Matthew Ryan has one of the most unique singing voices I’ve ever heard.  Reminiscent of Tom Waits, it’s got a throaty, guttural quality that listeners immediately respond to.  Take it or leave it, it’s what sets Ryan apart from many of the other singer/songwriters on the indie music scene these days.

And as distinct as his voice is, the lyrics and messages contained within From a Late Night High-Rise separate him from the crowd even further.  Written after two tragedies in his life (the death of a close friend and the sentencing of his brother to 30 years in prison), Ryan draws from deep inside himself to create a CD that is personal and reflective while also being accessible and universal.   

From the haunting first notes of ‘Follow the Leader’ the mood of the CD is set… dark, reflective, and somber.  As the songs progress, Ryan provides an unflinching glimpse at his struggles.  Lyrics like “I’m looking for you / I’ve been haunted / By all that I can’t have” and “And I’ll do what I must / To kill your memory” illustrate his pain.  And watch out for ‘The Complete Family’… it might just bring a tear to your eye.  Yet, no matter how personal the stories might be, they are themes we can all relate to.  We’ve all experienced loss in one form or another so Ryan’s messages are familiar.

But it’s not all gloom and doom.  In the midst of these heady thoughts are upbeat and catchy hooks that take hold.  You might tap your foot along to ‘And Never Look Back’ or rock out to ‘Misundercould.’  But don’t let the brightness of those melodies fool you; the lyrics aren’t exactly sunny. 

I waited a long time to hear this CD and love it.  Phillips' vocals paired with the harmonies and instruments of Nickel Creek make for a multi-layered, emotional CD.  I'm excited to see the group on tour in August.  Hopefully the mutual admiration will lead to at least one more CD.

It’s always interesting to see a band evolve over several years.  When I first heard Nickel Creek’s self-titled CD release in 2000, they were primarily a bluegrass band.  By 2002’s This Side, the band had grown to include more complex arrangements and vocals; they were also pushing beyond the bluegrass genre, much to the dismay of some.  But the release of Why Should the Fire Die? shows just how much they have changed in five years.  With influences ranging from jazz to pop to rock to classical, Why Should the Fire Die? overflows with lyrical and instrumental highlights that extend beyond any individual genre.

It’s obvious from the first edgy notes on ‘When in Rome,’ that this Nickel Creek is a grown-up version of the one we came to love in 2000.  Chock full of minor chords, this track uses a bass and "stomps" as percussion instruments. When Thile’s lyrics are added, the end results are captivating.  The hard-hitting ‘Best of Luck’ is yet another step away from their bluegrass background.  With Sarah Watkins providing lead vocals, the track offers a glimpse into how hard Nickel Creek can rock.

Long gone are the songs of lighthouses and foxes.  In their place are tales of heartbreak, adultery, and sadness, as evidenced by Sean Watkins on ‘Somebody More Like You,’ “I hope you meet someone your height/so you can see eye to eye/with someone as small as you.”  The theme continues on ‘Can’t Complain,’ where Thile professes, “I cheated on her with a friend of mine/there are no days when we don’t fight/but remember that I warned her and I’m a guy/so she can’t complain.”

The tales of relationships gone wrong culminate on ‘Helena,’ in which Thile sings of a guy ending an affair. Sung from the man’s perspective, the track opens with a light-hearted mandolin trying to convince the woman (Helena) that this man’s heart is breaking because he feels he can’t leave his girlfriend.  As the tempo picks up and Helena realizes that he is just trying to keep her from telling his girlfriend of the affair, she begins to walk away.  It is then that Thile yells, “Go ahead and tell her anything you want/'cause Helena, guys like me never sleep alone at night."

This is the 7th full-length album from this Swedish sensation, born out of the pain of a romantic break-up and the death of his mom.  Not surprisingly, the lyrics are pretty damn solemn.  In ‘Wild White Horses,’ Dunger pleads with his listener, “So won't you please do this/Take away my sadness/Wipe away this blues in here, take it away.”  Dunger sings these sad, sad lyrics with a passionate voice that ranges from guttural to falsetto and sets him apart from his co-horts.

While there is an underlying current of melancholy throughout, the musical styles are all over the map – from pop (‘Hunger’) to jazz (‘Slaves We’re Together) to orchestral (‘Someone New,’ ‘Harp’s Coming In’).  It’s as if you were watching snippets from 11 different art-house movies. Individually, the songs are all very well crafted and intriguing.  However, as a collection of songs, the experience is a bit disconcerting.  This can probably be explained by Dunger’s collaboration with the experimental/psych rock band, Mercury Rev (acting as his backing band on this recording) known for their innovative song arrangements and penchant for chaos, both in their music and in their band’s line-up.

It seems like Dunger is the kind of artist that other musicians love to love, and want to work with.  For the casual music fan, it takes a bit more time to fully appreciate his talent

This is high energy, dance beat infused, modern pop music from a group of musicians who seem to be enjoying themselves a great deal.  Initially, Chicago – based OK Go made their name with their song, ‘Get Over It.’  Instead of simply repeating their success, the band spent the past three years working on their sophomore effort, rejecting over 60 songs in the process.  To ensure avoiding the sophomore slump that many modern bands suffer from, the band turned to producer, Tore Johansson who worked his power pop magic with Franz Ferdinand. Love it or hate it, Johansson knows how to channel a lot of energy into a 4-minute song.

Oh No is a combination of dance rhythms with post punk guitar beats.  While the first three songs are disappointingly similar, the rest of the album offers up some refreshing diversity.  Because of strong rhythmic music, the lyrics tend to get downplayed which is unfortunate since they are just as satisfying as ones by Fountains of Wayne or Weezer.  One of the best examples is on the song ‘Maybe, This Time,’ “In the valley of intent and deed, you must have mastered this, the fragile art of a good excuse, the little things that get you to believe.”  But, the message that ‘Oh No’ leaves with the listener is just how fun modern music can be.  Do yourself a favor and watch the band’s video for their first single, ‘A Million Ways.’  I wouldn’t be too quick to challenge OK Go to a group band dance off!

Best described as "gloomy folk," sadness reigns in Patty Griffin's latest collection of songs. Introduced to her music by cover versions sung by male singers, I trusted in her songwriting abilities, but wasn't sure I'd warm to her country music background. The songs combine elements of country music and traditional spirituals - neither being typical to my liking. However, Griffin's voice has an undeniably beautiful, heart-breaking quality. And, her lyrics are thought provoking, story telling and painfully honest.

As a listener, I'm still drawn more to the more accessible, mid-tempo songs such as 'Useless Desires.'  But, I can appreciate the overtly spiritual tunes such as 'Top of the World' (fading out with a recording of her parents singing, acapella, a bit of the song, 'Impossible Dream') since they are sung with so much honesty and heart. As it was in the beginning, Griffin's lyrics are the things that stick with me the most, such as, "In the middle of the night/The world turns with all its might/A little diamond colored blue/In the middle of the night/We keep sending little kites/Until a little light gets through" from the quiet, piano-driven ballad, 'Kite Song.'

Some readers might remember the group eastmountainsouth, who released a fabulous self-titled CD a few years ago.  After the demise of that duo, Peter Bradley Adams, the male vocal of the pair, embarked on a solo career.  Following a well-received EP, Gather Up is a full-length CD that capitalizes on the acoustic sound, paired with a female voice, which first put him on the map.

On this collection, Adams turns to folky songs that speak of the joy and hope that go hand-in-hand with heartbreak and loss.  After all, is it really possible to have one without the other?   These stories are the perfect backdrop for Adams’ wispy voice and haunting keyboard accompaniment.  Bouncing between light-hearted tunes (‘One Foot Down’) and slower, more melancholy melodies (‘Little Stranger’), the compilation quickly takes on a comfortable, peaceful feel, reinforced by sparse strings and quiet harmonies.

Unfortunately for long-time fans of Adams who may have purchased his previously released EP, beware that all of the songs on that collection appear here, meaning you’re only getting four new songs.  Granted, the songs have been reworked for this offering, but they aren’t truly new.  We wish Adams had strayed a little further from his previous effort and given fans a fresh batch of songs.

Rachael Sage is a force to be reckoned with on the indie music scene.  She’s a singer, songwriter, producer, record label owner (Mpress Records), and player of instruments most people can’t even pronounce.  Coming off a win at the 2005 Independent Music Award for the Best Folk/AAA artist, she is riding high and garnering attention from critics, radio, and music lovers across the country.  But, don’t let the ‘folk’ title scare you.  On The Blistering Sun, Sage shows that she’s more than a woman with an acoustic guitar.  She has some ‘rock’ in her that she isn’t afraid to let out at the right time

Listening to The Blistering Sun is like spending a day at an amusement park.  Each song is a different ride with its own personality and feel.  While tracks like ‘Proof’ and ‘Anything Anywhere’ are like a ride on a carousel (slow and leisurely), others like ‘Alright, OK’ and ‘Wildflower’ are a trip on a roller coaster (upbeat, tempo changes, quick turns).  But whatever song is playing, there’s always a happy surprise.  Whether it’s an unexpected trumpet appearance, a brief flute section, or a cello solo, the listener never knows what’s coming next, but you can count on it being fantastic.

For Red Heart the Ticker’s duo of Robin MacArthur and Tyler Gibbons, musical collaboration seems to be pure destiny.  Both MacArthur’s and Gibbon’s formative years were spent surrounded by myriad musical styles from folk to rock to classical.  High school friends, and now betrothed, MacArthur and Gibbons moved to the wilds of Vermont to build themselves a cabin and write songs.  For The Wicked is the result of this creative time together. 

With songs titles like ‘Depression,’ ‘One Last Tear,’ and ‘Gravestone,’ it’s not altogether surprising that RHTT’s music tends toward the somber and moody end of the musical spectrum.  Not that you can’t find faster paced, hooky songs in this collection such as ‘Go-Cart Thrills’ and ‘Racing Stripe Winter.’   However, both MacArthur’s and Gibbon’s voices are finely suited to quieter, more finessed notes.  While a 14-song debut CD may seem ambitious, a couple of the tunes come in under a minute in length.  One of the most intriguing songs, ‘Slightly Under Water,’ is mainly an instrumental with just a few thoughtful lyrics used as a bridge between a bluegrass/folk tune that successfully morphs into a classic rock sound.  In fact, there are plenty of interesting elements in this collection (lyrically, sonically, atmospherically) letting the listener discover something new during each successive pass.

The Shins became a household name after the appearance on the Garden State soundtrack.  But, the cool kids knew of them long before from their two prior releases, including Chutes Too Narrow, which earned them a loyal fan base in the indie realm.  Trying to build on their new found success, the band recently released the long awaited, Wincing The Night Away, a collection of songs that are so uniquely The Shins. 

I can’t think of a better opening track for this CD than ‘Sleeping Lesson.’  What starts out as a slow tempo-ed, falsetto-laden tune, bursts into a rocking song within the first minute.  And this approach is just what you’d expect from the group and singer/songwriter James Mercer.  The lead-in is simply setting the stage for the subtle nuances to come. 

But the offering isn’t just “typical” Shins.  The group shows growth and expansion in some unusual places.  On ‘Pam Berry,’ there is hint of surf-rock that carries the tune throughout.  And one can’t overlook the hip-hop beats on 'Sea Legs,' which makes it an unforgettable addition to this collection.

Wincing is not the best The Shins have to offer.  If you’re looking for that, run out and get Chutes Too Narrow.  But, this is a great CD, nonetheless.  Now, if only their new fans would let them move beyond Garden State…

Hailing from Bergen, Norway, 22-year-old Sondre Lerche benefits from an intriguing personal history including the fact that he wrote songs for his first full-length (critically acclaimed) CD when he was only 16 years old. Two Way Monologue is his sophomore effort.  The music is lovely, the lyrics are good, the arrangements are eclectic and his voice is very soothing. But, there's something missing for me. Even after multiple plays, the songs still sound unfamiliar, and I am not compelled to repeatedly play any one song in order to study a lyric or melody.  All of the songs are very well constructed, but just a bit too laid back to listen to the CD in its entirety. That being said, in the right mellow mood, this CD would hit the spot just as effectively as other favorites such as Prefab Sprout and Nick Drake.

In the purest sense, Stephen Fretwell is a modern troubadour.  He fell in love with the acoustic guitar as a teenager and, at the same time, was introduced to the music of Bob Dylan.  With only 23 years behind him, Fretwell has two independently released EPs and one full-length album to his credit.  Already being crowned the “next big thing” in the UK, Fretwell seems to be taking the pressure in stride.

Engineered at the famous Abbey Road Studios, Magpie is a collection of songs that are more like personal letters to a loved one than anything else.  Be it looking toward the future or bemoaning some sad experience from his brief past, you can’t help but relate to the raw emotions communicated throughout the CD.  Fretwell’s voice has a familiar tone, evoking singer/songwriters of the ‘70s such as Harry Chapin or Cat Stevens.  But his lyrics have just enough edge to ensure a decidedly current feel.  For example in ‘Brother,’ he sings, “And keep sake once, three, four/But the girls up Swan Street must cost you more/Now you’ve got the money.”

Very few soundtracks make good stand alone CDs.  If you haven’t seen the movie, the soundtrack might not make much sense as an “album”; rather it would just be heard as a random collection of songs.  And when there’s instrumentals included, forget about it!

But, the soundtrack to Stranger Than Fiction is a little different.  With Spoon scoring much of the collection (4 full-length songs and 3 instrumentals), it has a more cohesive feel than many soundtracks.  And even the songs Spoon isn’t involved with seem to flow very well in the context of the CD. 

Of course, having seen, and loved, the movie, I can place many of these songs in the scenes from which they came.  Even if that weren’t the case, the first six songs alone make this collection worth your time and ears.  ‘Whole Wide World’ is one of the catchiest songs created in years.  ‘Going Missing’ plays over and over in my head, much to my dismay at times.  And don’t even get me started on ‘The Book I Write’ and ‘The Way We Get By.’  It’s Spoon at its best.

Strays Don’t Sleep is a collaboration between Matthew Ryan and Neilson Hubbard, two established Nashville-based singer/songwriters. On paper, this pairing seems like a case of opposites attracting. With Ryan, you get a dark, brooding soul with a guttural voice reminiscent of Tom Waits.  On the other end of the spectrum, Neilson Hubbard tends to explore the world with an optimistic view looking for signs of grace and hope with a warm voice. Intended as a side project for each, it didn’t take long for the guys to realize their combined talents and personalities were gelling into something more than simply the sum of the parts.

For better or worse, Teddy Thompson will be ever linked with his folk icon parents, Richard and Linda.  So, why not embrace the connection and have them help out with your major label debut? That’s exactly what Thompson does on Separate Ways with Richard playing guitar on 5 of the 12 tracks, and Linda dueting with him on a sweet cover of the Everly Brothers’ ‘Take A Message To Mary’ as a hidden track.  Not content with just those guest musicians, Rufus and Martha Wainwright lend their striking voices to a few songs, including the bluegrassy rap song, ‘Everybody Move It,’ that entices even the chillest person to “Bump and grind, have a good time.”

Rather than going folk, Thompson’s style is more in the vein of singer/songwriter mixed with alt-country soul. Lyrically, Thompson (a self-confessed pessimist) reveals a life in transition, both in career and romantic aspirations.  In the bouncy opening track, ‘Shine So Bright,’ Thompson sings like someone who has seen the highs and lows of fame/success; understanding the allure, but cynical enough to anticipate the consequences.  There is a similar message in the hypnotic song, ‘You Made It,’ with the lyrics, “Yeah, you made it/What you gonna do now?”

Turning to his romantic troubles, Thompson doesn’t just write typical break-up songs; he crafts acerbically funny songs in anticipation of the break-up.  His beautiful voice soars in ‘I Wish It Was Over,’ as he unabashedly admits his desire to be well and done with his partner.  Some of his most revealing lyrics come in the drowsy tune, ‘Think Again’ when he sings, “Hard to believe that I could be/Someone’s idea of love.”  There might be need for a Dr. Phil intervention in his future. But, in the meantime, it sure is fun listening to his take on the subject of love.

Faroe Island's favorite son, Teitur Lassen, is back with his sophomore release, Stay Under the Stars, to follow up his critically aclaimed debut, Poetry & Aeroplanes. Teitur has a unique voice in today's crowded singer/songwriter field, both lyrically and vocally. His songs tend toward the melancholy; singing stories filled with reflections of love and loss, and the fleeting nature of happiness. While these themes may not be totally novel, his vocal stylings are. With hints of Paul Simon and Nick Drake in tone, Teitur's take on nearly every word he sings is his own. There's something extremely sensual about the way he sings, hums, and breathes emotion into every note. Added to that sensuality is a slightly off-tempo rhythm that can only be described as "Teitur-esque."

Because of intriguing nature of Teitur's singing style, the music beneath it can be tricky. While Poetry & Aeroplanes tended toward chamber pop with elegant strings, keys, and acoustic guitar consistently showcasing his voice, Stay Under the Stars ventures into some new, uneven directions. The opening tracks, 'Don't Want You to Wake Up' and 'You Get Me,' are classic Teitur. But, then the production heads off into a number of directions - avant-guard, baroque, and jangle pop that, unfortunately, distract more than compliment. The CD finishes in more suitable territory with the beautifully orchestrated 'Waiting For Mars' and 'All My Mistakes.' Experimentation is a musician's right, but it's a heavy price to pay when it's at the expense of the core talent.

The story of how the The Weepies came to be seems to be a work of fiction. Being mutual fans of each other's independent releases, singer/songwriters, Deb Talan and Steve Tannen met at a show four years ago, began writing together that night, and have been together (musicially and romantically) ever since.

Looking back, it seems as though Yankee Foxtrot Hotel was a primer for this latest work from Wilco preparing our ears, and minds, for where they wanted to go sonically (under the care of Sonic Youth's multi-instrumentalist/producer, Jim O'Rourke).  Initially, I was asking, "Why did they do that?" referring to the jam band-like interludes.  Now, I'm asking, "How did they do that?" wishing I knew even a tiny bit about the musical creative process.  The best description I've read is that Wilco applied "colored silence" - a musical device that employs random sounds such as amp noise, radio static and feedback to subtly change the music's backdrop and, in turn, the entire mood of the song.  The first few listens were a near assault to my senses. But, Tweedy's lyrics and heart-breaking voice kept me coming back for more.  Being a fan of YFH, I do miss not hearing an instantly memorable/addictive tune like 'Heavy Metal Drummer 'or a beautifully sad (and prophetic) song like 'Jesus, etc'.  Beyond that complaint, a ghost is born is a wonderful example of what interesting, challenging, emotive music can developwhen the artists are given enough space to create.  I trust that it will continue to surprise and delight me as I spend more quality time with it.