Scroll down for reviews of the latest from Steve Ward, Trolleyvoxx, Isolation Years and Tiny Volcano

Paula Kelley
The Trouble With Success or How You Fit into the World

(Kimchee Records)

Release Date: September 16, 2003

www.paulakelley.com

Imagine grandiose, baroque pop, fully orchestrated with strings, horns and a choir fronted by what sounds to be a little girl's voice. It's actually the whisper pop voice of Boston's own Paula Kelley, and strange as that musical combination might sound, it works surprisingly well. The Trouble With Success is aural proof of that fact.

Previously a pleasant wee voice with early '90s domestic shoegazers The Drop Nineteens, guitarist/singer Kelley went on to create a nice album with Hot Rod and later fronted Boy Wonder for six years before officially going solo. Her 2001 first solo CD Nothing/Everything was her most ambitious to date, featuring some string arrangements in what was a precursor of her most recent effort.

While all those past albums have a certain charm, this current release is a quantum leap forward. Having grown as a musician, Kelley finds herself at a point in time where her songs more than deserve this grand treatment. She creates songs that open up emotionally and dramatically tell the story of someone's life (maybe even hers).

All told, it's the strength of the compositions, along with the production and arrangements that make this CD stand head and shoulders above any prior Kelley release.

It's not such a stretch to view this as an updated version of popular music from the early 1960s, when artists like Dusty Springfield and Petula Clark fronted full orchestral pop treatments and ruled the day. While none of the songs from The Trouble With Success are likely to invite commercial radio play in today's market, they certainly are good enough to merit that kind of attention. What some of the songs reflect is a Burt Bacharach-mentality as filtered through the arranging talents of Kelley, Matthew Tap, and Eric Matthews.

These 11 pop tunes are elegant, and a bit of a downer, topic-wise. Melody triumphs over melancholy, though, and only those paying very close attention realize the sadness behind the glossy arrangements. This is a complex collection that begs for long listens in order to get the full force of the intricate arrangements and subtle musical nuances.

The album features a harpsichord intro (courtesy of Kelley), followed by a truly fun spectacle of a song "A New Time," a wordy celebration of a recently discovered good and new kind of love. New husband and long-time musical partner Aaron Tap is there on guitars, Jim Collins is on bass and Jeff Norcross is on drums, but the shining star behind Kelley here is The PK Orchestra, a 20-person orchestral assemblage conducted by Aaron's brother Matthew. This is baroque pop at its finest, lush in instruments and harmonies.

In "Could There Be Another World," things turn a bit darker and ponderous, with a slower tempo, yet there's still elegance and beauty. This is personal therapy set to music: "Every day's a deeper climb / just to find some new way out of your fatal mind / but it's the same one every time."

We venture into Bee Gees meet Bacharach musical territory in "The Girlfriend," a romp about an ego-driven woman messing around with someone's mind. The 10-person PK Choir asks questions and Kelley answers. There's some fine horn work here by the incomparable Eric Matthews, along with more great strings.

By the time we reach "How Many Times," this someone no longer believes in love's great rewards. There's "murmuring decay" and things misconstrued, yet it all sounds so pretty backed by lush strings.

Another potential radio single would be the seemingly upbeat "My Finest Hour." This is as good a story as any Jill Sobule song, a woman happy and yet unhappy, an honest celebration and confusion mixed together into one lovely tune, loving life and then hating the struggle of carrying on, then just noting the puzzling aspect of it all.

"The Rest of You" follows, another self-confession song about never getting things right, of "something always getting in the way" or "something's always missing from my life."

This one is piano-based and most infectious. If you love Eric Matthews' songs, you'll love this one. Even though it's Kelley's song, his trumpet contributions here are very identifiable as his work, marvelous and harmonic and expressive.

"I'd Fall In Love With Anyone" is charming and retro, another variation on contemplating life's disappointments and yet having hope, willing to be told what needs to be done in order to fall in love with someone new (though perhaps a bit numbed from past experience).

Paula Kelley's bouts with insomnia may have inspired "Night Racer," the musical thoughts of one lying awake with a "tired mind." "September Eyes" turns from an ended relationship to a plea for a new one. "Friday Came" contains religious and spiritual elements that hint at death and rebirth, as Kelley synthesizes her Catholic school upbringing into her art (along with some nice guitar).

The closing track "Where Do You Go" is an examination of growing, changing, and looking for a new place to go to escape the past that was, complete with harpsichord and choral accompaniment. This is another impressive song, made even more so by the arrangements (check out the fine trumpet work from Don Anderson and Chris Barrett).

Paula Kelley and her cohorts have elevated her music in a big way, taking her tuneful thoughts and confessions and arranging them in ways that make them something truly special. This is baroque pop that is affable and sweet, serious but not overdone, a celebration of the grandeur of life through music as well as life's frustrations and seeming meaninglessness at times.

Kelley, a longtime sufferer from migraines, insomnia, depression and anxiety recently has gotten things under better control. She's been making progress in her life, and it's reflected in her music. The Trouble With Success or How You Fit Into The World is the happy result of long, hard work and an amazing feat musically -- especially considering it was done on an indie budget.

The multi-talented Paula Kelley has created her best and most versatile collection yet, a treasure of integrated orchestral and choral instrumentation in the service of emotional honesty. But don't be fooled - the charmingly innocent girlish voice reminds you that, in the end, it's still very much pop.

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Steve Ward
See And Be Seen

(Lucky Records)

Release Date: July 22, 2003

www.steveward.org

In the world of former power pop, quiet is the new loud. So one gathers from listening to the delicate subtleties of the sophomore solo release from former Cherry Twister creative force Steve Ward. See And Be Seen was "produced, recorded and mixed by Steve in a barn by the river," according to the CD booklet, and there's a definite rustic ambience to the music. The river is a theme that reappears in many of the songs. There's also a maturity behind it that takes off from Ward's 2000 Opening Night release, and veers toward the west with pedal steel and soft string accompaniments.

While those seeking the power pop strains that rocked much of the earlier Cherry Twister might be disappointed, the more mature Ward retains his gift for sweet delectable melody. His pop sense is more refined now, and his sweet hushed voice comes across easily in a way that's not unlike Art Garfunkel's. Additionally, he is joined on some tracks by kindred music spirit and friend Joe Pisapia (Joe, Marc's Brother), whose own 2002 Daydreams offered an equally quiet and mature set of pleasant songs.

The other musicians that contribute are a notable lot as well: former Cherry Twister alumnus Michael Giblin (Parallax Project) plays bass on several tracks, while Paul Murr handles drums and percussion duties, Matt Thomas lends keyboard assistance and the talented Chris Carmichael contributes string arrangements and cello. Most notably, Al Perkins and his fine pedal steel lend a dulcet country-western flavor to many of these memorable songs.

"Down By The River" is the opener, a lush bit of stately melancholy that nostalgically looks back upon "a fatigued romance." Simple vocals and guitar give way to drum and strains of pedal steel (and eventually organ): "You brought me down by the river / it was still that night / Alone we kept awake / And peace was found by the morning / but all that remains / is a smile memorized and a rhyme for the pain."

Vestiges of the old popmeister are found in "The Death of A Star," from the nice bass lines of Pisapia to the Beatle-like infectiously swirling strings. Ward has a way with the simple lyrical phrase, making them all seem laden with extra meaning: "Hell over high-regard, you took it hard / The death of a star is something you read about / and you're sad despite your jealous heart / she had the love that you learned to live without / and it caught you off your guard."

Pretty acoustic folk songs graced by pedal steel and string accents become all the more beautiful. Such is the case with "The River Leads Me Home," wherein the guitar echoes the vocal melody line. Another sweet dreamy song of reflection is the string-laden "Flow."

"Days" is another simple melody (this one enhanced by Matt Thomas' accordion and Michael Giblin's stand-up bass) about lost friends, asking the musical question "where have they gone?" Much of *See And Be Seen* seems to dwell on the past. There's the pretty baby who once meant something who is viewed now as an "Evergreen," and the alcoholic haze of rose-colored memories of former glory in "Can We Feel?"

The sense of whimsy that flavored songs like "California" and "Western Skies" on the first solo album can be found reflected here in the little ditty "Idaho." Sounding like something from a bygone honky-tonk era, this charming tale of going off to join a girl "from the outer banks of nowhere" who is heading somewhere else (turns out she leaves for California before he even gets to her) clocks in at just over two minutes of pure capricious enjoyment.

"The King of Sinking Spring" has a jazzy feel to it, and probably wouldn't be out of place on a Pisapia or Joe, Marc's Brother collection. Ward plays with harmonies and synthesizer and even a few psychedelic backwards vocals in this tale of a past-his-prime dreamer of bigger things.

Some of the songs on Ward's first solo effort drew comparisons to the late Elliott Smith. Both had a soft approach to pop that derived from folk roots, and a magical ear for creating memorable melodies. Ward is not unaware of the similarities (in fact, he sang a Smith song as tribute at a recent live performance), but I think personality-wise, there wasn't a lot of common ground.

While Smith fought a constant and ultimately losing battle with addictions and himself, Ward has remained in control of his talents (and I hope he will for many long productive years to come). Ward's song "Fighter" could easily be about Smith and his fights with inner and outer turbulence: "Oh my brother you're a fighter / but you say you only act in self-defense / and now your days are getting brighter / but you're running out of time to make amends." Thought about in this context, the song becomes all the stronger and ever more poignant.

The closing track "Kid Yourself" is further evidence of Ward's maturation as a pop songwriter. He has a real ear for nuance and memorable musical details, can write a great middle bridge and has a soft voice that doesn't strain to get your attention. Oh, and don't forget his talents playing guitar.

Ward is getting better with age, mellowing some and waxing reflective perhaps, but trying out some new musical directions as he works in his barn by the river. He retains his pop pedigree for melody and hooks, but filters them through thoughtfully intelligent quiet songs now. The end result is music that is easy to listen to, with slower tempos and country flavors, but often beautiful. As such, See And Be Seen deserves to be heard

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Tiny Volcano
Tiny Volcano

(Volcanic Recordings)

Release Date: October 24, 2003

www.tinyvolcano.com

Some historic events linger in the public consciousness far longer than others. The tragic killings at Columbine were one such event and Tiny Volcano (out of Tacoma Washington) has not forgotten. On this, their eponymous debut, the opening track entitled "Sunday Morning Service" is piano and organ accompaniment to news reports of that very incident.

This is a suitable lead-in to the song "Loaded Gun," which asks rhetorical questions of the killers as "the angels are calling" and name checks Charlton Heston along the way of questioning the prevalence of guns in our society. The song's deceptively cheery pop sound does recall that of Jellyfish (and a nice little Beach Boys/Brian Wilson middle bridge break), pretty harmonies and tight instrumentation abounding.

Scott McPherson, formerly of Liar's Club, is the creative force behind Tiny Volcano. He wrote all the songs, engineered, produced and mixed this strong album, to say nothing about his musical contributions: vocals, guitars, piano, keyboards, ukelele, and bass. He is joined by some fine musical cohorts: Jon Ecklund handles six and twelve string guitars and backing vocals, Tony Cooper plays an impressive bass and lends a hand with vocals, while Dana Sims is in charge of drums and percussion.

McPherson is no stranger to catchy pop, being a fan of the likes of The Beatles, The Beach Boys, XTC, Prefab Sprout, Neil Finn, Burt Bacharach and Jellyfish. Many of these references find their way into his creations, but rather than concentrate on finding them, I suggest you listen and enjoy what's here instead. Tiny Volcano is a most auspicious debut.

"Mary Goes Around" is a perfect example of how melodic pop should play. This thinly veiled love song to marijuana and its effects is a rich harmony-laden journey into musical fun, catchy and cleanly produced and featuring some nice lead work by Ecklund.

Once you get past the briefly mangled Tarzan cry, "Father Nature" is another very pleasant aural confection, complex in structure yet easy to listen to, allowing the talented McPherson to show his keyboard hand.

The very brief ukelele ode "Under The Jamaican Moon" reminds me of George Harrison crossed with Mike Nesmith, while the short yet lush "July 7th, 1965" sounds like McPherson's answer to McCartney's instrumental "Junk." Another enchanting solo turn is the lovely "Wonderful Sun," slyly alluding to Jellyfish and the Wondermints within its summery lyrics.

The song "Tiny Volcano" is as sweet and infectious as pop gets. This song of self-sacrifice to said Tiny Volcano is put forth with the type of confidence that belies the fact that this is only a debut.

"Building a Bridge (Out of Water)" is a minor waltz about a relationship that isn't working, with strings that recall "She's Leaving Home." This lovely ballad features guest arrangements and cello from Danny Levin and guest piano from Andrea Perry.

Tony Cooper and Tiny Volcano do a great job of re-creating that early-era Beatles sound with "You Wanna Go." If you're a numbers person who can't make a relationship work, then "Ten Nights (In a Row)" is your song.

The guitars rock a bit harder on the short "Sprites & Jets," which in under two minutes serves a rave-up that turns into a rhythm-driven verbal spree a la Billy Joel's "We Didn't Start The Fire," then bursts out into a psychedelic coda a la "Rain."

"When Girls Collide" is a nice collage of McPherson influences, mixing harder guitar with synthesized horns and a bit of XTC-style "ooh" backing vox and Jellyfish and Beach Boy harmonies.

Columbine is not the only target here for McPherson. He takes aim (and scores a solid hit) with the Oasis-exposing "Liam Gallagher." Done up in a style similar to that of the brothers Gallagher, McPherson pokes fun at the large ego trip he's on: "A few golden records and a million pounds / Even Ringo thinks that I'm a circus clown / but he still sees stars when he looks into my eyes."

The CD closes with the instrumental "Summer Solstice," a keyboard driven tune that offers some Beach Boy-like harmony, then sort of drifts into a dreamy psychedelic soundscape before returning back to the catchy keyboards that fade into crickets on a summer's night.

Tiny Volcano is quite an accomplishment, displaying an impressive breadth of variety in song styles and execution, with clean production and a fun vibe that leave you wanting more (there's even a masterfully done hidden backwards track with vocals that sound spooky and very Beatle-esque - Lennon would be proud).

Scott McPherson and his three bandmates deliver a strong collection of songs on this spectacular debut. While some maintain that melodic pop is a thing of the past, Tiny Volcano is proof positive that those sounds continue to thrive. If Tiny Volcano can deliver on the promise shown here, their future looks (and will sound) very bright.

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The Trolleyvox
Leap of Folly

(Groove Disques)
Release Date: July 22, 2003

www.thetrolleyvox.com

The Trolleyvox are a musical anachronism, creating chiming guitar-based folk pop with female vocals that seem of another time entirely. It's different from what you're likely to hear now, and overall, a fresh sound that is at times quiet and contemplative, and always engaging. Imagine a U.S. version of The Lilac Time fronted by a warm intelligent female voice (that of Beth Filla, who seems to be all that and more).

Leap of Folly is a perfect collection for extended listening, a solid and lengthy soundtrack for lazing through a winter afternoon lost in your own thoughts and emotions. While vocalist Beth Filla was off in grad school pursuing her master's degree, songwriter Andrew Chalfen mastered some impressive new songs that are showcased here. Chalfen, formerly of The Wishniaks and Joey Sweeney, is the main creative force behind the music, writing the songs, playing guitar, bass, piano and whatever it takes to get his ideas across.

He is joined at various times by Greg Dubrow (of The Idlewilds) on bass, and drum duties are split between Ken Buono (Flight of Mavis, Buzz Zeemer, Dragstrip Courage) and Bret Tobias (Moped, the Bigger Lovers).

While Chalfen is the man behind the music, the most distinctive aspect about The Trolleyvox is Beth Filla's expressive vocals. Recruited though a "vocalist wanted ad" in a local Philadelphia paper in 1996, she auditioned and won the spot in what started out first as an acoustic duo, then built slowly into a full gigging band.

Now confidently leading the way, Filla's interpretive vocals turn Chalfen's songs into magical journeys, whether floating expectantly above the guitars or casually relating the stories contained within the lyrics. In the same way that Natalie Merchant did early in her career, Filla is able to achieve a lot with a little. Her vocalizations are never overly showy, they match every song's specific requirements. She's the universal voice of that ever-appealing smart woman and when she sings, you listen.

There's a lot here: fourteen songs in all that distinguish themselves over time (at first listen, several of the songs may sound similar but repeated listens will prove otherwise).

It's hard to pick a single favorite here, as there are many moods and flavors to choose from. From the pretty guitar intro notes on the first track "Dome of the Sky" to the more acoustically folk-like somber feel of the closer "Hours and Miles," this is quite the musical collection.

"Oregon Lanes" vies strongly for single consideration, an upbeat examination of bowling and the happier side of modern relationships: "The many happy returns / The ache of regret, the plan abandoned / When I think no one connects / You prove me wrong over and over / Near as we can be to not quite / Every little thing is alright."

"Town and Country" focuses on the tiny details that may hold meaning in our lives, the changes wrought by age ("All the stuff I own is breaking down") and the familiar "leap of folly" of focusing on nostalgia and dreams of relationships that never were.

Easily the most infectious melody here (sounding like something simple and Cajun) is that of "Le Fleur de Lys." The lyrics cleverly explore one whose supernova has burned out long ago and the ensuing aftermath: "Ah, you used to tread so cool / Back then no one could touch you / Light years out of school / Now you're down on yourself and walking on eggshells / Your veleveteen braveheart will fill up your dance card / With lessons in how to be lonely / You're mending defenses with anti-depressants / You've got yourself a Maginot Line."

"Green Light Cascade" is a slow-building epic that achieves grandeur in its eloquent discussion of dalliance, obsession and love. More intriguing delving into aspects of love are to be found in "But That Don't Make It Right."

Chalfen has an admirably witty and indirect way of touching upon deep matters and emotions in lyrics. Yet his music is also strong. Give a listen or three to "Chesterman," his masterful instrumental number here and I bet you'll have it inside your head long after.

Produced by Adam Lasus (Madder Rose, Versus, Clem Snide), there's a clean, simple acoustic feel to the music. "Singing Telegram" is a beautiful piece of folk-rock, musically as dreamy as the lyrics that ponder, "dreaming of a new day to come."

Ken Buono does a nice job with the stutter syncopations of "Goodnight Heat Lightning," while Bret Tobias does equally well with the drums in "One Day." "Outerborough Getaway" addresses those who manage to escape the city for the summer, even temporarily, and features Chalfen sharing harmony vocals with Filla.

"Air Companion," one of the later tracks on the album, also is a favorite. Again, here is the questioner of love, patiently asking questions while impatiently reaching conclusions about that elusive state: "Walking around on endorphins / The sweet reverie of my old friends / And then they go, and then you go / Back to the drag / Are you in love? Well how do you know that? / Are you in love with a trick of the light?"

Almost three years in the making (without any record label or touring pressures), Chalfen, Filla and friends have created a quality recording that manages to be both relaxed and focused all at once. Leap of Faith is a lovely throwback that also manages to sound original and new, a special reflective musical treat that sneaks up on you and quietly wins your heart.

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Isolation Years
Inland Traveller

(Galaxy Gramophone)

U.S. Release Date: December 2, 2003

www.isolationyears.com

When was the last time you listened to a handsaw solo that opened a CD? Right from the start, you realize that Isolation Years' debut Inland Traveller is going to be something different. This quintet from far off in northern Sweden (their hometown of Umea is located within the Arctic Circle) serves up an intriguing amalgam of influences and arrangements that converge to make for some interesting music.

The vocals of Jakob Nystrom, paired with his unusually moody, oft-paranoid lyrical visions, make these songs instantly compelling. Occasional folk instrumentation is another attention getter. Overall, this debut album (originally released in Sweden in 2001) comes across as far more professional than what one might expect from a dozen songs recorded in a home studio.

"Talkin' Backward Masking Blues" leads things off with some nice horns (Daniel Johansson on trumpet and flugelhorn, Zacharias Wagnefjord on trombone) that add dramatic emphasis to this lyrical nightmare of dark and swaying silhouettes talking backwards in this guy's face, to say nothing of the bloodstains on his shoes.

"I'm Gonna Flip" is driven by a strong beat (Daniel Berglund on drums) and an infectious chorus and is reminiscent of any number of bands, yet comes across as original. Lyrically, it's about a guy on the edge.

"Hemisphere" is another winner of a song, a lament of the only one left in a world where everyone else is dead or dying. "Cold Morning In Minusinsk" starts off as more of a folk song, employing accordion (played by bassist Anton Berglund) in the celebration of storytelling as a means to keep from yawning (when cold in the morning).

The title track goes for a psychedelic folk angle (again, Jakob Nystrom plays the saw), then builds into more of a rocker, using interesting sounds and instrumentation. This is the musical story of visitors from another world who are powerful but, unfortunately, have no need for the Isolation Years' songs.

The superb horn work draws you immediately into the winningly upbeat "New Start." This is a song about directionless confusion that is guaranteed to get you moving: "I need a new start / to cover up my tracks / in-between nightmares and daydreams / I've forgotten why I'm here at all."

"Goblins and Pines" treads more psychedelic territory, sounding like something from the late 1960s, while "Light The Torch" sounds like something Bono could have sung in the 1970s (and actually so does "Melting Minds").

The Jakob Mostrom instrumental "Maranata Club Lounge" has a film-noir feel; you can practically see and feel the blue smoke of the crowded club.

The CD closes with "Green On White," one of the strongest and most unusual tracks. Again, the horns are great, accenting the rock flavors (akin to some of the finer use of horns by The Undertones or The Housemartins), while the lyrics go off into some kind of psychedelic reality: "It's an anti-gravitation thing at hand / and it's sending us away / from each other once again / leaving wider gaps than what was before."

Inland Traveller is fun to listen to, though chances are it won't be everyone's cup of grog. I really like the tracks that use horns to great effect, and you can't go wrong with Jakob Nystrom's haunting lead vocals (though his handsaw solos are still being debated). It's a fascinating and accomplished debut, and one that should bode well for this new record label.

Apparently Isolation Years already has a second album just released in Sweden. After giving this debut many listens, I'm curious to know what the follow-up sounds like (any chance of a U.S. release, folks?). Since I don't get MTV Nordic (where their new video has been playing), I suppose I'll just have to hope and wait.

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