Adena Atkins - New Single "As The World Falls Down".

I featured singer/songwriter Adena Atkins here a couple of years ago, when this Seattle based artist debuted her four track EP "The Slowest Curve". I enthused at the time that Adena Atkins was a rare artist with an impeccable ethic - one who hand crafts her music with great care and attention - and her intoxicating blend of lyricism, music and artistry was something I was eager to hear more of. 

Well, it's been a little while - only because Adena has spent the best part of the past year working on a new music project that has expanded from an EP to a yet to be released LP - but her diligence is now bearing fruit. Working between Seattle and Las Vegas, Atkins has collaborated with acclaimed music producer Angelov while recruiting some exquisite musical talent to bring her artistic and musical vision to life. Adena has just released a brand new single - a magical reworking of a David Bowie classic "As The World Falls Down" through Istar Records.

Featuring Maria Alexieva and Caleb Kelly on backing vocals and Ryan Kingsley on sitar, "As The World Falls Down" is a sumptuous recording which Adena Atkins re-imagines and makes her own. Imbuing the song with a distinctly eastern feel, Adena's uplifting vocals are rich and polished and the instrumentals within the recording offer something akin to an aural feast. The musical production of the single and album has been enhanced by Adena's collaboration with esteemed producer Angelov, whose rich background in both classical and popular music has lent a quality to the project that makes it stand proudly forward. Adena herself recalled to me this past week that Angelov's contribution has been invaluable as he shared a similar artistic vision for the project which aligned perfectly with Adena's own. It made the journey for both of them just that much more special.

To coincide with the release of the single, Adena has recruited some brilliant artistic talent to package the single and the artist herself and is worth exploration on its own.  Adena Atkins herself painted the sumptuous costume, backdrop and the lettering seen in the cover art - a homage, Atkins says, to a personal hero in Gustav Klimt. Additional graphic design was contributed by Andrew Ries, while Jady of Steamtropolis crafted Adena's costume and styled her hair. The end result has been captured for posterity by celebrated Seattle based photographer Debora Spencer.

"As The World Falls Down" showcases an artist of pure integrity and offers a preview of what will be a beautiful full length recording to savor. 

Download the "As The World Falls Down" from iTunes.

Download "As The World Falls Down" from Google Play. 

Connect with Adena Atkins here. 

Tweet with Adena Atkins here.

DFA. 

Swear & Shake Gearing Up.

I have previously described New York folk rock outfit Swear & Shake as quite possibly the most beautiful band I've ever heard. I have followed them loyally ever since their debut release "Extended Play" (2011) and their Kick-starter backed long player "Maple Ridge" (2012).

This year will see the release of their much anticipated follow up album "Ain't That Lovin" and it promises to kick up their sound a considerable notch - as is clear from these two music videos for their latest singles 'Fire' and 'Brother'.

Check out more from Swear & Shake at http://www.swearandshake.com

DFA.

Kick Starting Damaged

I first discovered New York comedian and writer Liz Miele through the successful web series Apartment C3 in which she paired with room mates - photographer Chris Vongsawat, fellow comedian Carmen Lynch and Liz' diva cat Pasta to deliver a hilarious Seinfeld-esque weekly video short that followed the minutiae of their lives in the apartment.

Apartment C3 quickly became a staple for me and I was always pleased to see a new episode pop up in my feed. I blogged about the series last year and remarked at the time that it reminded me of the satirical cartoons my grandfather used to read in the newspaper and always laughed heartily with. 

As the demands of the individual players in Apartment C3 rendered the series non-viable, I remained a dedicated fan of each of the players in their singular pursuits and have been really touched that each of them welcomed my fandom and have stayed in touch with me.

I knew that Liz Miele was a dedicated writer in addition to her stand up and acting career and she had hinted to me some months ago that she was working on a project that she had high hopes for. 

I should at this point give a little back grounder on Liz herself.

Liz Miele  is also a Brooklyn based stand-up comic who’s been on the circuit in her home country at - now get this - aged 16! Liz has been profiled in The New Yorker, New York Times, New York Times magazine and New Jersey Monthly. Her stand-up - which combines a cooky and high watt energy with astute and whimsical observation - has also been featured at Live at Gotham and Comedy Central no less. In Apartment C3, Liz shined as the kind of glue that held it all together - the eternal optimist, although there were occasions where she could unleash a Jekyll and Hyde slap down when it was called for. 

When she's not performing on stage, Liz likes running - a lot - and she regularly competes in the Marine Corps Marathon in Washington DC with her Dad. According to Liz, she speaks three phrases in French.

So, I was hugely excited a couple of weeks ago when Liz announced via her social media platform that she was seeking backing via Kickstarter for the project she had hinted at months ago.

The project is Damaged and it is described as a weekly animated web series about broken teenaged robots that are adopted by humans. The two main characters are Emily and TJ, robots that were given up after they didn't work at their respective factories and are being put through the public school system by their adoptive human parents, Rebecca and Richard. Oh and Emily has a cat, Humphrey, who's a Hitler cat, that hates her.

Liz has conceived, created and written the series and has brought in the significant talents of character artists and animators Adam Record, Ben Luce and Grant Lindahl to give life and visual interpretation to Liz' vision. 

The voice talent Liz has recruited for the series is a who's who of New York's finest comedians and actors including Liz herself, Jermaine Fowler (In Living Color, College Humor), Dean Edwards (SNL, Late Late show with Craig Ferguson, Last Call with Carson Daly), Ted Alexandro (Comedy Central, Late Show with David Letterman), Carmen Lynch (Comedy Central, Late Show with David Letterman, Last Comic Standing), RG Daniels (MTV), Emily Miele (Somethin' Jazz Club), W. Tre Davis (seen off Broadway), Adrienne Iapalucci (Last Comic Standing), Corey Reppond (Great comic and writer in NYC), Joe Machi (Late Night with Jimmy Fallon), TJ Del Reno (voice over artist extraordinairre).

As with any Kickstarter, the viability of the project depends on the interest that can be created and the subsequent donations that are made. And donors to the Kickstarter immediately put themselves in line for some cool incentives for coming on board with the project. 

At the time of writing, the Damaged Kickstarter has already achieved it's minimum required amount to ensure the viability of the project. However, any additional funding to it will enable Liz and her team to deliver a product of much higher quality and quantity going forward. Given the already considerable talents of Liz herself and the artists and voice talent she has recruited, I can vouch for this project setting a new benchmark in what independent artists can achieve. 

Donate to the Damaged Kickstarter Today.

DFA.

Bringing Chaos To Order - Conversations with Meg Eichmann

This past Saturday, I attended the South Australian Writers Centre Summer Book Fair at the Atrium in Rundle Street, Adelaide. It was a great event and a great opportunity to showcase "Gifts of the Peramangk" as well as meet some wonderful people. And one person in particular who kinda blew me away was up and coming South Australian author Meg Eichmann.

At just 16, Meg has already packed a considerable amount into her young life that has included overseas travel, schooling in some diverse and varied places and of course writing, which she has an untold passion for. Like me, Meg was present at the Summer Book Fair to promote her debut novel "The Order's Experiments" which caught my eye right away and made an impression - not only for what it promises as a story - but for the story behind the story. This writer's journey towards publication is worthy of telling in and of itself.

But let's start with the guff on "The Order's Experiments" which is a fascinating blend of sci-fi, urban dystopia and chase thriller. 

Kyra and Fallen have strange pasts. At six years old Fallen fled from his unconventional home to the streets. Kyra, born to an underworld movement known as the Order, ran away when she was eight to be free of it. Both live in the city as street kids, living as strays for years, repressing their pasts as they try to survive, but no one can run forever. When the Order persuades Fallen to join them Kyra, in debt to Fallen feels compelled to return as well and both of them start the long journey back into their memories.

Together they are made to delve into what was their past; face the harsh realities of the underground and find a way to help each other face their childhood demons. While training themselves into heartless killers their only hope is to reconcile their lives in time to save their future.

The Order's Experiments is written in a voice that is at once contemporary but it possesses a tension and a maturity that is testament to Meg's skill as a story teller. The dual protagonists in Kyra and Fallen engage the reader and invite you to accompany them on what is at times a harrowing psychological journey. Their journey is visceral and you feel it acutely. 

As mentioned earlier, Meg sat down to write the novel back in 2009 as a 13 year old. Juggling the demands of school and a young life in general is considerable enough but in talking with Meg she recalled to me that the initial draft took her about a year to write. Once it was completed however, she didn't know what to do with it, how to find a publisher or an editor for that matter. 

I then signed up with Xlibris in 2011, a self-publishing agency where you pay them to print and make the book available, however I still had to edit it myself. So I spent around six months editing and cleaning up the book with the help of friends and family until it was finished and I published halfway through this year. It was such a slow process and I was never sure what moment were the ones to celebrate. Certainly, the moment I finished the book, unedited but finished, years before was a good one. Finishing the editing too was fantastic and a huge relief. Now, all that remains is to see how the book fairs in the market place.

The Order's Experiments greatest strengths are its characters. They are vividly drawn and their motivations are real and compelling. I asked Meg how much of herself is invested in these remarkable characters.

In Kyra, I tried to avoid making her too much like myself, but I very much wanted to use aspects of myself that I hadn't explored much to build her, and through that she evolved into a person of her own. She takes up aspects of humanity that can be seen as bad, like a great need and love of power and strength, but crafts them into tools for her own usage. Through her and Fallen, I've taken traits that might often be associated with villains, because of our own perceptions of the wrong in these traits, and explored them as survival tools, kept in check by the characters. 

My main male character for instance, Sorric Fallen, has an extremely cold and unsympathetic temperament, which he uses to survive but still has a moral code to keep himself in check. He is attracted to the humanity in Kyra, and recognizes that they have a similar understanding about these negative aspects of themselves, that they were all they had to keep themselves alive. 

Through the book, I wanted to use it as a tool to question our common day moral beliefs and explore the changing meanings of right and wrong.  

Meg Eichmann was born in Elizabeth, South Australia in May 1995. After moving to New South Wales, where she spent seven of her schooling years, her passion for writing was first sparked. She moved back to South Australia with her family in 2010 where she currently resides and attends high school in the city. Aside from writing, Meg enjoys archery and bush walking. 

Meg has also travelled extensively, spending time in Eastern Europe where she volunteered at an orphanage in Romania. This experience in particular had a profound effect and has shaped her conscience.

My Romanian experience was very much a journey of self discovery. I wanted to see what I was capable of in travelling and volunteering and working with children, because it really is very hard work. 

Romania itself was wonderful, the culture and the landscape, and the way the orphanage was run I thought was fantastic and I learned a lot from them. They had a very open, community setting and it seemed to work well for the children. I with my elder sister worked with the younger children and in particular two toddlers for twelve hours a day. We stayed inside and tried to keep them entertained and after midday the rest of the kids would come home and were wanting attention too. 

I am really glad I did it. The two toddlers, Alex and Maria I will remember for the rest of my life, Alex in particular I looked after. We think he might have been autistic, as he seemed really intelligent but didn't like being touched, but I found that if I held him as though my arms were a swing - that cheered him up no end, and I grew really fond of him. 

But I have to add, other parts of that trip included the freezing cold, sorting through donations with numb fingers and colds, and a lot of stress. However we also had a fantastic time in Romanian Castles, and trips out to the forest with some kids. I'm really glad I did it.

Meg's priority going forward is to complete her secondary education in 2013 after which she'll explore university - but it is writing and travel, with volunteering included that Meg sees as her priority.

The Order's Experiments is available now.

Purchase The Order's Experiments from Xlibris Publishing

Purchase The Order's Experiments from Amazon

Purchase The Order's Experiments from Bookworld Australia 

Purchase The Order's Experiments from Barnes and Noble 

Connect with Meg at her Official Site here

Facebook Meg here

Meg Eichmann at the SA Writers Centre here

DFA.

Baiyu - There Need Be No Other Title.

What is it about music that draws us in? Is it the artist? Their talent? Their voice? Their musical ability?

And why is it that we are sometimes drawn to musical styles that we would not normally identify with?

I'll admit to not normally listening to the music of the club. House music, trance, hip-hop, electronic funk...you get where I'm at? Look, it's not that I really, really dislike it. It's just more a case of it not being a genre that I normally inhabit. If it comes on the radio, I'm usually switching over or switching off. And let's face it - I can't dance, I'm the whitest white man on the planet and you would never find me at the club gettin' it on, on the dance floor...per se. 

Yet, there are occasions where I will abandon myself and my acoustic roots and surrender to the most urban of urban beats. And it is usually met with a scratching of heads from my family and wider circle of friends. 

Perfect example - when I recently download and first clicked on the play button for HUNTER, a free offering by American  singer/song writer Baiyu, I found myself very quickly addicted. This is an album that sits right at the core of the club experience - a highly polished, thumping recording, featuring 13 tracks of unabashed beats that would set the club on fire. I'm listening to it last week and I'm digging it. I'm totally digging it.

The tracks, a combination of hard electro-pop fused with RandB are impeccably structured, with top shelf production values that make use of the best electronic wizardry that, quite frankly, shits all over anything that Lady Gaga or Katy Perry has to offer. They are satisfyingly loud and they are sensually layered. Baiyu makes use of her vocals as an instrument and gives crisp harmonics to the songs that, from an aural standpoint, are as addictive as fuck. The title track "Hunter" is a perfect example of this. Likewise "Laws Of Attraction" boasts a powerful lyrical melody throughout that marries effortlessly with the primal urban beats and slick bass and keys to deliver a powerful and sexual punch. 

But there is variation in the playlist too. It doesn't just stick to the pure dance tracks but offers more ballad like compositions that allow for listening rather than participation (ie. kicking back and listening rather than shaking your ass on the dance floor).

There is something deeper in this music that is undeniable. They are tracks that are deceptively well crafted, giving them a story and an arc that means much more than the average run of the mill pop tunes. "Lost In Lisbon" is one such track that fuses sexuality, killer lyrics with charged beats to deliver a composition that bristles with energy and style. And there's an experimental side to the tracks too, whose focus is simply on the aural experience rather than dance or ballad. "Mind Freak" is one where Baiyu's voice pairs beautiful with the keys in a sort of Vangelis-esque kind of composition that has serious imagery conjuring abilities attached to it. I, personally, was having a whole kind of, Blade Runner, thing happening on my first listen. The second track of note is "White Dove" which is a track engineered in reverse, but possesses a seductive beauty that has me coming back to it time and time again. 

Man, this album is a pleasure to listen to. I recently declared it on Twitter as #Aural #Sex. A declaration that caught the attention of Baiyu herself - and she was good with it to. My serioso has no idea of course why I would be listening to her. It is my guilty pleasure. 

So who is Baiyu. 

Baiyu Chen is a Chinese-American singer/songwriter who has garnered an increasingly visible profile in her adoptive U.S. and who has developed a strong pedigree as a artist of substance and style since she first appeared on the scene States-side in 2010. As a model and actress, Baiyu has contributed to a number of indie film projects, the most notable of which was the 2012 release "The Illuminators: Division" in which she has a producer credit. She has turned discs as a VJ on MTVu's "The Freshman" and she is currently competing in the latest incarnation of TV talent show on CW's "The Next".

Baiyu has also developed a profile as a passionate humanitarian and in 2011, decided to donate all of the profits from her 2nd EP "B-side" to the relief effort in Japan following the earthquake and tsunami there.

As I explore more of Baiyu's music, it is becoming clearer to me just what it is about her that so attracts me to her music. There is a work ethic there that shows me that she is a dedicated artist and technician but there is also raw talent. A YouTube music video titled "Together" shows Baiyu in stripped back mode, performing with just a guitarist and herself and she delivers a performance that is intimate and beautiful. She is, in a word, the entire package.

Connect with Baiyu at her official site here.

Download Baiyu's "Hunter" here.

Interact with Baiyu here.

DFA.

Coming this October.

The Slowest Curve/Adena Atkins - There Need Be No Other Title.

I love it when I discover music that has been crafted rather than simply produced. Music as an art form has long been underestimated. This is especially true today when you consider the kind of music that occupies the mainstream. It is bereft of artistry. It resembles an item in an Ikea catalog. It is soulless. 

So when you find examples of music that have been sculpted with real care and honesty, they become something to treasure - something as tactile and tangible as art on a canvas, in a piece of clay, or a surface metal. They live and breath.

Seattle based singer/song writer Adena Atkins is a discovery I made this past week that proves my maxim that there is definitely artistry in music and, in her own music, there is much to experience on many levels. It involves all the senses.


I have arrived at Adena Atkins music through her début EP, The Slowest Curve. It is a recording that, I'll admit, caught me off guard and it took me a couple of listens to get my head around what it was I was listening to. But, right from the opening refrains of the first track, there was a tangible "something" that hooked me and before too long, I was addicted.

I'm gonna toss another of my esoteric side notes in here and say that I was reminded, a little, of David Gilmour's pairing with British Trance outfit The Orb for the 2011 Metallic Spheres album. Both compositions are highly experimental in their execution and dance with a thematic under-current to drive the music forward. 


On The Slowest Curve, Atkins and her producer partner, Jay Pinto, craft - from the ground up - four tracks which have the thematics of the four seasons at their centre. Each track is set in front of a window in the morning and the listener is invited to "see" what the artist sees through the glass. Atkins describes parallels with the impressionist work of painter Claude Monet, whose repetitive compositions highlighted variety in light and colour.

Appropriately, the album begins with a track entitled "Glass" and it immediately challenges the listener with an off-beat signature, reminiscent of Phil Collins "In The Air Tonight". There is a sensuality within the track as it depicts the voice of two lovers during the autumn. It speaks of trepidation, of fragility, of wanting to surrender yet hesitating - akin to the leaves falling from the tree. "End Of Story" moves into a darker, more cynical phase as winter descends upon the lovers and we observe conflict within them - a disconnect. It is deceptive here because the music itself has seductive energy to it. Transitioning into spring, "April Rain", is a subtly uplifting piece as the darkness of  the winter dissipates. It hints at the passing of a significant amount of time between the lovers, yet there is a sense of rediscovery in each other. Rounding out the recording is "Hot Gray Morning" and here we find the voice is singular now, reflective as she sits by a Boston window - looking out and reflecting on having left her home. The song has a languid, gospel feel to it. As the listener, you drift on its back and it concludes quietly, with warmth and absolution.

In all of Atkins tracks, there is no lyrical repetition. Atkins herself explains that they follow a poetic structure, showing concern for small particulars such as mallow, stained glass, pigeons, and creeks. These might seem overly random and of little consequence within the wider context of the pieces, but they are in fact, essential ingredients. Nothing is added, either lyrically or musically, that should not be there.

At the core of the artist is her exquisite voice which Atkins has honed over many years of performance. Her approach to song is from the discipline of soprano but Atkins has extended herself immensely, taking her voice farther and in varied directions from classical and opera,  to jazz, atmospheric and even pop. Thus, she can occupy different aural spaces, centering her vocals there and owning that space effortlessly. 

As a song writer, Atkins takes her astute skill of observation and constructs lyrical poetry with song in mind, but the lyrics stand on their own terms as a beautiful language that are at home on the page without music as they are within the music she weaves for them. 


Musically, Atkins is at home with experimentation, infusing her sound with heavy keyboards, digital percussion a la Peter Gabriel and a side of bass. She pairs these traditional elements with a variety of other sounds - both organic and inorganic - including a hurdy-gurdy, typewriter, running water, bassoon, a creaking boat, bells, vocoder, a string quartet, and even a gong. In isolation, they are abstract and, seemingly, without meaning. As part of Atkins whole - they are everything.


Adena Atkins has entered my catalogue and now occupies a special place where atmosphere and feeling within music run freeely. She has challenged me to appreciate a truly artisan style of music and she has captured me. 


I surrender willingly.


DFA.


Visit Adena and Purchase Her Music here

Friend-up with Adena here

Tweet with Adena here

Near Infinite Possibility - There Need Be No Other Title.

My exploration of superb indepedent music has continued unabated over the past few months and I was excited to discover yet another singer/song writer to add to my 'There Need Be No Other Title' series. 

Sarah Fimm is an American song-smith and lyricist who has been around the scene since 2001 producing an increasingly varied and impressive body of work. Her music has found wide appeal despite skirting the edges of the mainstream in terms of exposure, but in this day and age of quality indie artists, this is most certainly a plus factor. I'll admit to having arrived at Sarah Fimm's work quite last in the piece, through her free EP release 'Near Infinite Possibility', which she has shared generously through the Frostwire network. This EP is essentially a shortened version of her latest studio release of the same name and I must say it has quickly risen to the top of my preferred playlist.

Sarah Fimm has been described as a dark, chaotic mixture of rock and pop with alternative influences. These characteristics are clearly on display in the 5 track EP. Her sound is colored with a smoky melodic rock fused with a euro-electronic foundation. It has been said of Sarahs previous work that it tends towards a sharply electronic focus with her voice lending the only human element to her music. If that is the case, then 'Near Infinite Possibility' marks a somewhat stark departure from what has come before.

Across the 5 tracks of this EP, gutsy guitar riffs are paired seamlessy with polished vocal harmonies on tracks like 'Soul Let Swim' and 'Yellow' while vocally, Fimm presents an ability to range from the hard edges of her heavier rock compositions to her uplifting and quite delicate acoustic numbers such as 'Sing'. I was initially reminded of Evanescence's Amy Lee when listening to the opening track of 'Near Infinite Possibility' but, whereas Lee seems limited to the overtly dark and brooding trademark of the Evanescence brand, Fimm displays much more versatility in her vocal style. There shades of Suzi deMarchi as well - an attractive malevolence that is best exemplified on the track 'Invisible Satellites'. Fimm moves her voice really nicely within the harmonies of her backing vocalists and she can carry it deftly on her own. It is a strong and feminine voice.

As a lyricist, Fimm has penned songs on the EP that suggest a dark introspection, depression and isolation but there are hints of hope there too, of love and standing tall. Fimm has stepped outside of her comfort zone here in order to showcase her ability to perform, stylistically quite different compositions. She succeeds amply.

Sarah's music has been featured in some eclectic corners of the media landscape. She has paired with the likes of Iggy Pop, Peter Murphy (of Bauhaus) and in 2008 she supported Canadian outfit Delirium.Songs from both her 2001 debut album Cocooned and her 2002 follow up A Perfect Dream have appeared extensively in MTV's Real World and Road Rules series, Miramax Productions' Comic Book: The Movie (directed by Mark Hamill), the feature documentary A Space for Peace and the Lifetime television series 1-800-Missing.

One of the most interesting projects Sarah has helmed is the Karma Phala Project. Released in October 2010, Karma Phala (or "fruits of action), is a combined music and art project that showcases Sarah's talents in depth. The project comprises 31 music tracks and 4 albums of artworks and photographs composed and compiled by Sarah herself. She is distributing freely to those who request it. It is an important body of work that typifies the ingenuity and  passion of artists who are not restrained by commercial shackles and it really is something quite beautiful.

The end result of my discovery of Sarah Fimm is that I have already sought out more of her work. She is an artist of particular beauty and integrity and she represents the kind of quality that is so lacking in the vacuous wasteland of mainstream music today. I totally encourage you to spend some time getting to know her for yourself.

DFA.

Goodreads Book Giveaway

The Hambledown Dream

by Dean Mayes

Giveaway ends November 17, 2011.
See the giveaway details at Goodreads.

Enter to win

Train Wreck In Sarasota - There Need Be No Other Title.

Continuing on my journey of musical discovery, this week I'd like to share with you the music of Rob McCann whose acoustic project "Trainwreck in Sarasota" is turning heads - and ears - in all the right ways.


McCann's newly released EP "The Narrow Escape" has just landed through McCann's label Basement Session Records as a follow up to the 2010 release "Something To Call Your Own" and both releases herald a unique take on the trident of singer/songwriter/guitarist that is all at once refreshing and familiar but never stagnant. So it's worthy to explore both pieces as a way of showcasing McCann in his entirety.   


Upon first listen to "The Narrow Escape" I was greeted with the most satisfying of acoustics and I imagined the performer having set himself in some sort of disused apartment building or warehouse with high ceilings, exposed double brick walls and solid timber floors - tall windows along one side, letting in fractured light through dusty glass. Such environments lend themselves to a raw and organic sound that takes you into them - they are tactile and sensual - something that can oft be missed from the crispness of the studio. I often talk about good music's ability to evoke vivid imagery and Trainwreck in Sarasota achieves this handsomely.

Cover art for "The Narrow Escape" (2011 Basement Session Records).

McCann's playing is intricate and complex and by this I mean he doesn't simply stick to safe chord progressions nor labor on one particular rhythm. His instrumental pieces are in and of themselves a dance where the guitar itself is the vocalist and he achieves an almost classical flourish to what is otherwise indie/experimental folk and blues. This is what impresses me most about the performances on both releases - though I tend to favor "The Narrow Escape's" depth of musicality, which is merely a personal preference and in no way diminishes "Something To Call Your Own. As an artist - be it a musical or a literary one - we tend to pride ourselves on our first productions.  


Trainwreck in Sarasota' songs are lyrically appealing and McCann is a songwriter and lyricist of considerable talent. His songs on both releases range through the territory of deep emotional reflection, dealing with such abstracts as depression, substance abuse, fear and loathing as well as soul searching, love and absolution. As vocalist, McCann has a range and a rawness that suits the folk/blues sound of his guitar. It is honest and passionate, reflective and melodious. Most important of all - it is unquestionably individual, which is so refreshing to find in among the dearth of manufactured music that has swamped the mainstream in recent times.

Trainwreck in Sarasota's Rob McCann.

I don't like to compare musicians with one another because I think it can sometimes be unhelpful but McCann himself does cite as musical influences the likes of The Decemberists, Jeff Martin, Hawksley Workman and The Weepies. I myself, was reminded a little of Colin Hay, Chris Whitley and even Seasick Steve. The quality of Trainwreck in Sarasota's sound, combined with McCann's vocal presence, song writing smarts and guitarmanship make him worthy of being mentioned in the same breath. If there were any criticisms at all to make of Rob and his music, it would be to simply say that his sound is crying out for the addition of a session band and some additional harmonies.


"The Narrow Escape" and "Something To Call Your Own" are both available through McCann's official site and, while both recordings are free, I would encourage prospective listeners to kick in with a donation. Both works are highly deserving given the care and attention that has gone into them. 


The final word on Trainwreck in Sarasota, to me, is luminous. Go get yourself some.


DFA.

The Tunnel - Dare To Enter...

I received a tip earlier this week on a new movie release that you won't actually catch in the cinemas, but it's threatening to become an almighty blockbuster nonetheless. 

"The Tunnel", a new Australian film directed by Enzo Tedeschi and Julian Harvey, is being hailed as something akin to a revolution in movie making as it has been released onto the web entirely free and entirely legally.

The guff on the film is thus;

In 2007 the New South Wales government suddenly scrapped a plan to utilise the water in the disused underground train tunnels beneath Sydney. In 2008, chasing rumours of a government cover-up and urban legends surrounding the sudden backflip, investigative journalist Natasha Warner led a crew of four into the underground labyrinth. They went down into the tunnels looking for a story - until the story found them.

This is the film of their harrowing ordeal. With unprecedented access to the recently declassified tapes they shot in the claustrophobic subway tunnels, as well as a series of candid interviews with the survivors, we come face to face with the terrifying truth.

This never before seen footage takes us deep inside the tunnels bringing the darkness to life and capturing the raw fear that threatens to tear the crew apart, leaving each one of them fighting for their lives.

Stylistically, "The Tunnel" immediately reminds one of "The Blair Witch Project" and "Cloverfield" - even "Paranormal Activity" but the camera work is so cleverly balanced between being a part of the story as well as telling, the jerkiness of the cinematography is kept to a minimum. And unlike those aforementioned Hollywood block busters, this film goes much further emotionally. There is an unnerving tension right from the beginning, due in large part to the essentially unknown cast, who each deliver outstanding performances. It's 'interview' styled doco is paced brilliantly and you frequently experience moments of breathlesness. The underground settings are haunting in their presentation and the dark that both the characters and we, the audience, experience borders on the truly terrifying. It's a marvelous achievement and one that is significant in changing the landscape in how we watch and appreciate media.

Once I downloaded the movie and put it onto a DVD, I sat down in my lounge and enjoyed it in the punchy 6.1 splendour of my own home theater system. I had to peel myself from the ceiling by the time the end credits rolled.

Distracted Media was established in 2010 by Tedeschi and Harvey in order to create exciting projects for new media such as the web. After years of working on various projects, the pair came together to collaborate on their ideas and give birth to a cutting edge Australian production company.

"The Tunnel" is their first feature film, produced under "The 135K Project". The project was founded on the belief that if we stop fighting the peer to peer networks, they could become the biggest revolution we've ever witnessed in the way we share entertainment and information.

After years of being frustrated by what they saw as the movie industry's short-sighted and conventional outlook towards the online community, they decided to act and actively change the landscape upon which projects like "The Tunnel" are given life.

And they are capturing the attention of some heavy hitters in the industry who, it would seem, are now scrambling to catch up with this innovative duo and their exceptionally good film.

Seeing the film for yourself is simply a click away and all it requires of you is perhaps the motivation to spread the word about the project or even donate to their fledgling outfit.

"The Tunnel" is a totally mind blowing experience which will not disappoint. 

DFA.