Jamie Michael
People Watching
[self-released]

by edharob

Leeson’s frontman Jamie Michael's debut album is no mean feat: each of the 12 songs offer a unique and insightful glimpse into the different aspects of life and relationships. It puts into succinct words and images the ambiguities and uncertainties, hopes and desires, failures and disappointments that any of us, who have survived the vicissitudes of life and and a few broken relationships would be familiar with.

Some of his more notable tracks are listed below. 'Love Hotel' describes the atomization and alienation of individuals caught up in the throes of modern life and vices in Tokyo. It portrays the junkies, prostitutes and grittier aspects of Japanese society, which Jamie is no stranger to, with a voice of compassion and truth.

'Generations,’ with the opening line “I don't know where I'm going/ I tell you when I get there” strikes a chord with those who may be feeling lost or seeking direction in life. It is an intensely personal song as it is written from the perspective of a friend he used to have but whom he has lost to drugs.

‘Paddington Days’ elucidates the 'love hate relationship' that Jamie had with London: a city where Jamie had previously experienced both acute loneliness and intense joy.

The impermanence of relationships and our need for human warmth and contact is artfully… almost playfully, expressed in ‘Calendar Girls’ where his previous relationships with other women are likened to months on a calendar. This song has a feel that is slightly reminiscent of other songs like, 'Song For Whoever' by The Beautiful South and 'Mambo No. 5' by Lou Bega, albeit, without the same degree of facetiousness.

The poem Desiderata states “neither be cynical about love, for in the face of all aridity and disenchantment, it is as perennial as the grass”. 'Stupid Love Song' with the wry refrain “the stupidest love songs make sense when I hear them with you” hits the nail on the head in expressing the perennial nature of love in a world of aridity and disenchantment. It contrasts sharply the stresses, banalities, emptiness and mundane-ness of life to that of being in a solid loving relationship with a partner that truly understands and cares.

‘Track 12 (Untitled)’ is a genuine treat and all listeners who have ever had ambivalent feelings about their previous partners will definitely be able to relate to this song. Watch out for the lyrics.

Overall, Jamie’s debut album aptly titled People Watching is one that captures life and people, in all their unique predilections and predictions; it captures feelings, emotions and sentiments in all their subtle shades and nuances. Jamie is clearly a keen observer of life and people; this is amply reflected in his album which remains true to its name.

Lady E
Lady E
[self-released]

by Manisha Dhalani

An EP that encompasses of moods from upbeat to mellow and that come in a variety of languages such as English, Malay and even Hindi, Lady E's self titled debut has fit the bill of being one of the best local hip-hop releases this year. Slip the CD into its player, hit play and you're greeted with an introductory track that speaks of Emma, or rather Lady E, being one of the very few active female rappers that remain on the island.

In an interview that was featured in the June/ July issue of Resurgence, Lady E describes her music as being a mixture of dancehall and hardcore rap, yet listening to the first few tracks on the EP could possibly remind you of the lost feminine touch of hip-hop. Lady E has successfully managed to bring forward the touches of both the strong and weak sides of a woman, all expressed in this 7-track hip-hop EP.

The first track ‘No to Bounce’ is well fitted as Lady E expresses who she truly is to people who are not well-aware of her personality. However, although the track lyrically calls out to her listeners to raise their hands at clubs while listening to her joint, ‘No to Bounce’ seems to cry out for a more up-tempo vibe to support the crowd check.

The rest of the tracks on the EP feature a variety of emcees, some helping her shine her rapping skills while some causing her to blend in the background. ‘Gresek’, featuring Daly from Ahli Fiqir as well as Moo-Z from Qinobe, shows off Lady E's lyrical skills in her Malay native tongue and her vocal prowess. The featured artists and upbeat old school beat creates a blend you couldn't stop listening, or rather watching to, as there is a music video of ‘Gresek’ featured as a bonus track of the EP.

Lady E's definition of the music she makes is correct, for not only does she bring a very hardcore vibe to this EP. Just by looking at the track listing and the variety the EP offers, it helps to prove her versatility. There is, however, still room for improvement, in areas like articulation and emphasising of the necessary words. The final track on the EP ‘Kembali’ makes it evident that Lady E is not only an able rapper but a possible singer in the making.

For incorporating well-written lyrics and the underground perception of hardcore rap into an album that is meant to be for mainstream consumption, Lady E has successfully took a step forward into exposing hip-hop to a wider audience.

Pink Stileto
People Like You
[self-released]

by Lounge Lizard

Led by primary song-writer and keyboardist Fadhly, fledging rock sextet Pink Stiletto releases their debut CD single People Like You a couple of weeks ago. Unfortunately, unlike the song title, the music is neither clever nor witty. It’s pretty much a straightforward slab of rock music, bound by its over reliance of rock clichés.

The song kicks off with a cheesy synth intro before lurching into a tired punk rock progression. Interestingly, both guitarists Eirfan and Dynn injected a certain level of bombast with their 80’s cock-rock styled solos. That, coupled with lead pipes Faizal’s energetic performance helps to alleviate the song to something better.

The 2nd tune on this 3 track single ‘MadFad’ is a solo Fadhly composition. The track sticks out like a sore thumb with the rock track before that. However, it will fit perfectly on a Euro-techno compilation and go down well at our local Ah-Beng discotheques. The band reprises the same tune ‘People Like You’ again in a ‘Cili Padi’ version which basically meant Fadhly’s keyboards were pumped up more in the mix. There is no change in the song arrangement at all.

Honestly, this reeks of either a) an utter lack of budget or b) a total deficiency in musical creativity. There were moments in the title track where you could catch brief glimpses of brilliance but unfortunately, this CD is not the best showcase of what the band can offer. You’d wish that they’d be smarter and more careful in their CD programming in the future.

West Grand Boulevard
Waiting For You
[Universal]

by edharob

West Grand Boulevard have invested their hearts and souls into producing their debut album Waiting For You. This is apparent in the passion and intensity of the music that is unleashed in this 10-track album. Made up of members Jude, Daphne, Jon, Erik and Dharma, who are all in their late teens or early twenties, Waiting For You bears testimony to the growth of the local music scene over the past few years.

What started out as a pet-project of two studio-recorded songs for the band and their previous lead singer Bryan evolved into a full-length album when they were encouraged by Leonard Soosay (of Snakeweed Acoustic Labs) not to stop at two songs but to release a full LP instead. In spite of not having gigged together as a band prior to the album's recording, they decided to follow his advice and recorded a full album.

One year later, after numerous gigs and many hours spent recording at the studio, Waiting For You is finally out on the CD racks at all major record stores. It certainly does not disappoint.

The musicianship and technical virtuosity is unmistakable in their music. The band is TIGHT (with a capital 'T') – no doubt about that. This is unsurprising as each of the members is intensely committed to their craft. Word has it that Jon’s parents have had to impose restrictions on the length of his drum practise sessions so as to get him to engage in other activities as well. Singapore Idol 2004 finalist Daphne Khoo belies her small stature with a powerful voice that cuts through the music.

The other members are as passionate about music as they are about life and this is apparent in their occupations when they're not recording, jamming, practising or gigging. Guitarist Erik Evangelista for example, lives, breathes and works with music. He studies sound engineering at the School of Audio Engineering and works at Roxy Music when not attending music school; Dharma works full-time at Ebenex's, a guitar effects pedals boutique specialist... Enough said.

At first blush, the music is reminiscent of emo-punk/ alternative of bands like Jimmy Eat World and Penfold. However, the band does not identify with the title 'emo' as it tends to connote 'dark and depressive' music. They’d rather be thought of as 'unclassifiable' or 'alternative'. Nevertheless, labels and connotations aside, the music certainly does tend to be evocative of that former genre of music, albeit without the depressive element.

Some of the more notable tracks include 'This Just Fallen', the opening song on the album. It arrests the listener's attention with the strong pulsations, heavy bridge and catchy guitar riffs. 'Flights of Fancy' makes a soulful entrance with the vocal harmonies at the intro and eases in which the vocals meld into and reinforce the chord sustains on the guitar.

'Clarity' breaks away from the emo-stylized music with a simple guitar progression reminiscent of Chinese pop music. The sweetness of Daphne's voice rings out more clearly in this short song and pays tribute to the name of the song itself. 'Waiting For You' is a slow and intense waltz; the vocals are impeccably harmonized again in this song to a mesmerizing effect.

The quality and depth of music that is produced by musicians at such a young age makes one wonder at and anticipate the albums that they will produce in the future with added experience and greater maturity.

Bhelliom
Within Nowhere
[self-released]

by Lounge Lizard

The album opener ‘In The Arms Of Agony’ unsettles you immediately with sampled police alarms before lulling you back. The eerily gentle arpeggios sooths you; this instrumental piece provides a great juxtaposition with ‘Behind The Mask’ where Bhelliom launches its full on metal assault.

To me, ‘Illucination’ is the weakest song on this offering as it trudges along and provides no resolution in the end. While the band has recruited a new vocalist, bassist Joe spits out his guttural barks on the album. However, it seems he lacks authority in his delivery, sounding a tad unconvincing for this track.

However, the twin saving graces of ‘Stranger In The Mirror’ and ‘Images Of Torment’ defines Bhelliom’s style of melodic death metal. ‘Stranger In The Mirror’ chugs along with its intense and sledgehammer riffs before breaking into a groovy Ozzy Osbourne-esqueblues-metal outro and twin guitar harmonies, courtesy of guitarists Damien and Jaka to boot. The song is highly reminiscent of $uicide $olution.

In ‘Images Of Torment’, the band ups their ante by throwing out more angular riffs and double pedaling on the drums with Joe growling over the cacophony. Not letting up the energy level, the following tune ‘Agony’s Dream’ is a standard metal anthem, pile driving its unrelentless rhythms into your brain.

For an 8-track album, it’s pretty short, falling under 35 minutes. However, it’s a smart move on the band. By keeping everything short and sweet, the listener never gets tired out and goes back for more helpings.