Music Reviews for Various Online Publications
Comic Artist J.H. Williams III Launches New Multimedia Art Project with ‘Resonant Voyage’ Album
Legendary comic artist J.H. Williams III, known for his acclaimed work on Batwoman and Sandman: Overture, has launched a new multimedia project blending music and art titled The Sound and Paint Men. This innovative collaboration debuts with its first album, SPM 001: Resonant Voyage, which is available now on Bandcamp.
A New Creative Chapter for J.H. Williams III
Stepping beyond the world of comics, J.H. Williams III has ventured into the realm of music with The Sound and Paint Men, a project that merges his visual artistry with ambient, experimental soundscapes. SPM 001: Resonant Voyage is the debut album from the project, a 35-minute audio-visual experience designed to take listeners on a journey through ethereal, otherworldly sounds. The album was created with fellow musicians and artists, emphasizing Williams’ unique blend of creative media.
Known for his intricate, surreal comic art, Williams brings a similar sensibility to this new project, crafting visuals that complement the atmospheric music. The album cover art, as well as a series of accompanying visual pieces, showcase Williams’ signature style, blending abstract forms with vibrant, dream-like imagery. The goal of Resonant Voyage is to create an immersive experience that transcends traditional media boundaries.
Sound and Art in Harmony
SPM 001: Resonant Voyage offers a rich auditory experience, featuring ambient compositions that blend electronic textures with organic sounds, creating a soundscape that invites introspection and emotional exploration. This music is less about traditional melodies and more focused on evoking moods, with sweeping synths, echoing rhythms, and minimalist structures that build into a meditative crescendo.
On Bandcamp, Williams described the project as “a resonant journey through sound and vision,” aimed at providing a multisensory escape from the everyday. The tracks on Resonant Voyage have a flowing, narrative quality to them, much like Williams’ art, which often conveys emotion and movement even in static images. This connection between music and art is central to The Sound and Paint Men, as Williams continues to push the boundaries of how different mediums can intersect.
Collaborating with other artists, musicians, and creative minds, Williams ensures that the project embodies a spirit of experimentation and openness. Each track is paired with visuals that enhance the sonic experience, inviting listeners to engage with the project in a deeply personal way. The project is available for streaming and digital purchase on Bandcamp, with plans for more multimedia releases in the future.
Fans React to Williams’ Latest Project
Since the project’s launch, fans of J.H. Williams III have expressed enthusiasm for this new artistic direction. While some were surprised by his foray into music, many appreciate the multidisciplinary approach and are excited to see how he continues to evolve as an artist. The blend of music and visual art offers a fresh way for his followers to engage with his work, providing an experience that goes beyond the printed page.
With The Sound and Paint Men promising future releases, J.H. Williams III’s exploration of the intersection between sound and art is just beginning. SPM 001: Resonant Voyage is available now on Bandcamp, and listeners can look forward to more from this dynamic project as it evolves.
CAKE
B-Sides and Rarities
[Upbeat Records; 2007]
CAKE’s ability to navigate the ever-changing tides of the music industry has always been one of their most intriguing qualities. Born in the ’90s alternative boom, the Sacramento-based band has endured where others of the era crumbled. Their sardonic wit, quirky instrumentation, and laid-back, half-sung vocals have consistently put them in a genre-bending space all their own. Now, with B-Sides and Rarities, CAKE takes a nostalgic trip through their archives, offering long-time fans a curious collection of oddities that lands somewhere between a thank-you letter and an inside joke.
At first glance, B-Sides and Rarities might seem like a filler release meant to bridge the gap between 2004’s Pressure Chief and their 2011 studio album, Showroom of Compassion. But this compilation has a strange allure, thanks to its hodgepodge of covers and the band’s ability to imprint their distinctive sound on each. What could have felt like a hastily thrown-together mix is surprisingly cohesive. John McCrea’s droll delivery ties the record together, lending CAKE’s ironic sense of humor to tracks like a surprisingly faithful rendition of Black Sabbath’s “War Pigs” and a breezy take on Barry White’s “Never Never Gonna Give You Up.”
Covering a song as iconic as “War Pigs” takes guts, and CAKE manages to do it justice by turning the song into something quintessentially their own. Instead of attempting to mimic Ozzy’s snarling ferocity, McCrea’s deadpan vocals, paired with the band’s tightly controlled instrumentation, turn it into a sly, hypnotic groove. Even better is the live bonus version of the song, where Flaming Lips’ Steven Drozd adds an extra layer of psych-rock sheen to the mix, pushing it into another realm entirely.
Then there’s “Mahna Mahna”. Yes, the novelty Muppets tune which CAKE somehow manages to elevate beyond pure kitsch. It’s a playful reminder of the band’s ability to tap into the absurd while maintaining their musical integrity. This levity is balanced by more subdued moments, like “Excuse Me, I Think I’ve Got a Heartache,” where the band’s foray into country twang reveals another side of their multi-genre exploration.
One of the most interesting elements of the album is how these B-sides and rare cuts seem to find a home together. These songs, according to McCrea, had previously “lacked proper homes.” But here, in their remixed and remastered glory, they take on new life. Despite being recorded in different eras and under different creative circumstances, they cohere, showcasing CAKE’s sonic evolution without sacrificing their signature style.
That said, B-Sides and Rarities is ultimately for the CAKE faithful. Those who have followed the band through their sardonic highs and stripped-down jams will relish the opportunity to hear rare cuts like “Conroy” and their take on Kenny Rogers’ “Ruby, Don’t Take Your Love to Town.” For casual listeners, however, the collection might feel more like an appetizer than a meal.
Visually and conceptually, B-Sides and Rarities is a delight. The quirky “scratch and sniff” packaging with scents like fresh-cut grass and banana is pure CAKE, underlining their playful, irreverent approach to the music industry. But while the packaging is a fun gimmick, the album’s true selling point is how effortlessly CAKE can turn such disparate material into something uniquely theirs.
B-Sides and Rarities may not have the punch of CAKE’s more polished studio albums, but it doesn’t need to. It’s a love letter to their fans, a scrapbook of creative detours that shows a band still experimenting, having fun, and refusing to take themselves too seriously.
Carla Thomas
Live at the Bohemian Caverns
[Stax Records; 2007]
It’s always fascinating to imagine what might have been, especially when it comes to long-lost albums. In the case of Live at the Bohemian Caverns, Carla Thomas’ 1967 performance at Washington, D.C.’s iconic jazz club, we finally get a glimpse into an artist ready to expand beyond her soul queen status. Known for her definitive hits like “B-A-B-Y” and the Otis Redding duet “Tramp,” Thomas had already cemented herself as a leading voice in the soul world. But on this night in D.C., she was chasing something more: a fusion of R&B roots with jazz sophistication. The result, captured on tape but inexplicably shelved for four decades, is a career-defining performance that should have set Thomas on a new creative trajectory.
In many ways, Live at the Bohemian Caverns is a time capsule, not only of Thomas at the peak of her powers but of the Stax label’s unique blend of Southern soul and broader American musical traditions. The setting itself was as prestigious as it gets. The Bohemian Caverns, a jazz institution that had hosted legends like Billie Holiday and Miles Davis, provided the perfect backdrop for Thomas to stretch her wings. Joined by a band assembled and led by none other than Donny Hathaway, Thomas delivered a set that spanned jazz standards, Tin Pan Alley tunes, and her beloved hits.
The album is a testament to Thomas’ versatility. While she shines on soulful staples like “B-A-B-Y” and “Gee Whiz,” it’s her explorations into the jazz and Broadway songbooks that elevate this performance into something more profound. Irving Berlin’s “It’s a Lovely Day Today” and Johnny Mercer’s “Zip-A-Dee-Doo-Dah” seem like surprising choices for a soul artist at the height of her fame, yet Thomas performs them with such ease and grace that they feel like natural extensions of her repertoire. Her voice, warm and commanding, navigates these classics with a confidence that underscores her ambition to transcend the limitations of genre.
Beyond the music itself, the historical context of this album adds another layer of intrigue. This four-night run in D.C. was, by all accounts, a pivotal moment in Thomas’ career. She was pursuing a master’s degree at Howard University, deeply connected to the city’s vibrant jazz culture, and yearning to expand her artistic horizons. Al Bell, then-president of Stax Records, recognized this desire, working closely with Thomas and Hathaway to craft a setlist that would not only reflect her R&B roots but also push her into new territory. The Washington Post even recognized the significance of the performance, predicting that Thomas had the potential to “mature into a fine vocalist,” transcending the pitfalls of becoming a fleeting pop sensation.
The inclusion of her father, Rufus Thomas, only adds to the album’s charm. The elder Thomas, a well-known figure in his own right, contributes a few songs in keeping with the jazz milieu, grounding the performance in the African American blues tradition while perfectly complementing Carla’s more polished renditions of standards. It’s a moment that feels joyous and familial, a reminder that the generational exchange of musical ideas is as much a part of this performance as the songs themselves.
So why was this album shelved for so long? The reasons remain a mystery, though Stax historian Rob Bowman hints at the heartbreak Thomas felt when the album was pulled without explanation. The label ultimately re-assigned its catalog number to Booker T. & the MGs, leaving this ambitious project in the vaults. It’s a shame it took 40 years for this album to finally see the light of day, but its release in 2007, on the 50th anniversary of Stax Records, feels both poetic and long overdue.
Live at the Bohemian Caverns offers a rare and valuable insight into an artist at a crossroads. It captures Carla Thomas at her most adventurous, exploring new musical territories while remaining deeply rooted in the soulful sound that made her famous. For fans of Thomas and Stax Records, this album is an essential piece of history. For everyone else, it’s a long-overdue introduction to one of Soul’s most underrated vocalists, performing at her absolute best.
Artist: Barbie Hatch, Album: Hypertrophic Heart, Reviewer: Ron Gross, Rating: 3 Stars
Best known for her vocals on N.A.S.A.’s “Way Down” featuring RZA of the Wu-Tang Clan and John Frusciante of The Red Hot Chili Peppers, Yeti Beats’ “UR Mine” and a few tracks she recorded with The Swollen Members, Barbie Hatch releases her new solo debut album, Hypertrophic Heart (hypertrophic means the enlarging of an organ, muscle, or tissue).
For the past 2 years, she has toured with N.A.S.A. (Squeak E. Clean and DJ Zegon) as their vocalist while recording tracks for Hypertrophic Heart. But she steps away from her hip-hop persona and moves to a more alternative sound on her debut effort.
Barbie is a very talented vocalist and she stretches her vocal range and talent on Hypertrophic Heart. She moves from a grungy more alternative sound on a number of tracks while “Star”’ and “In Two” are very Alt Pop, reminiscent of Aimee Mann with Til’ Tuesday. The last track is an interesting take on the Bee Gee’s song “Run to Me”. Unfortunately, the electronic loops and synth pads by Brent Nichols and Koool G. Murder, although nicely crafted, drown out her voice and you don’t get the full potential of her talent.
Hypertrophic Heart is a good first effort. As an artist, it is evolutionary that she has put her own tracks down and released her debut, although it seems Hatch is still trying to find her style and is experimenting with different ones. Vocally, she has what it takes to gather a following, but musically she still needs to find her niche.
Rilo Kiley shines on their new CD, Under the Blacklight
Under the Blacklight, the new CD by Rilo Kiley is a late summer release that is filled with sunny, fun-filled, danceable riffs and vocals that lends itself to summer fun. Even though summer is almost over, I guess August is as good of a time as any to rollerblade down Venice Beach with your iPod tuned to the latest catchy kitsch.
The album is sharply produced by seasoned West Coast Rap producer Mike Elizondo (Dr. Dre and Eminem) and all the tracks are finely polished to a bright shine. Jenny Lewis’ voice is sweet and inviting as well as Blake Sennett’s retro 70 and 80’s pop riffs – they contrast well with the darkness of the lyrics, taking on subjects such as underage sex, statutory rape, and pornography.
The album should generate quite a few new listeners to the hip quartet from LA but this CD is very uncharacteristic from a band whose sound was more on the lines of indie folk rock than the much more commercially viable sound presented on Under the Blacklight. Rilo Kiley has gotten some flak from some die-hard fans about this, but the writing was on the wall when they signed with Warner Bros. Their more mainstream songs were already being filtered into hit TV shows like Grey’s Anatomy, The OC, and Weeds, so it doesn’t come as a surprise that the band would lean this way.
Be it the 70’s gospel/R&B influenced “Silver Lining”, the country folk-pop song “Angels Hung Around” or the 80’ dance floor rock pop of “Smoke Detector”, Rilo Kiley consistently mixes up styles on this record, yet somehow, they manage to maintain a distinct sound that’s fresh and new. Even though the lyrics are slightly on the darker side, the band’s poppier retro sound is sure to brighten up anyone’s day.
Jenny Owen Youngs’ Debut CD is Candy for the Brain
Jenny Owen Youngs’ debut on Nettwerk, Batten The Hatches is a bittersweet treat that melts in your brain and not in your ears. Like a Hershey Special Dark bar sprinkled with Cayenne pepper, Jenny Owen Youngs takes the good American girl personae and adds a spice that creeps up on your taste buds and leaves a delicious aftertaste that lingers on for days.
Jenny Owen Youngs (JOY) surprises with velvety sweet vocal tones juxtaposed against bitter lyrics laden with her wry sense of humor and slightly bent view of the world. Often clad in a green tartan skirt and white button-down shirt, her prep school looks take a turn when the lyrics to her songs start to seep into your brain. Youngs’ warm folksy delivery, her “girl next door” attitude and sardonic wit hook you in without you ever realizing it.
Her lyrics & witty banter are full of sexual innuendos and sarcastic defeatist attitudes. Here are just two examples. On “What The F**k Was I Thinking”, JOY sings with a sweet monotone the following words: “Love grows in me like a tumor, a parasite bent on devouring its host. I’m developing my sense of humor until I can laugh at my heart between your teeth, until I can laugh at my face beneath your feet. Skillet on the stove, it’s such a temptation, maybe I’ll be the lucky one that doesn’t get burned.” even more melancholy is the song “Woodcut” with lyrics like “I still got three fingers left on this hand, take of your belt and I’ll do what I can for you. You sure look like you could be some kind of fun, now maybe it’s true you’re more gifted than most, you’ll still be remembered by the notch in my bedpost”.
Musically, she’s as equally surprising. On “Drinking Song” and “Brick” you can hear Young’s accomplished acoustic guitar work and On “P.S.” you’ll find her on banjo, finger-picking the song’s signature riff. Other highlights are Dan Romer’s Rhodes organ and Patrick Petty’s sweeping cello lines.
Even gossip maven, Perez Hilton is hooked on her. In a recent Newsweek article, he said: “If you don’t know Jenny Owen Youngs, then you must. You must! She has created what we think is one of the best love songs of all time.”
Her live shows are equally as enticing, infectious, and dysfunctional as the CD. She does a great acoustic version of Nelly’s “Hot In Herre” and a mocking cover of Kelly Clarkson’s “Since You’ve Been Gone”. Jenny flies over to London, England on July 27 and 28, where she is opening for Aimee Mann, and then continues her tour of the states through October where she Jaunts off to England once more to show off her American “school girl” charm to the Brits. For more info check out her website, www.jennyowenyoungs.com.
Batten The Hatches is worth a listen (Be warned though, you may not be able to get her out of your head) and I have a feeling we are going to hear a lot more about Jenny Owen Youngs before the year is through.
