lullaby

Cradle Songs

admin — Sat, 20 Mar 2010 00:00:00 +0000

Although happily childfree, I like kids and am intrigued by that idiosyncratic collective experience known as childhood. I am especially fascinated by the many ways we share the histories, humor, and ideologies of our cultures. I try to stay abreast of how these things are communicated. I pay close attention to what music is marketed to children (when, why, and by whom). I'm also a lover of a cappella and a Russophile to boot—all of which more than explain a desire to review Cradle Songs, the latest album from American all-women's vocal ensemble Kitka.

A quick glance at the band's bio would lead any listener to believe that there is simply nothing that Kitka cannot accomplish. Indeed, theirs is a truly inspiring career. The world-renowned ensemble—whose name means “bouquet” in both Bulgarian and Macedonian—has been standing tall as a shining example of musical integrity ever since their humble beginnings in 1979, performing as a group of enthusiastic amateurs. Since then they've transformed into a professional group with a revolving roster of singers, releasing nine albums on their own Diaphonica label, lending their talents to creative endeavors great and small, and wowing audiences around the world. They expend a tremendous amount of energy on research, carefully culling authentic songs and stories from Eastern Europe. The choral collective operates out of Oakland, California as a non-profit organization, sometimes selling songbooks to accompany their album releases and offering vocal workshops. If their primary mission is to share the beauty of traditional Eastern European music, then it would seem giving back to the community comes in as a close second.

Unless boasting big-name talent or universal appeal, it's rare for children's music to draw accolades from mainstream media outlets. Yet Kitka's Cradle Songs has garnered glowing praise from National Public Radio and The Los Angeles Times, and it's easy to understand why. Women of varying ages, races and backgrounds lend their voices to a stunning selection of international lullabies, mostly from countries in the Mediterranean and Eastern Europe. Much like their colleagues Le Mystère des Voix Bulgares Kitka is a group that excels at “exquisite harmonies.”

As would be expected, this is a predominantly vocal outing. Musical instruments are used sparingly and are often unique. For example, the CD opens with the Russian Jewish tune “Cradle Song,” which features both a toy piano and a toy glockenspiel. The result is eerily tranquil. Cradle creaks are a listed instrument on “Dzurk, Dzurk,” a song from the Russian Federation republic of Komi. Bulgaria's “Lale Li Si, Zjumbjul Li Si, Gjul Li Si” is awash in a warm keening wave of polyphony that leaves the listener spellbound. Kitka even manages to incorporate a hybrid bedtime story, featuring elements from Russian fairy tales and Hungarian stories, with the Ukrainian “Hajči, Meni, Hajči” sung over the top. One odd note worth mention: according to the translations provided, six of the seventeen lullabies specifically address male children. Could that be why the songs were saved for posterity? Could this be an indication of favoritism of male children in these cultures?

Written by: M. Brianna Stallings, March 19th 2010

Jessie Murphy in the Woods

admin — Sat, 28 Nov 2009 01:00:00 +0000

By Jessie Murphy in the Woods

Rex Records

While some might not be into the cutesy, fairytale-like sound and lyrics of the New York City pop-folk group Jessie Murphy in the Woods, there is no denying the magical harmony produced by the three talented women. These five tracks, a demo of their debut album Eight Belles, are a collaboration project lead by singer-songwriter Jessie Murphy (vocals and guitar) and featuring her friends Marcia Webb (vocals, Wurlitzer, flute and pan pipes) and Amy Stratton (horn, flute, percussion and organ). The trio of women, all music teachers in New York City, met at Columbia University in 2008 while pursuing a Master's degree in Music. Since then they have toured both North America and the United Kingdom.

Noted for their anti-folk style, the group tries to avoid the constraints of stereotypical, over-commercialized music with their unique instrumental and vocal sounds. With a sound less pop than similar artists, such as Au Revoir Simone and Feist, the album is a beautiful mixing of clear vocals, bells, pretty harmonies, and poetically melancholic lyrics. This combination creates an ethereal, magical, and at times, haunting quality that resonates throughout the album.

The five tracks on the album have lyrics about life, horses and love lost, especially the loss of child-like innocence, a literary theme that many can relate to. While I am more attracted to music with an edgier sound, I can appreciate Jessie Murphy in the Woods' talent. Their smooth, lullaby style makes this music an excellent soundtrack to my cooking with my dear friend and roommate Sylvia, who is a creative fiction writer and lover of fairytales.

Starting off with the sorrowful “New York City Lights,” the album continues with “In the Woods,” which invokes images of A Midsummer Night’s Dream. This is followed by the simplistic, pure acoustic sound of “God Save Owen Wilson.” Finishing off with their most popular songs “When I am a Horse Again” and “Eight Belles,” a eulogy to a horse that died in the 2008 Kentucky derby, the demo is a beautiful representation of the group’s songwriting and harmonies, and well worth a listen.

Written by: Abigail Chance, November 27th 2009

The Drifter

admin — Fri, 28 Aug 2009 16:53:00 +0000

By Lindi Ortega

Cherry Tree Records

The wanderlust, the whisky, the love-done-me-wrong– Mexican-Canadian musician Lindi Ortega sings it all out on The Drifter EP, and even if you're not a fan of indie country folksiness, her voice calls to you. The singer's voice lulls and disarms with a sweetness that could be borderline saccharine. Nonetheless, she is saved by her expansive ability to belt out a tune. If you heard her singing in a bar, you'd probably be forced to put down your beer.

Ortega's EP has only four songs, so before you know it, the album is over. But the brevity could be a metaphor for the love affairs in some of her lyrics: Here today, sing about it tomorrow.

"Dying of Another Broken Heart" is a deadpan perspective on breakups: "I should hold a funeral for every love I’ve lost." Ortega's guitar and keyboards play out the rhythm of a pop-folk lullaby in contrast to the cynical humor. Except for an interlude of bells where the lullaby takes over, this mix of sweetness and cynicism works well.

"All My Friends" transposes Ortega's wit onto an allegory for alcohol and drug addiction. She sings about "Jack" and "Mary Jane", the "friends" who will kill her dead. Despite this heavy-handedness, Ortega plays the expert staccato chords of a protest song, complete with Jewel-like vocals.

"Black Fly" and "Drifter" provide a different kind of protest: the refusal to end relationships without "one last taste." "Black Fly" is the most orchestrated composition on the album, with drums added to guitar and vocals. A song with pop-country verve and Hollywood bravado, it could be a lost track from Thelma & Louise. But "Drifter" lowers the guitar and keyboard to bossa nova volume, creating a music box melody. Pristine and unadorned, Ortega's voice stays in a muted key. This is the album's most experimental work, and it shows her indie side.

Still, both songs are ballads for co-dependency: "Sometimes lies are sweet like honey/ When you tell me/ that you love me so/ I drink it up you know." "Drifter" is an extended voice-mail message for an elusive lover: "I wonder what you’re running from/ Yes, I wonder if I could be the one/ to make you stay." (Step One for co-dependents: Do not leave songs as voice-mail messages.) But Ortega can sing with a boldness that needs no serenity prayers. Why not evince the same boldness with her lyrics?

Mainstream and indie, sweet and cynical, co-dependent and standing on her own, Lindi Ortega experiments with many musical personas, and, despite a few missteps, The Drifter offers the work of an eclectic artist worth exploring.

Written by: Andrea Dulanto, August 28th 2009

Candylion

admin — Sat, 02 Jun 2007 18:05:00 +0000

By Gruff Rhys

Rough Trade

While the interesting paper lion on the cover of Candylion – the new solo album from Super Furry Animals front man – may attract you at first, the soothing melodies are what will keep you listening. This 12-track album is packed with cotton-candy rhythms – some smooth, sweet and lullabyish and others poppy and mesmerizing.

Listening to the album is like reading a fairytale; your ears are brought into an enchanting, harmonious world of gentle lyrics like “a long time ago in the Kingdom of Candy” and “raindrops fill my eyes.” From the 50 second intro to the 14+ minute final track, the album progresses, unlike most compilations which simply move from track to track. While some lyrics on Candylion are rather strange and enigmatic, the overall lyrical quality is both refreshing and engaging. The title track includes extremely catchy lyrics and beats that will have your head bobbing wherever you are. Lyrics in the nearly 15 minute song, "Skylon!," however, will leave you with questions about airplane trips and terrorism. Through his clever words, Rhys paints a picture of the current level of fear centered around plane travel and makes important statements in the process.

Rhys is a true renaissance artist as he sings not only in English, but also in Welsh and Spanish. The addition of other languages serves to enhance his already captivating harmonies. Candylion also includes splendid vocal accompaniments by Lisa Jen of 9bach. So, whether you need to relax, are heading out for a long drive or are just ready to jive, Candylion has it all in between its intriguing cover.

Written by: Michelle Tooker, June 2nd 2007

The Brightness

admin — Mon, 19 Mar 2007 21:26:00 +0000

By Anaïs Mitchell

Righteous Babe Records

As the newest addition to Righteous Babe Records, Anais Mitchell, has written an album full of tender metaphors, without the bitter tone of heartbreak. The Brightness will probably sit in the folk section of your favorite record store, but this album isn’t as simple as a singer and an acoustic guitar. Mitchell pulls in a piano, lap steel, cello, viola, banjo and other instruments to fill the record with layers upon layers of sound. There is no cynicism here, no post-post modern sarcasm about the life love leaves behind. This 25-year-old songwriter and Vermont native has given us a delicate, layered mythos of reality, complex and lovely.

Her voice, reminiscent of Joanna Newsom, speaks of New Orleans love before the flooding of the city, and when she states, “Nothing comes of the songs people sing, however, sorry they are” in “Hades and Persephone,” you believe her. But the album is moody, and it seems she can’t always decide whether her words are more important than the accompanying music. At times they seem one in the same. However, these aren’t just songs; they are stories. Luckily, there is no scorn here. The Brightness seems more like a moonlit walk than a romp in the sun. Mitchell's romantic, delicate songs are perfect for the days (and nights) we choose to sit still in the midst of our busy lives and listen.

Written by: Courtney Ham, March 19th 2007