ELLA BLAME

ELLA BLAME has an incredible vocal range: her voice covers the entire baritone, tenor and contralto ranges and exceeds the upper limit of the soprano range. She can produce sounds that are very similar to synthesizers, with no effects. Sometimes angelic, sometimes satanic, the many colors of her voice can be described as Billie Holiday meets Bjork and Loreena McKennit… yes these three names together sound very absurd, you just have to hear it for yourself... more

Kevin BARTLETT

This month's interview guest is KEVIN BARTLETT, musician, composer, bassist and guitarist extraordinaire, founder of the record label "Aural Gratification". Most of you know him as the co-producer of 9 Happy Rhodes albums. He lives in Woodstock, NY where he owns a newly built studio. He recently released his second CD "Glow In The Dark" as a follow up to his first album "Near Life Experience" which was released in 2003... more

Kate BUSH / Never For Ever

1980‘s “Never For Ever” is Kate’s 3rd album. The album was co-produced by Jon Kelly & Kate herself. One of the most interesting things about this album is that it is the first record by a British female artist to top the UK album charts. (Wikipedia). Kate’s progressive approach to music reaches its peak with Never For Ever. She tastefully blends different genres including folk, oriental, rock, classical and jazz. Unlike her first two albums which she wrote on piano, this one was written on synths... more

PUNCH BROTHERS / PUNCH

For active music listeners from bluegrass to rock, the name Chris Thile is not unheard of. After the breakup of the band Nickel Creek, in 2007, Thile formed a new band called Punch Brothers (named after a Mark Twain story called “Punch Brothers, Punch”) with musicians whose names are very well known in the industry: Noam Pikelny on banjo (from Leftover Salmon and The John Cowan Band), Greg Garrison on bass (from Leftover Salmon), Gabe Witcher on fiddle (in fact it would be better to call it violin in this case), Chris Eldrige on guitar (from Infamous Stringdusters and The Seldom Scene).

Technically, this is not the band’s first album. Thile fans will remember his first album titled “How To Grow A Woman From The Ground”. All the present members actually played on that first album, but back then they called themselves “How To Grow A Band”.

It is not uncommon at all in the progressive music scene to read a review about a certain band or artist where you will see comments like: “It is hard to classify this album genre-wise….” etc, etc… That is why it will probably sound boring to use these words for this particular album, which deserves a much better description. In all honesty, Punch Brothers are the best thing to happen to folk music since Bill Monroe who created bluegrass. In fact if he witnessed it today, he would most probably be very surprised to see the distance the genre has traveled. It would not be a bold statement to say that Punch Brothers are redefining bluegrass, and folk music. Picture Bill Monroe, The Flecktones and Brahms jamming on stage together. Does this give you an idea about the band’s sound?

The album opens up with “Punch Bowl” with intertwining violin and banjo lines. You will immediately notice the chemistry between the musicians. They are 5 highly talented people who have come together at the right time and the right place, as if it was meant to be. As the 4 movement suite “The Blind Leaving The Blind” starts flowing you will then know that you are witnessing an important moment in music history. Initially, this compositional masterpiece was written after Thile’s divorce as a way to deal with the after effects. Thile questions his relationship as well as religion. This piece has a great deal of time changes that sometimes feel like sudden stops and starts as if driving a car and hitting the break hard and then pumping the gas intermittently.

“Sometimes” is an instrumental work of art. “Nothing Then” questions marriage with its lyrics written in tercets instead of quatrains. The following song “It’ll Happen” has lyrics that are only 13 lines long. Neither one of these two songs have choruses, which is something not frequently used in popular music, but handled professionally in the hands of these virtuosos.

The album was recorded in a 4600 sq. ft. room and needless to say this enhances the sound quality a great deal. It was interesting to find out that some parts were improvisational, but for the most part the band spent a long time writing and practicing these pieces. It is a musical miracle that these 5 men with great talent and vision came together as it is not very commonly seen in bands. Hopefully they will stick around for a long long time.

Hande BURDG