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As is the case with many artists in all forms of art, Peter Moore has always shown a reluctance to be artistically inactive. In fact, he states quite memorably that the only time in his life when he was NOT writing songs was before the age of four and between the ages of seven and ten, the latter which saw him conform a bit to the conventions of childhood by pursuing football like the other boys on the playground. Afterwards though, he resumed his passion for music, one that was evident ever since he wrote his first song at the age of four. Like how some people feel distraught when they are unable to find time to work on aspects of life that have become previously habitual to them, Moore appears to be one of those individuals who would write dozens of songs even if there was no intended audience. There certainly is one for him though, as Moore has been active in prominent projects ever since he joined Think Tree (previously Psychotech) in the late ‘80s. The band saw only moderate financial success before their break-up in 1994, but managed to accomplish several feats like opening for Nine Inch Nails and appearing on MTV quite a few times in addition to a world tour. Moore’s big break, however, arrived when he formed Count Zero, thanks in part to a certain video game that involved a plastic guitar and plenty of falsified self-esteem.

While it may be true that most of Count Zero’s recognition derives from the two songs - “Sail Your Ship By” and “Radium Eyes” - that were featured on Guitar Hero and Guitar Hero II, respectively, it says enough of their structural delivery for a concise interpretation. Like most of the tracks on those two games, immediate accessibility with memorable melodic content is highly prevalent among his featured material. His solo efforts encompass little difference, as Moore’s ability to tread between various styles remains commendable and constantly riveting. In addition to his more eclectic qualities, the only glaring difference between his more perceived work with Count Zero and his eponymous solo material is the level of intricacy. While his solo work is actually quite the opposite of intimidating or inaccessible, the tracks on his debut solo album, One Ride, exhibit a broader scope than fans may usually be accustomed to. And while this larger sense of ambition may occasionally overwhelm itself in the midst of an album that is very much thematic, the successes outweigh the faults by a very large margin. The album depicts four characters in phone-based dialogues that portray the “cycle” of love in its entirety. Like the majority of tracks on One Ride, it serves neither distracting nor overwhelming and proves enjoyable for the most part. While his approach remains consistently within the realm of pop, his ability to overlap a variety of genres from the smooth seductiveness of soul and R&B to the catchy snappiness of power-punk is admirable.

Any attendees at one of Moore’s shows would likely tell you that he practically defines what it is to be a solo performer. I have not witnessed one of his performances myself, but it is apparently a very hands-on experience that sees him playing piano while simultaneously handling percussion and switching to a large variety of other instruments. It seems like a cross between Broadway, musical theater, and beatnik performance art; the show appears as an interesting fusion that invigorates many songs that were already enjoyable in their studio form. Speaking of studio form, the production of One Ride saw Moore exhibit the similarly individualistic qualities that he takes on in his live form. Apart from the effective use of strings and brass, Moore plays literally every single instrument on the album. Combined with the fact that he embraces nostalgic pop to a substantial extent, a comparison to the fantastic Bryan Scary is not all that distant. Comparisons found within One Ride itself, though, can tend to be quite diverse (just like the stylistic content). Easily the album’s most radio-friendly track, “If Heaven Ever Knew”, toys with a form of highly enjoyable power-pop that is instrumentally comparable to the likes of XTC while maintaining a form of structural accessibility that is more rooted in the alt-rock guilty pleasures of the ‘90s. It is simply one example of Moore’s excitedly eclectic nature on an album chock full of them.

Since I consider myself a sucker for soul and R&B tracks that are actually done the right way with the right influences in mind, my two favorite tracks on One Ride are “Sister Sunshine” and “Droppin’ Trou’”. The lighthearted “Sister Sunshine” begins with nothing more than percussion and a twinkling key progression, steadily complemented by an occasional bass line that precedes the subtle entry of a guitar. “Your love’s a gift for me, it shines like a Christmas tree,” he sings during the progressive chorus, an evidently enjoyable section of a track that capitalizes on an initially surprising degree of melodic diversity within its accessible demeanor. As best demonstrated during the bridge around 02:07, he is able to seamlessly make a vocal transition between high and low ranges of pitch to somehow find a stunningly suitable ground for his soul-laced stylistic aim; it is an aim that he accomplishes with no hesitation or desperation. Apart from the elements of pop during the first 30 seconds or so of “Droppin’ Trou’”, the remainder of the track reminds me of the smooth mixture of pop and R&B that the Paul Weller-fronted The Style Council achieved with such resounding success. Thanks to his stellar vocal ability, multi-instrumental talents, and highly prevalent passion for songwriting and performance arts, One Ride is a stellar debut album that should find Moore further recognition beyond the hordes of Guitar Hero-obsessed teenagers.

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Peter Moore - Sister Sunshine

Download audio file (pmor-sis.mp3)

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Peter Moore - Droppin’ Trou’

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Peter Moore - If Heaven Ever Knew

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The alleged fusion of contemporary and classical music has been a noticeable, if somewhat subtle, force over the past several years. For me, the first time I recalled an artist blatantly mentioning the mixture as an intentional component in his own work was when previously featured German composer Max Richter proudly used the tag “post-classical” to describe his music. It sounds simple enough in its phrasing: music with elements reminiscent of classical music in an accessible modernistic format. Sub-categorizing the sub-genre even more, we can also look at conventional and experimental artists within the field of post-classical. Conventionalists are often looked upon as artists who tread primarily in other genres - such as rock or pop - but implement classical instrumentation, such as symphonies or classically oriented rhythm sections. In the opinion of mine and many others, it would be an overwrought process to even group such songwriters in the field of post-classical. At its heart, the music remains within the initial genre with only a few select elements of classical music at hand. It is the experimental post-classical artists like John Cage, Philip Glass, Steve Reich, and even the recent Max Richter who make this emerging and evolving field fascinating. In fact, if done successfully like a few of the aforementioned composers, it can be one of the most unpredictably engaging genres out there today, even if its classification can be broader than some would like.

I have no particular method for finding artists to feature. In fact, a lot of them just appear out of nowhere out of some random occurrence. I found Portland-based Peter Broderick while writing my feature of Horse Feathers a month ago and scouring their MySpace for any relevant information. After reading that the young Broderick (only 21 years old) was usually half of the songwriting duo alongside Justin Ringle, I also noticed a link to his MySpace profile on the same page. I had known that he was previously a member of Norfolk & Western, but had no clue that he was already a budding solo artist in his own right. If it was not enough that he was already mentioned on this site twice already with his large role in Horse Feathers and player of saws and slide guitars for the previously featured Loch Lomond, his eponymous solo efforts prove most worthy for the third mention. When I looked at his MySpace about a month ago, I noticed that he had a new album, Home, that was going to be released, one that was apparently going to be a stylistic departure from his previous works. As most of his earlier material consisted of post-classical instrumentals, Home finds his music centered on the voice and guitar. Whether the album treads a fine line between post-classical conventionalism and experimentation is up to the listener, though I personally believe he has found the perfect mid-point for his style.

A notably gifted multi-instrumentalist since his teens who was already ahead of his years, it likely was no surprise to supporters and friends of Broderick when he moved overseas to Copenhagen, Denmark in 2007. Of course, a musically related expenditure was the reason. Efterklang, a critically acclaimed Danish experimental-pop collective that Broderick had been a fan of, saw his astute capabilities and grabbed him for their international tour. To play with a group of musicians that he idolized in Efterklang proved creatively invigorating in a sense, as he began pushing forth the production of his solo material. Debuting on Type Records, he released Retreat/Release and Docile in November 2007, treating listeners to atmospherically consuming piano compositions that were brought to life by enriching melodies contained within a lo-fi method of production that worked extremely well in context to his skills as both a songwriter and multi-instrumentalist. Docile was excellent use of such aforementioned post-classical standards, causing his instrumental compositions to be enjoyable for those even without a regard for classical music in general. Even prior to the September release of Home, the ceaselessly busy Broderick released another album, Float, in May of this year. His last release on Type before signing to Hush Records for Home, it was considered his first official full-length. I suppose this was due to its higher level of intricacy in both the instrumentation and melodic content as much as it had to do with album’s cohesive ambitiousness, but I still enjoyed Docile enough for it to be considered a full-length in my own mind.

Considering Broderick’s sheer prowess as a musician, I doubt that many believed his entire solo career would consist of one fixated style. He has certainly conquered the ability to demonstrate moods through music, whether it be on the barren but engaging piano compositions on Docile or the serene string-aided delicacies of Float, but many have been waiting for that certain stylistic shift in his solo material since the release of Docile. His newest, Home, brings what may sound familiar to listeners of one of his (several) other projects in Horse Feathers. He captures a form of hushed folk music that is simultaneously atmospheric and emotionally gripping, with both features brought on by his caressing vocals and impressive style of play. Like Docile, Home is primarily an instrumentally barren release whose greatest moments arise in Broderick’s talent as a songwriter. “I’m not in love, I’d like to say I never was,” he stubbornly convinces himself in “Not At Home”, a heartbreaking tale of love lost and realized that sees its peak come in a slight twinkle of keys toward the mid-point of a track subsequent to a slight melodic transition. “Below It” sees his guitar playing at its finest, while “Sickness, Bury” shows his aptitude for melody and stylistic innovation in what appears to be an Eastern-influenced effort. Such diverse content on Home makes it yet another winner for Peter Broderick, a fantastic musician who seems to get somehow involved in seemingly every notable folk act these days.

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Peter Broderick - Below It

Download audio file (pbro-bel.mp3)

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Peter Broderick - Sickness, Bury

Download audio file (pbro-sic.mp3)

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Peter Broderick - Not At Home

Download audio file (pbro-not.mp3)

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As October rolls around and the leaves start turning from green to brown, it has become a realization for me that my transition into a more urbanized environment has its own perks and disadvantages. I have been in DC for about a month and a half now, exploring the city in small doses as I see which venues and local acts are worth checking out. I am taking the maximum amount of credits available at AU, so classes have caused me to attend less shows than I would have liked. Still, I only have two months left of this hectic schedule until winter break commences. After that, my spring semester should give me plenty of more time to explore the city and the activities surrounding it. Work has been arduous and lengthy, yes, but working continuously on this site is something I have always enjoyed. That being said, I am glad to be visiting New Jersey again this weekend for a little break; it will be great to see family and friends again in a relaxed atmosphere. So, everyone have a great weekend and enjoy the compilation.

01. Benoît Pioulard - Idyll (post)
02. Neimo - Lines (post)
03. I am Robot and Proud - Uphill City (post)
04. Horse Feathers - Curs in the Weeds (post)
05. Land of Talk - Some Are Lakes (post)
06. Jesse Sykes and the Sweet Hereafter - In the Summertime (post)
07. Thunder Power - (Why Don’t You Go) Take a Hike? (post)
08. Olga Kouklaki - How Do You Feel (post)
09. The Gentle Guest - Down at the Still (post)
10. Sparkadia - Jealousy (post)
11. Those Dancing Days - Run Run (post)
12. Vic Chesnutt - And Now (post)
13. Max Tundra - Which Song (post)
14. The Happy Hollows - Lieutenant (post)

DOWNLOAD ENTIRE COMPILATION>>> (54.9 MB, .RAR)

The aspect of collaboration can be a touchy subject for some artists. Some prefer to languish in their own solitude, crafting songs that are entirely their own with little to no help outside the spectrum of production and mastering. Others, however, discover that pushing the boundaries to make their music as fulfilling as possible may involve bringing in a helping hand or two, even if a bit of individuality is sacrificed in the process. Perhaps it speaks to his level of experience, but Vic Chesnutt has been known throughout his prolific career as a songwriter and performer to show no reluctance in enlisting other talented individuals to supplement his own material in complementary form, all while maintaining his large doses of originality and commitment. As someone who has worked periodically with the likes of Michael Stipe, Emmylou Harris, Lambchop, and Bill Frisell, it appears as if he has also had access to some of the best in the biz ever since he surfaced in 1990 with his debut album, Little. That album, along with its follow-up West of Rome, was produced by Stipe, a native of Georgia along with Chesnutt. Following the two’s first meeting during one of Chesnutt’s solo shows in the late ‘80s, Stipe had encouraged him to lay his tracks down on tape after being impressed with his initial offering. Now, after over a dozen releases and 18 years later, he is one of the most respected songwriters to come out of Georgia.

I am sure that many of you may regard any “one of the most respected” tags with little merit, as a statement like that often comes off too subjectively to be held with much regard. So, in this case, I will just let the artists do the talking. I understand that the concept of a cover album has been debated over tirelessly in the past, but when the proceeds go to a great cause, what wrong is there in it? When artists like R.E.M., The Smashing Pumpkins, Garbage, and even Madonna contributed toward the cover album, Sweet Relief II: Gravity of the Situation in 1996, all proceeds went to the Sweet Relief Fund, a non-profit charity that aids professional musicians who are in dire need of medical care. As for the songs they were covering, it was none other than the material of Vic Chesnutt. Now, here were a few of the most popular artists in the world at the time – R.E.M., The Smashing Pumpkins, Hootie & the Blowfish, Madonna - covering Chesnutt’s songs in the midst of their prime; it was a grand gesture that signified both their respect for the person and musician that Chesnutt is. Paralyzed from the waist down since the age of 18 when a tragic car accident occurred, it brought awareness to both the struggles of medical care and the brilliance of Chesnutt’s songwriting.

Considering that such respective artists contributed toward the cover album in the mid ‘90s, a period when they were literally selling out arenas, it simply proved from a musician’s perspective that Chesnutt was the real deal. They needed little in the form of financial compensation or recognition; their desire was to simply expose Chesnutt’s work to their own broader masses of fans. The cover album was released during an appropriate period as well, as About to Choke, his fifth solo album, was released the same year to arguably his most prevalent form of critical acclaim yet, undoubtedly also aided by the fact that he was now on a major label (Capitol Records). His 1998 follow-up, The Salesman and Bernadette, saw a similar reception, with tinges of soul and jazz being highlighted by an expansive horn section (complementary of Lambchop) that contrasted excellently with his usual fare of poetic country-rock and folk. As is often the case with creative independent artists, a lack of sales caused Capitol to drop him. This was hardly discouraging to him though, as he quickly found a new label and proceeded to release six excellent albums throughout the following eight years. To be honest, with the new release of Dark Developments included, Chesnutt has put out 12 solo albums and not one is even slightly disappointing.

For his newest and twelfth solo release, Dark Developments, Chesnutt has once again teamed up with a talented collective of musicians to further supplement his continuously invigorating material. This time, it happens to also be in the hands of E6 favorites Elf Power, a group that hails from Athens, Georgia, just like Chesnutt. Alongside guitarist Curtiss Pernice, the seven-piece resumes their normal instrumental displays on an album that proves to showcase more captivating songwriting from the storied Vic Chesnutt. Though many songs like “And How” and “Teddy Bear” remain accessible with their conventional structures, all maintain a sense of ambition that is prevalent in the melodic shifts and ambiguously provoking lyrical content that Chesnutt is able to convey. “And Now” is a fun pop-laden effort that sees a remarkable melodic transition around the 01:30 mark with a twinkle of keys and the slight undercurrent of a trombone. “Who, what, why, where, and when?” Chesnutt asks as the track reaches its conclusion, questions that are likely to be asked if his vaguely incorporated lyrics are attempted to be investigated. “Teddy Bear” toys around with a slight reggae progression to establish one of the catchier efforts on the album, complemented superbly by the whirring of Laura Carter’s trademark Moog as Chesnutt repeats “he ain’t never coming back” before a beautiful guitar bridge occurs. From the haunting 7-minute epic “Phil the Fiddler” to the eerie harmonica-led ballad of “Mystery”, Dark Developments is yet another stroke of brilliance within the ceaselessly growing discography of Vic Chesnutt.

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Vic Chesnutt - And Now

Download audio file (vches-and.mp3)

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Vic Chesnutt - Mystery

Download audio file (vches-mys.mp3)

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Vic Chesnutt - Teddy Bear

Download audio file (vches-ted.mp3)

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