Snow Patrol's "A Hundred Million Suns"

Album: A Hundred Million Suns
Artist: Snow Patrol
Label: Polydor/A & M
Released: October 28, 2008
Rating: 7 out of 10
Review by: Stephanie Kiernan


Don’t expect to fall in love upon the first go around of “A Hundred Million Suns” – I’ve personally renamed Snow Patrol’s fifth album “A hundred million Starts” since that’s about how many plays it took for me to warm up to it and wipe off its monochromatic veneer.

Nevertheless, despite the repeated starts of the album in my car and on my iPod, it eventually wedged itself into my psyche. Irish-Scottish ensemble Snow Patrol resumes their clean-cut, soft-alternative sound, while lead-singer-lyricist Gary Lightbody fortifies the band’s tried and true post-Coldplay formula for a perfectly pleasant offering without any surprises.

And while surprises might be vital in satiating the iPod generation, Snow Patrol’s music is nevertheless cheerfully alternative, in addition to having the underpinning of distinguished Irish Producer, Garret “Jacknife” Lee; who’s pixie dust has illuminated other alternatives like Weezer, Kasabian, The Hives, and Bloc Party.

“A Hundred Millions Suns” stamps out 11 sashaying originals, including sixteen marathon-minute “The Lightning Strike” which swoons and flares with echoing high-tempo. Snow Patrol has mastered mellowness with extractions like track 7, “Set Down Your Glass” and track 8 “The Planets Bend Between Us” and yet plodded optimism strikes through “Engines” – a highlight of the release.

This Snow Patrol offering would make a decent Christmas stocking stuffer; just add this review disclaimer to the wrapping.

The Kathleen Edwards' article

So this past Friday, May 16th, 2008, my article for Kathleen Edwards' latest release Asking For Flowers, was published in The News. I'll publish the full review here and make one thing clear: I would NEVER write or describe anything as "genuine gems". That's editing for ya.

Couple of things before the article. First, her official website is really quite lovely. Check out kathleenedwards.com

I found a great photo shoot collection of KE on Flickr here.
Then I found what just may be Kathleen Edwards' own Flickr Site HERE.


This is the unedited, unprofessional version.

Artist: Kathleen Edwards
Album: Asking For Flowers
Label: MapleMusic Recordings
Rating: 8 out of 10

Kathleen Edwards is a musician with a flair for thrashing the monotony of modern-day, anesthetized country music. She’s young, she’s severely talented, and she’s the exact opposite of music’s mainstream. She’s proved herself for a third time with “Asking For Flowers”, a jagged country-alternative album laden with slide guitar, pedal steel, harmonica and piano, all christened by Edwards’ not so perfect but ever provocative voice.

Born only a blink of an eye ago in 1978 in Ottawa, yet Edwards is as confident and reflective as Lucinda Williams. Her radiant 2003 debut album “Failer” wildly transcended the country and folk genres like a bucking bronco. Five years on and still wise beyond her years, these eleven new songs are genuine; heavy with murky, poetic lyrics, all delivered hard with plaintive, true-grit intent.

In the studio she’s taken on co-producer role along with Jim Scott and extolled a pioneer posse of backing musicians. These include Keyboardist Benmont Tench (from Tom Petty’s Heartbreakers), pedal steel ace Greg Liesz (feature musician for Wilco, The Jayhawks and Lucinda Williams), Don Heffington (Bob Dylan’s lineage) and of course her husband, guitarist Colin Cripps, all contribute to this wonderful creation.

From the very first line on the very first track, Edwards establishes certain sentimentality as she wisps “The summer months left me alone/But the fall rolled in on the back of a storm”. With a pesky beat, “The Cheapest Key” is in second position; an alphabetized litany of complaints and objections to perhaps an old boyfriend. But the unquestionable stunner of the album is its unyielding coda, “Goodnight, California”, where Edwards has never sounded so good.

-Stephanie Kiernan, 5/16/08

New City And Colour - an acoustic folk reverie

Artist: City & Colour (Dallas Green)
Album: Bring Me Your Love
Label: Dine Alone Records
Release Date: February 12, 2008
Rating: 8 out of 10

In the complete opposite vane of Dallas Green’s Alexisonfire incarnation, City And Colour releases a second solo album, Bring Me Your Love.

This album is radiating of velvety acoustic authenticity, exceeding the 2005 effort of “Sometimes”, Dallas Green delivers an acoustic-folk reverie that’s bursting with his heartfelt narratives of love, loss and the human condition.

Along with that, the instrumentation is more sophisticated - burrowing down and lifting off with echoing string the odd whiff of Bob Dylan inspired harmonica and banjo. Bring Me Your Love is unpretentious, trustworthy folk-roots based and without a song to dislike. The immediate loves would include “Waiting”, “Constant Knot” and “Sleeping Sickness”, which begins inconspicuously before the tempo is carried up by a hand-clapping chorus, then the recognizable vocal of Gord Downey swaggers through the third verse. Downey’s cameo demonstrates stirring approval of this young Saint Catherine’s talent.

Listening to the City And Colour recordings I feel as though I’m back in the open air of the Malkin Bowl amphitheatre, beguiled by the purity of Dallas Green’s voice and washed away by gentle sashaying guitar. The 2-minute opening track Forgive Me immediately gives that off and as un-commercial as City And Colour is, Jack Johnson might aspire to cover “Against The Grain” or “The Girl” in a live set.

The order of the album is part of Green’s great intuitiveness. Songs fall into place effortlessly and the final track “As Much As I Ever Could” is as soft as silk, transporting the line taken for the album title, bring me your love, to a diaphanous lullaby - until that is, its abrupt end and your iTunes library barrels in The Clash’s Combat Rock.

-- Stephanie Kiernan

k.d. lang's latest recording, Watershed

Watershed Review (published February 15, 2008 North Shore News)
- Stephanie Kiernan \Rating: 7 out of 10

It’s two years short of a decade since k.d. lang gave way to writing and recording her own music, she now comes to us at the age of 46 without frills, props or stunts, pouring forth Watershed – a collection of 11 original songs.
Whether a case of artistic drought or a self-imposed retreat, there is something more innate and profound yet to be unearthed within her mellow scale and tune. Perhaps it’s her found spiritualism as a Buddhist that accentuates the sincerity of these pieces.
Watershed gently trickles through restrained, tolerant and mild sounds that leave little trace of our Prairie prancing cowgirl. Kathy Lang emerges soulful from her quiet L.A. existence to write, perform and even produce her latest endeavor that will take her on full tour of North American dates including an impressive three-night stand in New York – not too shabby.

From the frisk and frolic of Invincible Summer to the honour of reminiscing Canadian classics on Hymns of the 49th Parallel, not to mention the duets with the iconic Tony Bennett, k.d. lang still reminds us of a throw-back of sorts.

What seems to make this album tick is an inconspicuous blend of all her incarnations – but all softening of edges. Tender jazz influences like the bossa nova reverberation gelling with steel guitar and rustic banjo, plush piano and string congealing magically with her distinguished vocals. From the push off of track one, I Dream of Spring (her confessed personal favorite) melding into Je Fais Le Planche and Coming Home, it’s subdued delivery that is uncomplicated and natural; just as our homespun chanteuse has become - at ease and comfortable in her own skin, unpretentious and ever humble.
Whatever her secret in maintaining such strong appeal, Watershed melds and drifts across a Sunday morning playlist like a meditation, easily absorbed through the most brittle of senses.