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Holy Holy Hozier

16 Jun

Hozier

 

When I first heard Hozier’s dark croon masterfully guide the lyric of his subtle condemnation “Take Me to Church,” I listened in silent awe and quickly lapped up his EP. That was month’s ago, and since then Hozier has taken the alt/rock world by storm by way of YouTube, Reddit, and the eager ears of many active listeners. He has also released a new EP, From Eden. I am not that different from the rest of the millions of ears that have allowed Hozier’s voice to soothe them; his vocal has become unmistakable and one listen can easily ensnare any music lover.

What is it about the 24-year-old Irish musician that is so enticing? Is it his aforementioned voice, which blends the passion of Dan Auerbach and command of Bhi Bhiman? Is it his instrumental diversity, wet and heavy with foreboding percussion mixed with lightly plucked guitar accompanying consequent softness? Clearly both of these elements play to Hozier’s draw, and it is an absolute pleasure to write about such a skilled musician.

Hozier is a true musician. He has consistently been involved in groups, including Anuna, an Irish choral group, which he sang in for three years. Now, he has shifted his focus to unique rock music, and the music scene is the better for it. Hozier’s seminal piece “Take Me to Church” is not only a commentary on religion but also an oddly spiritual experience; the vocal and voluminous melody transport the listener to a melodious shrine. It is difficult not to listen to this song on repeat.

“Like Real People Do,” which also appears on Hozier’s debut EP (Take Me to Church) is a completely different tune. While “Take Me to Church” is a dark, rhythmic piece, “Like Real People Do” is more Iron & Wine than Airborne Toxic Event. The song is subdued and, dare I say, pretty. The guitar is picked with Hozier’s voice, and the song is fluent.

I suggest checking out more of Hozier’s music on his website. You can also check out his Facebook and Twitter.

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The Duke of Norfolk is Flying South

27 May

The Duke of Norfolk

Adam Thomas Howard is the Duke of Norfolk; well, at least that is what his moniker suggests. Although one of the main reasons behind the name was to distinguish himself from the many other Adam Howards in the world, the name, which he has carried since the summer of 2010, is indicative of a sprawling sound that features the authority and flair of British royalty. Some might take a quick listen to Howard’s crunchy acoustic guitar and his distinct southern drawl and consider his title somewhat ironic, but his full sound suggests otherwise. The name catches your attention and Howard’s distinct folk rhythms pull you in.

The Duke of Norfolk is no stranger to album releases and live shows. He released his debut under Adam Howard – Shadows and Shapes – in 2009, and since then has released several EPs and his debut full-length in February of this year under The Duke of Norfolk. Today I have for you a track off of the new album called “The South.”

From the outset the sound is engaging. The soft acoustic lay comfortably over drawn-out strings – much like John Cale’s stylings with the Velvet Underground. The music is uplifting and varied. The strumming is distinctive, and it matches the Duke of Norfolk’s eclectic Conor Oberst-like vocal. The song moves with a fantastic energy and the delightful strings and concluding vocal harmony bring it home to its country/folk roots. Add the Duke of Norfolk to a short list of excellent modern folk musicians.

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The Recovery Blues – Dave Powell and the Lonely Gales

18 May

Dave Powell and the Lonely Gales

I am typing this with one hand. That is the major reason why I have not posted in a week. Shoulder surgery has left my left arm unavailable for use. One-handed typing is cumbersome! That being said, I plan on trying to post as often as I am able despite this temporary disability. For now, I am encountering the recovery blues.

Dave Powell, a wayworn blues musician from the swamplands for Louisiana, is part of the true blues movement among young musicians, and his most recent EP Recovery Blues is a 5-track EP that “catalogues his descent into substance abuse and depression, and the ragged road he trudged back home to health and happiness.” (http://noisetrade.com/davepowell). 

I apologize for the blurriness of the video, but just listen to this fast-paced blues ditty. Powell features a rich vocal that is time-tested, gritty, and passionate. The guitars have a voice of their own and complement Powell’s croon effectively. The swinging rhythm is toe-tapping goodness. A great song and EP to listen to when you are stuck on the couch longing to move!

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The International Saints of Valory

5 May

The Saints of Valory

 

Saints of Valory traverse a wide range of international influences and this is quite apt because the band’s music has rapidly disseminated to an eager international audience that has been consuming its upbeat alternative rock since the release  of its incipient EP The Bright Lights in November 2010. Formed in Brazil in 2008, Saints of Valory is the product of a childhood friendship between Gavin Jasper (lead vocals/bass) and Godfrey Thomson (guitar/vocals), who pair awesome names with serious musical talent. Gerard Labou, a French drummer, was brought in by Thomson, and, craving a space to rehearse, the band of three contacted a well-travelled friend named Stephen Buckle, the band’s current keyboardist/vocalist, who had a small studio in his home in Texas, and relocated the operation to the Lone Star state. 

After the release of its second EP in 2012, the band was recognized by Billboard as one of the Top Unsigned Artists in 2012, and it was quickly snatched up by Atlantic Records, where it released its label debut, Possibilities, last summer. The music has spread like wildfire. As I write this post, the band is currently touring the U.S. with Eric Hutchinson (coming to NY on May 19 at Irving Plaza), and it should come to no surprise that it is gaining new fans everywhere it goes. Good music is good music, and people recognize it quickly. Saints of Valory plays excellent tunes, and if you don’t believe me click play on the embedded videos below.

“Kids” begins with a drowned guitar and heavy percussion that saturate the listener in a full array of sound immediately. The vocal carries over the instrumental effortlessly. It is strong and matches the instrumental like macaroni goes with cheese. A full-bodied harmony introduces a neat riff. The rhythm calls out to bands like Airborne Toxic Event and Imagine Dragons. Saints of Valory’s harmony, though, is unique. It is almost choral – kind of like Bastille but less chanty – and it just bursts into a killer sing-along style that the listener cannot help but get into.

“Long Time Coming” has a cool, American Authors feel. The rhythm is infectious. This is perhaps the strongest component of Saints of Valory’s music – the rhythm. It’s toe-tapping, head-nodding, get on your feet and join the chorus, type of music. It is no surprise that the band has garnered a large collection of diverse music fans. The music is fun, exciting, and effervescent. It is just excellent alternative rock, and I cannot wait to witness the successful progression and growth of this band. You can track it to by visiting the band’s pages.

Website – Facebook – Twitter

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Morning Harmony – Hannah and Maggie

28 Apr

Hannah & Maggie

The Everly Brothers, Simon and Garfunkel, Peter and Gordon, and the Indigo Girls – All duos who effortlessly blended melodious vocals with upbeat instrumentation to create music still eagerly consumed today. What is it about good musical duos that is so attractive to the ears? One might say simply that good music is good music, but I believe it goes a bit further than that. Musical duos share a unique quality that other bands lack. Because of the limited power in numbers (2), paired musicians must completely rely on their partners for creative support. Thus, a symbiotic relationship develops that is evidenced in the music by the distinct vocalizations and the elegant use of melody. That said, there are not many musicians who can successfully fulfill the qualities of a successful music pair. The bands listed above are masters of the craft. Hannah & Maggie, a duo marked by strong harmonies and effervescent strings, is creeping up towards mastery.

An acoustic folk duo, Hannah & Maggie are a dulcet amalgamation of tasteful arrangements and passionate, hard-line folk power performances, an eccentric mix of The Weepies and Mumford and Sons. It is this diverse style that truly sets the duo apart. Some folk groups are easily pigeon-holed into one specific style of the variegated folk genre, but clearly Hannah & Maggie do not have to worry about this limiting specification.

In one word, the duo is refreshing. Each song represents a story and the tremendous harmonies fit like puzzle pieces in each song. Let’s take a listen to two songs off Hannah & Maggie’s latest release In The Company of Strangers, which came out this past February.

“Morning Star” is of the Weepies variety, and it plays even more to this comparison because Hannah & Maggie create a toe-tapping, easy to sing-along to folk piece. The song moves like a tandem bike on a sticky summer day. It may be impossible to listen to this song and not smile. I challenge you to do this. This is the definition of folk easy listening – just a delicate piece that waves in the wind.

“The Final Straw” is grittier. The guitar is choppier and the country whine is well-placed. The vocals are still competent and strong. For a New York duo, Hannah & Maggie sure do invoke a southern muse in this piece and do it as if they were natives. It’s fun. It’s exciting. It gets you moving. What else can you ask for?

You can check out more about Hannah & Maggie at their website, Facebook, and Twitter.

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