INDEPENDENT REVIEWS: Valerie Ghent, Unstoppable (West End) /
Willard Grant Conspiracy, 3 AM Sunday At Fortune
Otto's
- Bob Gajarsky
Internal Neurotic Universe, Bigger Than Plastic (Style) /
Mike Dalton, Poker (Melon) / Thom MacFarlane, Longtime
- Al Muzer
New York-based writer/performer/producer Valerie Ghent is heading directly against the currents of today's trends on her independent debut release, Unstoppable.
While many artists are trying to create a lo-fi, flawed sound (and consequently spending many times their budget to appear "chic"), Ghent took the reverse tactic - focusing her limited budget while yearning to make every note and instrumentation sound perfect.
Evoking comparisons of a soulful Nu Shooz - really! - Ghent takes the listener on a picture-perfect walk through a flawlessly produced wall of sound in which all keyboards, lead vocals, sampling and drum programming was performed by Ghent herself.
The standout track is probably "Truth", which chronicles the tragedies which befell the citizens of World War I Russia by Josef Stalin - and opens with Valerie's mother vocalizing in Russian "Truth crushed to the earth shall rise again." "Justice" has a swinging cabaret-feel to the song, with Ghent sounding like a younger Liza Minelli, and most of the other tracks echo a similar R&B/pop feel which dominated the scene in lesser forms years ago, but has been largely ignored today.
Ghent is no newcomer to the music scene - her resume includes performing with Dizzy and the Romilars (who opened for Depeche Mode on their first ever New York City gig), Nursery School (who landed a top 30 hit on the dance charts) and touring with Debbie Harry. These credentials probably helped her land prominent behind-the-scenes musicians such as Knox Chandler of the Psychdelic Furs to contribute on other instrumentation.
Unstoppable is avaiable through major New York City retailers or through the artist's homepage at http://home.earthlink.net/~valghent
What might have happened if Nick Cave and Bob Dylan played a set together in the evening in the wild west? Massachusetts' Willard Grant Conspiracy offers one possible answer to this question on their Dahlia Records debut, 3 AM Sunday At Fortune Otto's.
Acoustic guitars are the heart and soul of WGC, but the rest of the body is neatly fleshed out with mandolin, harmonica, and nearly every other instrument which isn't brass or a synthesizer. "The Only Story I Tell" captures the feel and soul of the entire disc - in a small cabin out in the west, nearly brooding, somewhat slow, and introspective. Modern rock fans might even notice a similarity to slower Indigo Girls cuts or U2 tracks circa The Joshua Tree.
Bookended by two hidden tracks, the latter of which is a 26 minute walk through a myriad of sound effects, steel pedals, and the vague recollections of popcorn popping, 3 AM doesn't succumb to commercial pop standards. Dahlia Records can be searched online at http://world.std.com/~dahlia
Even cooler than they were on 1995s Damned, Damaged And Desired, Dave, Ray and Joe of Internal Neurotic Universe have used the time since their last release to sharpen their already impressive songwriting skills, mature magnificently as musicians, discover matching white chemical suits, and mutate into something much louder, and much bigger, than the sum of its parts.
One of the most signable bands floating around the Garden State at the moment, INU's Bigger Than Plastic is bursting with a loose, breezy, snotty attitude and one of the crispest sounds since Nirvana went and let itself get huge. Featuring something for just about everyone, INU cram an aggressive punk-like energy, NIN-inspired metallic sheen, Jon Spencer-ish psychedelic wash and Lemon Dando-caliber pop hooks into a churning bed of electro-jangle alterna-pop that just don't quit. An essential listening experience.
Style Records can be reached at PO Box 3796, Trenton, NJ 08629
On the Jersey Shore club scene for what seems like forever, singer/songwriter/multi-instrumentalist Mike Dalton checks in with an excellent example of radio pop at its finest.
Opening with a Beatles-tinged bit of sing-along jangle called "Walked On My Lover," Dalton and friends shift to a mellow funk groove for "Mystery"; harmonize beautifully on an uplifting slice of Squeeze-pop called "Somebody Else In Mind"; get choked up and sentimental on a gentle, Crowded House-worthy ballad; bring tears with the country-chartable "For You"; get all smooth, soulful and Seal-like for "So Why Be?"; and then turn around and out do Marshall Crenshaw, Bryan Adams and the Finn Brothers on "Carnival Head."
The second half of the CD is as equally a compelling reason to become a Mike Dalton fan as the first. "Train To Glory," "Ocean," "The Waiting Game," "Mary Jane" and, in particular, "Crowded Roads," all showcase a performer in full command of his gift, aware of his strong (and weak) points, and justifiably confident in his musical direction. By the way, "I Won't Bail On You" is, simply put, a hit waiting to happen.
Melon Records can be contacted at PO Box 556, Point Pleasant, NJ 08742
Thom MacFarlane's been called many things during his life-long quest for the perfect song.
Tagged as a "retro-pop" artist, "ready for the majors," "a human jukebox" and a "pop genius". Me? I think the guy is probably the brightest musical talent to ever stick a plug into a wall socket connected to a New Jersey power supplier.
The "retro" label is applicable if only because Thom is smart enough to appreciate that the reason music by artists such as The Beatles, Simon & Garfunkle, Elvis Costello, Steelers Wheel, Jonathan Edwards and Bob Dylan holds up today is that it was based on simple melodies and honest, heartfelt lyrics.
MacFarlane's respect for classic songwriting influences means that every track on Longtime is solidly-rooted in lyrics and melodies that would hold together were every instrument to be removed from the mix. In fact, the accompaniment on a few tunes is nothing more than Thom (who lists the Lute among the nine or 10 instruments he plays on the record) backed by guitar or piano and double-tracked vocals. And, while certain songs do feature guest artists such as Blondie drummer Clem Burke or Marbles guitarist Mike Grau (cool guitar-as-whale noises!!) helping out, MacFarlane is, for the most part, a one man studio entity capable of recreating the warmth of a full band on his own.
Moving easily from quieter, more introspective moments of singer/songwriter regret and longing ("Song For Judith," "Turn Away," "One More Waterloo" and the title song); to classic folk-pop story/songs like "Edith and the Kingpin" and "Jesus Was An American"; to the sort of bright, car radio-ready jangle that would make Matthew Sweet, XTC's Andy Partridge or the average record consumer (that means you) sit up and take notice ("Fascist Fingers," "In Between The Sheets" and, in particular, "Mary") - Longtime is a future classic that becomes more essential with each listen.
For more information, contact Thom MacFarlane at 42 Country Village Court, Bayonne, NJ 07002
