Leadheart Deadbird "72"

First off, let me get a few apologies out of the way. First, my apologies to the readers of my blog (thank you) and Joshua Coberly and Chris Coe (Leadheart Deadbird) for how long it took me to write this review (just over 2 months,) a lot has been going on in my life and I struggled to find time and motivation to write this review. That is in no way a judgment on this album (which will become clear) or my feelings towards reviews, it has just been a crazy time. Secondly, let me apologize for the length of this review, it is part of the reason it took me so damn long to write, I couldn't cut myself off from rambling (minus 1 huge instance) and I realize I am making the review longer with this but I felt it needed to be said, that is all for the apologies and now I present the real introduction to this review.

Sometimes you look at an album cover and think to yourself, this looks cool, but then it has nothing at all to do with the album, other times the album and the cover work together perfectly, "72" by Leadheart Deadbird is an example of the latter. A little dark, somewhat disturbing, but beautiful and interesting. That is how I would describe this album, with the heavy use of acoustic guitars and often very serious topics (while mixing in some fun along the way) it is very clear that Leadheart Deadbird know what kind of music they want to make and they do it very well, but since this review is so damn long I shall cut the intro a bit, you want to know what each track is like, so here it goes.

"Chilltro (The Intro Track of Chill)" kicks off the album with a brief discussion on numerology including a reference to "Hitchhiker's Guide to the Galaxy." The minimalistic beat features some drums and a haunting steel guitar sound. Chris Coe's rapid fire delivery includes some incredible lines you will miss if you are not paying close attention, including "studied symbols and syllables to dispel the dreary and dismal. Still I wearily whistle on long walks. I'm just a point dexter coining texts intended to mimic bomb drops," in reality the whole first verse of Coe's is astounding when you study the lyrics, but without them you may lose track if you don't listen closely. Instead of using a hook or a verse for the track, the transition to Coberly is done by him almost acting as a hype man for Coe's last line, a nice way around the standard procedures. Coberly keeps up the high lyrical standard but certainly has a slower more pronounced style than Coe and he ends his first verse with the great lines "why board a Gengis Khan empire with a Calligula conscious, knock the Napolean complex off it's high horse, and i've applied for the job, but i don't fit the criteria, my delirium makes sense, just not in today's trends." When looking to see what the idea of this song is you are best served to look at the title, in other words, this is your nice little introduction to the sound and lyrics and if you are lost on the lyrical content, then in all reality, you should probably just stop listening now because it doesn't get less thought provoking or abstract. But really the best way to capture this is stated by Chris Coe "Literate listeners, hesitant head-nodders, solemn apostles of Hip-Hop, we'll not stop for fodder. Gifted of vision simply from listening, so we'll cast our own." If this isn't you, then you will not enjoy this album, end of story.

Some beautiful acoustic guitar work kicks off "Lose Control" before the drums kick in and Michael Lunz sings the eerie opening lines "No pain, I'm numb from head to toe,
There's something in my veins, the way i lose control." The dream like scene is smashed as Chris Coe enters with his verse. Which is really quite cheerful, and by cheerful I mean depressing as cuss. It is, well as you would think, about losing control and "living like I couldn't care less." Luckily Joshua Coberly comes in with a much more light hearted verse "I'm a bystander, awaiting a ghost train, bathing in the laughter of absent love, a finger-smudge on guilty shades, my pillar of wisdom has cracked, crumbled, and christened, a humble beginning, sustained in mundane escapism." WAIT...that isn't more upbeat at all, what the hell. Ok so I am going of on a tangent a bit. Yes the track is rather depressing, but the imagery created by both MCs and the instrumental is incredible. I imagine the area that Rivers Cuomo use to write in...a small room, painted all black, with no sunlight, but at some wafting smoke and you have the surroundings set.

It is clear that Leadheart Deadbird knew "Lose Control" was a rather dark and dreary track, based upon the placement of "Super Average" right after it. Easily the catchiest and most upbeat track on the album, "Super Average" has a great guitar and drum driven beat that reminds me of a block party. Coberly and Coe vocals detail the story of a wide array of individuals, all who have one thing in common, they are all "super average" whether it is the guy who "'Went to college, but doesn't use his diploma, In a 9-to-5, striving to hide from being a grown-up" or that one person who "You miss him as he walks off, then the memory is drowned,'cause you love him in your space, but couldn't spot him in a crowd." The chorus is where the song becomes incredibly infectious "I'm super average, I'm s-s-s-s super average, I couldn't afford a turntable so I gotta use my mouth for this. I'm super average, I'm s-s-s-s super average, turn the jam up. I'm super average, I'm s-s-s-s super average, I couldn't afford a turntable so I gotta use my mouth for this. I'm super average, I'm s-s-s-s super average, wanna join my fan club." In case you didn't figure it out, there is of course some verbal scratching and beat boxing going on through the chorus, listen to the track once and it will be stuck in your head for a while.

"Wildfire" starts off a some nice guitar picking, before the drums and vocals come in. At this point you realize, guitar plays a heavy roll in the this album, giving it a sort of acoustic rap feel and it works very well. Now back to the track, it details a couple's argument and struggle to make it all work even if they have to face things about themselves and each other that frightens them. It really should be listened to instead of me quoting you some lines, but I will offer you the first 2 by Coberly because there is a reference to Shakespeare and I am required as a literature nerd to let you read it now "She set sail for the moon in a deflated balloon, yet she was able to move after taming the shrew."

Transitions...what are transitions. On to "The Turn Around" which follows the basic format of Nada Surf's "Popular" and Weezer's "Undone (The Sweater Song)" by using a conversation (or lecture) to introduce each verse. Now, don't think it is some formulaic song, it is just what popped into my head after the 3rd or 4th listen, probably due to the fact that I love both of those songs and are always playing in my head. Now of course, since you picture guitars being featured on the beat, they are not, instead piano and horns hold this beat together and provide a great balance between the conversations and the rapping. The concept is quite simple, offering advice to people who have heard it many many times before but refuse to listen and instead of just walking away from situations go head first and walking into more and more problems. Whether it is the guy who thinks too hard about his rep, the married couple who never trust each other, the abused women trying to find happiness, or the drug addict, all searching for things, often in the wrong way without even realizing it, what they need to do is get away from their current situation and just start over.

Coberly wastes no time on "When Da Levy Breaks," beginning his verse within 1 second of the track beginning. But for that 1 second you are hit with a great piano that continues throughout along with horns and drums providing a laid back but dark beat. The verses on the other hand, are not laid back, but are rather dark (whatever that really means.) The tracks first lines offer you a pretty good glimpse into the lyrical content, "From the boondocks to the ku klux, I let the blood drip on my paint brush, and slap it across the bandwagon's exhaust." And it isn't just Coberly who offers the gloomy (yea I said gloomy, what is your point?) lyrics, as Adam Selene (who also designed the cover) lends a verse. It is easy to see how Selene envisions much of this world "the intertwining of fates in this most desperate rat race
with a feline at the finish line ready to bite that smile off your face." Yes, maybe a bit gruesome, but it often feels very accurate, but more important, the line and verse are high quality, both with meaning and word play. Not to be outdone, Chris Coe
begins his bars with one of the best single lines I've heard in a while, "speak enigmas as plain as one Sunday service." Now maybe this line speaks so loudly to me because of all that is going on and has gone on with Bishop Eddie Long and his recent crimes and his congregation accepting him back so quickly...but that is a WHOLE different decision that shouldn't take place here.

Chris Coe stands alone on the incredible track "Scars," a spoken word piece aka poem, with no assistance from anyone, including beats. You really need to hear this track, but if for some reason you decide not to, I will go against all logic and post the entire lyrics, because it is that damn good and stands on its own as I poem or spoken word

From dogs and trees and flames and me; from pavement, rough and fast-passing, and fists with rings; from drunk-barber dad, barb-wire snags, from being stabbed; from plant and fuck-rashes and scratching at scabs- I've got scars. From the great outdoors, from behind bars, from fights with best friends and self inflicted on my arms- scars- in the form of tattoos, some worn with weather, and one from mom running over my face with a sled when i was seven;a hot-knife to the hand. a scalpeled circumcision. two stabs from a girlfriend. one of my own razor incisions.
several from bark. one from a bite. three from a half-pipe. one great big gash from a butcher knife, but its alright!
See, I rock scars in every stage- fresh to faded with age, from my skull to my toes, so I'll never forget those days, like... learning to detach your limb from a boxer, a crab, a lobster, a macaw, or an officer of the law.
Though it still ain't taught me how not to get stuck, don't ever mistake me for one who don't give a ....
Let me be candid: I'm tired of lying, trying to hide them. Besides, what better introduction for the man who shows what's deep inside him than his scars?

Kicking off with a guitar and beat boxing, "The Scrapyard" is a vision of Americana...and by that I mean, it is how Coe and Coberly see the world transforming before their eyes. The beat and vocals almost contradict themselves as the emotions elicited from each segment oppose each other, but it reminds us that what we think we see isn't always true. We may believe we are living in greatest time in history, but the closer we look the more we see the holes in our idea. There is one line that needs to be addressed, "Lately I'm comatose without the headphones." Why does it need addressed you may ask; because it is so damn true to so many music addicts out there. If you are a loyal reader of my reviews you will know right about know is when I am going to go on a rant...and you would be correct. First off, there is a big difference between people who casually listen to music and those that truly love the art of music, let us not get the two confused...wait...no, I'm going save this rant for a different post, but that is a great line that real music heads understand, I shall now step off my soap box and move on with the review.

"Pressure Cooker" begins with some solo acoustic guitar, before the drums kick in, the chords change and Coberly begins his first verse, "Loosen these Frankenstein bolts in my neck, under a time crunch," and in comparison to the mellow guitar that introduces the track that is exactly what it sounds like once everything kicks in, a crunch. This is amplified by Coberly's use of onomatopoeias to really set the stage (find the onomatopoeia I used and win the opportunity to keep on reading.) Everything comes together, almost like Frankenstein's Monster (remember Frankenstein was the doctor, not the creature,) to great one great piece of music, that while a stark contrast at first, finds its groove and flows through your ears and hits you perfectly.

In a song that seems all too familiar, "Slackadaisical" is the closest thing to a hip hop "slacker" anthem I've heard in years. Even the guitar used for the beat has a very lackadaisical sound and feel. But one thing that really separates this song is the ability of Coe and Coberly to recognize their mistakes (even if they opt not to change them.) It becomes very clear that both feel rather "Slackadaisical" as you explore their bars, this might be (with the exception of "Scars" which is on a different level) the best lyrical output on the album. Granted I may feel that way because how much I can relate to their words, but I do not think that has influenced my perception all that much. If I wear to offer you lyrics, I would have to go with the full song, and I figure at this point you have done enough reading, so listen to it and find out for yourself what I mean.

Occasionally I come across a song that I end up getting lost in, that I will put on repeat again and again to get the right feel of it and then struggle to get that feeling out of me, "We Are Not A Promise" is one of those songs. I assume some people will listen to this track and call it "emo-rap" and I can see where those people are coming from (a very narrow view of what hip hop is about.) A song about Love's Labour's Lost, about how even "special" relationships don't always last and the anguish they can cause but instead of being from the point of view of an immature young adult, this is from two grown men and they do so without being over the top emotional and sappy. The song also does something rather unique, between the first few verses, the "chorus" is a bunch of single words that describe the feelings of the artists and just as those feelings fade and grow from one to another so do the vocals, a wonderful use of volume (something that is often forgotten about IMO.)

While Chris Coe has "Scars," Joshua Coberly has his own piece of spoken word art "Negativity," which is on the same level as "Scars" and so I shall give it the same treatment; get ready for a large block quote...NOW

Breathe in the negativity, my half-empty cup runneth over,
from the non-chalant grip of my fingertips,
smolder, thine cold-hearted kinship,
hold her steady, that-a-boy, that'll be all, you're dismissed,
illegitimate, without an interest to begin with,
thoughts running rampant, soon soothed by pinprick,
I've been the victim, it's time to yank the food chain,
the smell of brimstone marks commencement of the crusade,
little boy, what're you crying for?
They've impregnated lady liberty & bailed on the child support
Follow me, and you shalt see...
whom the man you call father is.
Holding a hologram of the holocaust, it quenches him,
as death flashes, cheering on his prejudice,
beggar turned traitor, with the ace up his sleeve,
to signify his betrayal, indeed...
Thrown into this world with a bucket of dreams,
with a buck & some change, which couldn't ease my buckling knees,
my Adam's apple felt the eve of destruction,
weaving a covenant of spite, abruptly smothering sight,
to blindly prioritize this borderline hellish phase,
a fall from grace, where souls get snatched, sold, & swiped from the collection plate,
our cracked bones, hollow of marrow, arrow-piercing,
the last hope of the rare, misleading, buried teachings,
a manuscript on havoc's grip, which entrances advocates,
to infringe the copyright, then patent it in plastic packages,
your neighborhood pacifist, activist, hacking at your stem cells,
with a dire need to avenge self,
your friends dwell in the iron maiden, with an ostracizing, lobbyist fist,
place your bets on which side the body'll stick,
how provocative, the thought of an uncooperative split,
where spikes rip & hold even portions of the skeleton...

What I can say about "American Letters?" Well, it is a great example of how two MCs can pass the mic without a track losing any steam. The basic idea is trying to capture what are some of the many driving forces of today's society: mentally, physically and emotionally. But what makes me most pleased are some of the references, such as Bradley Nowell, Ken Kesey, Jack Kerouac, the Flaming Lips, and Hunter S. Thomson. The album closes with "40 Oz Outro" which is used as verbal thank you to those who helped both Coe and Coberly create this album.

10 hours later you have finished reading this review, I hope you enjoyed it. But enough about me, let's get back to the album, it is truly an engaging album and while sometimes emotionally draining (see "Scars" and "Negativity") it is a great album that does what art should do...it speaks to you, makes you examine yourself (sometimes in ways you wish it wouldn't) and throughout all of this, it remains an enjoyable experience. True, "72" won't be for everyone, if you are looking for straight boom bap or incredibly complex beats, you may not enjoy this but if you are looking for a quietly album that displays great songwriting and concepts and works together as a whole piece, then click the link below and enjoy Leadheart Deadbird's "72."

You can stream and download the album here.

Todd Clouser "A Love Electric"

As you can probably figure out by my name, I am a HUGE jazz fan (yes I know this is only the second jazz album I have reviewed) but that is mainly my fault, you have to work harder to find new (quality) jazz than hip hop, because as we all know everyone is either an MC or producer, but how many people play jazz. Now don't get me wrong there are tons of great jazz artists out there making incredible albums, but I often miss them (my fault I know.) So I was glad that I found out about Todd Clouser and his album "A Love Electric," actually scratch that, I was ecstatic. I found a jazz artist (who I hadn't heard of before) who was making quality jazz and wasn't your "traditional jazz" (won't go on giant rant about certain well known trumpet players bastardization of what is jazz and what isn't.) Add to that the diversity the band has and the ambition to show it on one album (probably making it harder to classify for those who want to put everything in their subgenres,) but enough of my introduction rambling, you want to know exactly what I mean, so here it goes.

A few gentle strums on the guitar, mixed with calm and peaceful trumpet begin "Serenity Now" before the drums kick in. Don't get me wrong this isn't a "smooth jazz" track, but it certainly is one of the more relaxed tracks on the album that is until about half way through when it really begins to breathe and the exploration truly begins, both by trumpets and by Clouser on the guitar, this explosion only lasts for a bit over a minute before falling back into the chorus of sweet rhythms.

If the middle section of "Serenity Now" was too much for you (first I feel sorry for you) then skip right over "Meet Me at the Polo Grounds," however if you want to hear some of the best fusion music I've found in recent memory then pay close attention. It begins as a duet between guitar and trumpet, but could just as easily be called a duel as the two try to out do each other in a exciting exchange, with the drums acting to keep both somewhat anchored, but don't worry they have no trouble finding an incredible electrical happy place, I automatically think of the work that Miles Davis and John McLaughlin did together on "A Tribute to Jack Johnson," and then just for fun they throw in some incredible work on the Rhodes, I seriously, cannot stop going back to this song and listening to it, once I heard this I realized the album was something pretty damn special.

Clouser and his band decide to bring the funk and bring it hard on "Curtis" (what I can only assume is a tribute to the great Curtis Mayfield, but I've been wrong before.) This time everyone decides to work together to create one of the funkiest jazz based rhythms I've heard in a while. Once again, the group switches up a song midway through, creating a totally different feel as it turns into more of a soul track before transforming back into some hard funk, which further makes captures the spirit of Mayfield.

If bluegrass and fusion came together and had a child, that child would be "Bobby White in the City." You have the Rhodes and drums creating that classic fusion sound, while the guitar and trumpets play in the upper register making it sound like some great guitar picking, a rather unusual mixture, that surprisingly works out tremendously. It is fascinating to me because it almost seems like there are varying time signatures in the song but I think it is just the speed and pitch of the guitar and trumpet it challenges you to decipher the just what is going, it really is an incredible piece that you need to check out.

On "The Habit Kick" the intro makes you feel like you're in a church with the Rhodes sounding like an organ, until everyone else joins in the song opens up. Maybe I am being persuaded by the title of the song, but it gives the sensation of a struggle for ones own self, as the instruments are at once working together to create a single sound but battling for position, some fading as others move to the forefront. At one point or another every instrument plays solo, but just as quickly more join in to add to the complexity and the intentional unbalanced sound that some how works itself out as each player find their place in the song. I cannot get over how much this track and the album is blowing me away, such a breath of fresh air and such diversity, searching for that perfect sound, pure exploration, which is how I love my instruments to sound.

Todd Clouser and the rest of the group show their ability to change up the pace dramatically on "Jimena" a track that begins by really showcasing Clouser's ability on the guitar, with muted bass, keyboards, and drums behind him, as he pour his soul into the music, it is a heart wrenching couple of minutes where you wonder what is causing such sadness. Midway through trumpets enter and the guitar becomes a bit less solemn, but not much as the two work together to express these feelings of pain or at least longing. Thoroughly impressive considering the in your face sound of previous tracks.

The band picks up the pace a bit on "Little Number" a fun rock sort of song, that you would imagine a guitarist picking up a their guitar and saying, here's a little number a created, tell me what you think. If you put someone like Jack White on vocals on this track, it would be climbing up the charts, it just has that feeling like it is a familiar song that you never heard before. Easily the most infectious track on the album.

"Border at Pachacan" begins with just Clouser on the guitar sounding like a straight ahead rock n roll track, but as the trumpet, drums, and keyboard join the track morphs into a very Latin rhythm and style. Throughout this time Clouser does not change his sound at all, but as each piece is added the sound is realized, it is a fascinating look at how the band isn't about one player but the group as a whole. Of course though, when it is time for Clouser's solo the Latin sound shines through and when the other instruments get their solo, they do not disappoint either.

Leaves falling off the trees, a gentle cool breeze, these are some of the images that come to mind when you hear "Autumn City Portrait." The major brush strokes are offered up by both trumpets first and then keyboards, with guitar and drums in providing a bit of the background and structure. The whole song has a great earthy feel to it, feeling warm and inviting, but never boring.

A reinterpretation of the classic Three Dog Night song, "One" comes next. It is always risky to do a jazz version of such a beloved song, often times they fall flat on their face, either because they try to copy it exactly like the original or deconstruct it so much that it is no longer remotely recognizable, luckily Clouser and his group toed the middle ground beautifully. Keeping the general sound and feel of the original while letting the musicians take the music places it has never been before, excellent example of how to do this correctly without pissing people off.

Easily one of the highlights of the album for me comes with "Brass Suite 1970" because of the unique sound created, especially at the beginning, it reminds me of Roscoe Mitchell's percussion cage, with a soulful electric guitar and Rhodes playing off the sound to form an incredible funky sound. Then after laying a strong foundation, Clouser takes off on his guitar while adding a bit of distortion to give it that 70s fusion feel and the Rhodes joins in to complete the picture. I am actually bouncing along to the music as I type this, it gets into your soul and moves you.

The only vocals on the album appear on "Mo City Kid" a great bluesy sounding jazz song. The vocals sound almost as if they are playing through the radio while everyone else is in your headphones, which works amazingly for such a track, when done correctly. One of the more unique features of the song is how each instrument enters for what seems like a moment or two and then disappears only to reappear again, almost like it is in a loop, keeping the listener on their toes.

To finish off the album, the group performs one of the most beautiful and powerful songs ever written, "Hallelujah," they do nothing unusual to the track, just play it rather straight ahead, and to me, it is really the only way it should be done. At no time do I find myself wishing there were lyrics (we know them) but this really lets the listener focus on the incredible melody and feeling without being influenced by any specific singers voice.

On "A Love Electric" Todd Clouser created a great album, that showcases just some of the many sounds of jazz music, he plays some wonderful ballads, Latin jazz, but what really shines to me is the band's ability to play fusion. Now recently it seems like fusion has become a dirty word in the jazz community and a style that few artists want to play (The Bad Plus being a major exception) and I do not know why this is the case (I of course have my theories that could fill a few blog entries themselves) but I am glad to see that Todd Clouser and his fellow musicians are not afraid to show us the fusion of jazz and rock reminding us of how great it can be when done correctly, as they do it here. But it isn't just the fusion, it is all the styles on the album and how each musician is given room to breathe and explore. So if you are like me and have been missing some new quality jazz, especially of the fusion variety you need to check out "A Love Electric."

You can stream and download the album here

TeV95 & Admiral Grey "Deluxe EP"

First off, yes I am a fan of Tev95, especially his instrumental albums Loop Language and Crime Loops so when I heard he had a new project I was excited. Then I found out it was not going to be hip hop and I was nervous, but realized he has some diversity, what I wasn't prepared for was an almost pop electronic sort of EP he created with Admiral Grey, entitled "Deluxe EP." Admiral Grey is Kesha with a 70s style underground voice and much more talent, meaning she can sing and write songs that will embed themselves into your brain. But how did this pair do creating an EP together, well if you keep reading you shall find out and I'm sure you want to know, so here it goes.

Tev95 kicks off "It's Good" with an infectious drum beat, topped off with some nifty synths (yea I said nifty, what is your point?) that make you feel like you're traveling into another dimension. That feeling is only enhanced once the spaced out vocals of Admiral Grey enter the equation. Granted the lyrics are nothing special on this track, but they're not meant to be (at least I assume not) this piece is all about creating the right atmosphere and her voice works perfectly with the music created by Tev95 to really transport the listener from where they are into this inter dimensional void of tripped out sound.

Picture a rocket ship taking off mixed with a great funk clap and add laser beam like synths, you now have the beat for "Work." Then add in the almost nonchalant chant of "Work" by Admiral Grey before she enters into the chorus that will not leave your head "Why you got to make me work for you, you got me working so hard for you, honey, I gotta work so hard for you." I am searching for how to describe her voice and all I can come up with is a mix between Courtney Love, Lady Gaga, and Robert Smith, it has an airy, unamused, yet tortured feel.

When listening to "Me To You" I automatically think of "Revolution No. 9" but more out there and more layered, both vocally and instrumentally. Admiral Grey's voice almost melds together with the music created by Tev95 to create a sonic pop experience that you have to hear, her voice fading from the background to the foreground throughout never letting you really grab a hold of it, its almost disorienting but in that wonderful why that electronic based music, when done correctly, has a tendency to do to the listener.

"Today I rode my bike down the street, down the street, and I rode it to this beat, to this beat, to this beat, I had somebody to meet, had to meet, had to meet, so I peddled with my feet, with my feet, to this beat" these are the beginning words to "Tap The Dub." You might be thinking, damn those are some repetitive, almost elementary lyrics, and you would be correct, but the reason they work is the instrumental being played underneath it. Tev95's beat is a laid back, chill drums and bass line, topped off with some incredible conga (I think) work and more synths that make it one of the catchiest beats you will hear anywhere, while still remaining rather far away from what a "normal" person would create, it is more of the time traveling sound this EP has displayed previously.

What pleases me most about this EP is the fact that both Tev95 and Admiral Grey stepped out of their comfort zone to create a piece of art. So often artists are afraid to try anything that is unfamiliar to them, I always find it refreshing when one takes a chance, sometimes they work sometimes they don't, luckily "Deluxe EP" works, and works very well. The vocals and instrumentals work together to form one cohesive piece of music that blends together so well yet stands apart. While I listened to this piece because I enjoy Tev95's previous work, I end up leaving a fan of both Tev95 and Admiral Grey and hope to hear more from both of them in the future.

Stream and download the EP here

Koncept & Transformer featuring Jefferson Price "Change"

Check out the video for "Changes" by Koncept & Transformer featuring Jefferson Price of their EP "More Than Meets the Eye"