboard arrangement is "Fleur De Lys," also written by Ingo Hauss. In contrast, "Desert Tales" is a cinematically styled track that develops its rhythm with percussion and a sharp keyboard melody.

"Moon Over Lhasa" is a rhythmic track credited to Terra del Sol. The rhythm section--bass and percussion--dominates the arrangement. Traditional and electronic instruments deliver the melody. The listener will note distinct movements within the track and it is the last of these that is warmed by soothing female vocals opposite a bright piano melody. The album concludes with the standout rhythmic and percussive Terra del Sol mix of "Garden of Love" performed by Freud. Warm layered vocals sung by Maria Sanchez combine with rich arrangements.

The album concludes with the bossa nova rhythm of "Papua St. Tropez." Layers of Lalu's vocals rise above a more sparse mix of electronic washes and traditional percussion. Music For Contemporary Living #1 is certainly an album for enthusiasts of Freud and Terra del Sol that have been unable to find some of these rare tracks in other locations. Available on iTunes exclusively for a limited period, a compact disc is expected later this year.

(03 February 2008) Jo Williamson is a rapidly emerging folk singer songwriter based in the New York City area. Her five-track EP is entitled Wake On The Hudson (Joscream (USA) 6 34479 68797 6, 2008). It is a concept piece about beginnings. Produced by composer/multi-instrumentalist Brent Arnold, the album layers elegant orchestrations with Williamson's vocals, allowing her voice to be the main instrument and primary storyteller. It also features the talents of guitarist Jim Campilongo, bassist Mat Fieldes, drummer Rich Levinson, horn player Ann Ellsworth, trumpeter Peter Evans, and clarinet player Matt Bauder.

Earlier in her career, Jo Williamson formed a fusion (jazz, classical, folk) group with trumpet player Charlie Porter called Joellen and the Dogbiters. She has also worked with avant-garde/classical composers Carman Moore and Faye Ellen Silverman who wrote a fifteen minute piece for French horn and voice based on a piece she created with Ann Ellsworth called "Left Behind". Jo also has had the pleasure of collaborating on musical pieces as a composer with British video artist Chris Allen and the Light Surgeons, and artist Ada Whitney (Beehive). Also an actress, Jo has been fortunate enough to play some of Shakespeare's great female roles including Joan la Pucelle ("Blood and Roses", STNJ). She has worked with filmmaker Linas Phillips and absurdist playwright Rachel Shukert on new work.

Jo has a well-honed and wide vocal range. Her voice has a lovely crystalline quality and works well with the simple acoustic arrangements. The EP opens with the lightly backed track "Sailor Boy." Indeed Jo's voice is the focal point of the tune but the arrangements add a lovely texture. "Scramblin" is sung atop a gentle but lush arrangement. Vocal excursions and lovely backing harmonies are evocatively delivered.

Our staff especially enjoyed the folky track "Ready," primarily as a result of Jo's simply gorgeous soaring vocals. "Dream on Dreamer" is a catchier and more upbeat tune with a richer guitar-laced arrangement. The dramatic tempo changes within the song work especially well with and highlight Jo's voice. The EP concludes with the evocative and quiet ballad "O Belinda." Listen to Jo's voice work as an essential instrument in the arrangement.

Listen to this collection of Jo's songs stream at her MySpace page. Alternatively, purchase her CD at CDBaby. She performs in and around New York City. Catch a live show. Certainly an artist to watch in the coming months, Jo Williamson has a lot of music to offer to an even broader audience.

(03 February 2008) A runaway star, as astronomy buffs know, moves through space at a supersonic velocity, leaving all other stars twinkling feebly in its wake. An apt metaphor, perhaps, to describe the career of Erika Jayne. Like a dazzling supernova, Jayne exploded onto the music scene with her club smash "Roller Coaster," a luminous musical come-on that soared effortlessly to number one on the Billboard Club Play Chart. A massive favorite with the world’s most high-profile DJs, "Roller Coaster" brought a stunning burst of energy to club culture.

"Every so often a record comes along, and you don't know who it is, but it makes its mark immediately," says Peter Rauhofer about "Roller Coaster." "It wasn't until I had played this record around the world for the first month, to great response, that I found out it was by Erika Jayne. It didn't matter where I played it—the USA, Brazil, Australia, Canada or Barcelona—the song was an enormous hit."

Set to burn just as spectacularly is Jayne’s sparkling follow-up, the appropriately titled "Stars." Whereas "“Roller Coaster" showcased Jayne's naughty, playful side, "Stars" captures the exhilarating power of an intense sexual attraction. "Sex is a driving force in club culture," explains Jayne, "“and I love the idea of mixing that feeling of erotic longing with the throbbing, sexual vibe you get when you're in a club. My hope is that "Stars" captures that kind of primal energy that can make club-going such a mind-blowing experience."

Written and produced by Peter Rafelson and Eric Kupper, "Stars" has been remixed by some of the club world’s hottest names, including Moto Blanco, Steve Mac, CagedBaby, Tony Moran, DJ Escape & Johnny Vicious, and Mike Rizzo. Rafelson and Kupper also took their shots at remixing their original for the dance floor. "I love what they’ve done with it," says Jayne. “The remixes run the gamut—there's a darker version, a dirtier version--one that you just want to snake your body around—and then this big anthemic version. I just imagine thousands of people dancing to it." "Stars" was released as digital singles in the USA and internationally in December 2007. The commercial ten track CD maxi-single is also now available (RM Records (USA), 2007).

A pop siren ready to enchant both club and mainstream audiences with her velvety vocals, musical versatility, and glamorous, provocative image, the Atlanta-born Jayne has created that rare fusion of pop, dance and electronica that’s thoroughly modern yet seamlessly incorporates influences from the past. Already a sensation in the UK after enormous club exposure and a sold-out tour, Jayne has earned raves from a variety of circles. The Guardian says, "Erika Jayne is Madonna trapped in the moment when she recorded the Erotica album. She's Nicole Kidman in Moulin Rouge goes trance with a dash of debauchery, or Gwen Stefani goes burlesque. She's equal parts Hollywood glamour and S&M chic, the spawn of Sapphic union between Rita Hayworth and Traci Lords." Gay audiences, too, can’t get enough of Jayne's innovative sound.

"Erika has always been a star," says longtime friend and choreographer/director, Travis Payne (Madonna, Beyonce, Michael Jackson, Janet Jackson, Usher). "She has this presence that is so uninhibited that her work is just so bold and incredible." Payne introduced Jayne to Rafelson, his frequent collaborator and a prominent producer and songwriter who has worked with Madonna, Berlin, Britney Spears, Elton John, Stevie Nicks and many other high-profile artists. "Erika is truly a dream artist," says Rafelson. "Her musical instincts are so sharp, she pushes me to push myself even harder."

Jayne is currently hard at work on her debut album, which is set for release this year. In the meantime, fans will burning up on the dance floor from the radiant glow of a star that threatens to shine as bright as the sun. Based on material at the artist's MySpace page, the album promises to be better than the ten track maxi single!

(03 February 2008) Critically acclaimed singer/songwriter Shauna Burns burst onto the music scene in 2005 with her debut album Every Thought (review) to wide crticial acclaim. Shauna's songwriting extension to Every Thought, is her followup EP release entitled, Desert Tune. (Red Rock Music LLC (USA) rrm7002, 2006). Strong allusions to Tori Amos both in singing and piano-based songwriting stylings continue into this EP.

This five song EP is witty and playful while in harmony with her nature of being personal and captivating. Shauna and her piano are once again joined by co-producer and drummer James Clark, Ryan Tilby on guitar and bass with Steve Lemmon on guitar. Inspired by residing in a desert landscape, Desert Tune gives the listener a different pair of eyes to view what this world can give and take from us, both physically and emotionally.

Shauna's music is inspired by many cultures and ideas that surround the world as well as the landscape of the deserts and mountains of the western US that she now calls home. Taking her knowledge in Anthropology as a shovel she is always digging, searching for her next musical adventure. Shauna explains her songwriting philosophy as, "It can start with just a feeling, that seed in your stomach that grows until you cannot ignore it anymore. I feel the need to cultivate and nurture these seeds because seeds can grow into big ideas if we take care. It makes me question: What's next for all of us in this world? What is the universe trying to tell us? I'm listening."

Shauna Burns sounds similar to a female Dave Matthews with a distinct Celtic influence. This may sound like an odd description of an artist after you listen for yourself, however, the interpretation works. Burns' vocals are very much her own, make no mistake about it. Even though some cringe by making comparisons to another artist, and one that is so popular, it is something that needs to be expressed. Although there are only five tracks that encompass Desert Tune, they are strong and create an impact for the artist.

This EP is the extension of songs that did not make it onto Shauna's debut CD Every Thought. The music is mystical and ethereal--it is very enchanting. Shauna's vocals are the key element that completes the circle for each track. Burns sings about squirrels dancing around in your head, fairytales, ghosts, and Celtic castles. Whatever she is singing about, it always seems to fit the music just perfectly, and the timing lyrically is impeccable and is supported by spotless musicianship. That covers all the most important aspects of any recording, not withstanding production values, which are excellent as well.

Desert Tune is a solid EP and it certainly will lead to an outstanding full-length album to follow. Shauna Burns has a vocal style that you are attracted to right away or it has to grow on you. There is no middle ground here. This could be the X factor that separates her from the pack.

(03 February 2008) Shauna Burns' new album is entitled The Moon and the Fire Circle (Red Rock Music (USA) RRM7003, 2008). It follows the Nevada-base artist's highly acclaimed debut album Every Thought (2005) and equally well received EP Desert Tunes (2006). Shauna's new fourteen-track collection takes stylistic diversion from the artist's earlier recordings. Packaged even more extravagantly than Desert Tunes, the trifold digi-pak includes a well-produced booklet with lovely photos of the artist and lyrics for all of the songs.

Listeners will immediately identify growth in Shauna's material in the instrumental arrangements. No longer does she sing exclusively alone atop piano, although the songs "Failed You" and "Out" are much in this style. The recording quality is so accurate in these songs that careful listeners will hear the pedals of the piano.

Additional strings, electric guitar, bass and percussion round out the tunes. Listeners will note layered vocal harmonies on the new record. And Shauna's singing is more expressive, lilting gently continuing to draw allusions to Celtic artists. The extended notes in her vocal lines are most reminiscent of Rachel Jones of Karnataka. This change in style is dramatic enough to cause those familiar with Shauna's earlier work to stand up and take notice. But it works.

The Moon and the Fire Circle is comprised of different song styles that range from heartfelt piano accompanied ballads to more richly arranged upbeat and pop numbers. Production quality continues to be excellent although a number of the tracks may have more reverb than necessary for Shauna's ethereal vocal textures. Powerful songwriting, enchanting piano, vocal and strong percussion are delicately mixed with flavorful guitar, harp and cello to create a perfect sound.

The album opens with the dramatic track "Bloom," which so perfectly illustrates the richness of this album's instrumental arrangements. Songs build and contrast until reaching the crescendo in album standout "Around You" is a testament to Shauna's solid songwriting and the production quality of this new project. We were not only impressed with the arrangement but the rich vocal harmonies and the tremendous hook evident in this fine track. The video available at the artist's website is equally stunning.

The album doesn't drift far from singer songwriter territory and has an excellent running time of 59 minutes that offers listeners an extended experience with the artist's work. The album will certainly appeal to fans of Tori Amos, Kate Bush and Sarah McLachlan. But the arrangements and vocal excursions on this album will draw in fans of Loreena McKennitt even moreso, for example in the stunning ballads, "The Carribean Sea" and "Magic."

Listeners will hear tremendous vocal harmonies in "Comet" and the lush string- and powerful guitar-based arrangements beneath the soaring vocal lines in "Chamber." The rocking chorus of "Chamber" is especially well structured effectively joining the piano and guitar parts with layers of vocal work. The delicate yet percussive piano in "Starfish" shows even further growth in Shauna's playing and songwriting.

Shauna Burns is certain to expand her audience with The Moon and the Fire Circle. The individual tracks can be streamed at Shauna's website. This stunning collection is a thoughtful deviation from her prior work that demonstrates artistic growth and attention to details that will bring her new fans worldwide.

(27 December 2007) The last time we checked in on UK singer songwriter Sam Holmes was in 2002. Her three-track EP caught our attention (review) and, as a result of her vocal work alone, is one of the few CDs of this length reviewed in our publication.

Sam's 2007 demo is a three track collection that illustrates the artist's prowess. She provides lead and backing vocals and guitar. She is assisted on the recording by Andy Nowak (guitar, piano, Hammond organ, double bass), Matt Jones (drums, percussion), Jane Bartholemew (backing vocals) and George Shilling (cello).

The three trcks on this EP--"Charlie," "Stories To Tell" and "Fool For Love"-- are currently available for streaming on Sam's MySpace site, if their server is cooperating.

Sung over light acoustic guitar and piano accompaniment, "Charlie" is a catchy singer songwriter style tune. The tenderness of Sam's lead vocal is enhanced by the lyrical content, backing vocals and lovely arrangement. Despite the instrumental build, she is never overpowered by the well-produced arrangement.

The evocative delivery of "Stories To Tell," is underscored with the addition of cello to the arrangement. Layers of harmony vocals add a lovely texture to the enduring quality of this song. Sam's well-honed vocal talent shines through in this track.

In dramatic contrast to the opening numbers, the swing-styled "Fool For Love" continues to illustrate the range of Sam's singing and songwriting talent. The depth of the arrangements--complete with Hammond and drum highlights--as well as the breadth of vocal work clearly demonstrate the artist's readiness for a full length album.

A stunning vocalist with loads of potential, Sam continues to tour in support of her music. Her live performances in small venues and at larger festivals continue to draw critical acclaim from media and our editorial staff. Join us in supporting Sam with encouragement for a full length album in 2008!

(03 February 2008) During the Glitter and Charmbracelet eras, a comeback from Mariah Carey seemed impossible to some. Her popularity, her quality of material, and even her voice appeared to be degrading at a painfully rapid rate. Even an avid fan of the songbird, would begin to think that she was on her way out of the music business. In early 2005, "It's Like That" was released, and although it was a nice track and the fans enjoyed it, it still wasn't making any big moves on the charts to make anyone think this new upcoming album would perform any differently than the past two. Then, out of nowhere came the mega-hit, "We Belong Together," and the rest was history. The Emancipation of Mimi went on to be certified six times platinum by the RIAA, making it the best selling album of 2005. At the 2006 Grammy Awards, it was named the best contemporary R&B album of the year. The album also gave Carey two more #1 singles to boast. This tour, which is her most successful one yet, topped it all off.

And so Mariah Carey's new double DVD entitled The Adventures of Mimi (Stonewinner LLC (USA), 0-9793794-0-7, 2007) has been released to celebrate the tour. This 2xDVD set with audio in dolby 5.1, dts 5.1 and dolby digital 2.0 audio formats does an excellent job of capturing the magic of her live performance. The set is nice, as is the lighting. The concert was recorded in HD and is in surround sound, but our editors would've liked to have seen more full shots of the stage with everything going on at once a few times throughout the presentation. The background vocalists are superb and they really do an amazing job. The dancers seemed to be quite talented, but at most times, the choreography was a little lame and unexciting. But many don't really look to the dancers to provide the thrills during a concert: most eyes are on the star of the show. That she is scantily clothed throughout the show also provides visual candy for the male viewer.

Throughout the show, Mariah proves that she is back and here to stay. The voice, which some critics claimed was withering away to a mere whimper, is just as strong and bold as her early days. The high notes are still there, as is her soulful belting. And she really is singing live! She has astounding charisma and energy, and to top it all off, she looks better than ever. Some of the hip-hop styled numbers could have been left behind.

The setlist is challenging. Mariah has been active in the music business for almost 20 years. She has had many hit singles and also many great album tracks that have become fan favorites. It has songs for all the new fans that she gained with this new album, but it is also faithful to the fans that have been there since day one. Most of her studio albums are represented with at least one song. All of the songs are for the most part performed in their entirety. She also slipped in pieces of some of her remixes into the performances. In fact, she sang part of "Dream Lover" over the instrumental of Biggie's "Juicy." The powerful performance of "Fly Like A Bird" was worth the price of this set alone.

Aside from the concert, this set has special features. The first disc has a behind-the-scenes feature, which are fun to watch at least once. It also contains a jukebox feature that allows you to arrange and play your own setlist. The second disc has a tour documentary, with interviews from all parties involved, speaking on the setlist, set design, dancers, etc. Some will find this interesting because it takes an incredible amount of work to put a tour of this magnitude together, and it's nice to hear Mariah speak about it, although she had no time for an interview to accompany this review.

The concert's songs are included in karaoke form to permit sing along. Last, a Spike-Lee directed short, "Lovers and Haters," is included. It's Mariah's way of responding to--and laughing at--all the rumors that haters have created about her over the years. This tour documents an amazing performer whohas once again returned to her prime. Overall, this is a great, entertaining, and worthwhile DVD set. If you are a Mariah Carey fan, then this set is for you.

(15 February 2008) From Venice, California, Michele Moreno has recently released her debut album Plastic Garden (Meha Music (USA) 6 41444 00112 5, 2007). The ten track CD is a blend of pop and electronica with wonderful lush vocals. Michele wrote all the songs except "Water" which was co-written with Anthony Jones. She performs all lead and background vocals. She describes her music as "chill trip-pop with worldly spice."

Michele worked with innovative producers to achieve her own brand of trip-Pop. Drawing from global-centric artists like Bjork, David Byrne, Beck, The Beatles and Lisa Gerrard, she added world elements such as Middle Eastern inspired vocals and ethnic instruments like hand chimes, Asian mallet instruments and latin percussion. This blend of pop & electronica with world flavor makes her music ambient, modern and mysterious.

Michele's career began as a backup singer for several California-based indie bands. She later met talent manager Atallah Shabazz, who placed her on a tour of Latin America with Spanish superstar Raphael. When she returned to LA, Michele did vocal work on film and television scores, including Kingdom Come starring Whoopi Goldberg, Rated X starring Charlie Sheen and HBO's production of Six Feet Under.

In 2002, Michele auditioned for the legendary Ray Charles and won a spot as one of five Raelettes on the Ray Charles East Coast tour. Afterwards, she headed to Brisbane, Australia along with her husband and launched the Birdie Mendoza show (jazz, Latin and Brazilian standards). Throughout this time period, Michele continued to compose and produce her own brand of trip-pop songs. Her inspiration was drawn from such artists as Dido, Zero 7, Morcheeba and Frou Frou.

Her album is named Plastic Garden due to the flower, water and garden references in the songs. While some of her lyrics reveal dark truths "you're an auto-pilot sitting smoking your smile," others offer hope -- "fell into a rabbit hole and woke up in a different body, now I got a perfect soul." The music is a mixture of captivating melodies and thoughtful messages.

Michele's beautiful vocals capture the wonderful versatility of the musical moods. After soul-searching and writing an introspective album which takes the listener through a blend of love, self-deception, realization and hope, Michele sought out talented producers to help her brand her "Trip-Pop, Chill Fusion" sound.

Five different producers contributed to the ten songs on Plastic Garden always keeping in mind her vision. Michele said, "I wanted the chill, trip-hop elements of artists like Zero 7 in the mix yet I love middle-eastern melodies, Latin percussion and ethnic music samples. I didn't want to be a world or new-age artist, so as you'll hear, the essential flavor of my music is pop or adult alternative ala KCRW."

Michele provides a luxuriance to her musical interpretations that leave the listener wanting more and more.The CD is available for order from CDBaby. Exquisite and emotive vocals create a splendid debut. Plastic Garden is just the start of a great future on some very fertile ground.--Audrey Elliot in New York