Rachel Garlin- Wink at July

Rachel Garlin- "Wink at July" LP  (2015/Tactile Records)

a review by Nat Bourgon

December 18th, 2014

I recently discovered an artist with a mountain of charisma, a truckload of truth, and a boutique of beauty to offer the world. Rachel Garlin’s songs are poetic sheets of wisdom, filled out by guitar work that flips on a dime between delicate and steamy, and a sensually charged voice you will never forget.  Fifteen years into her career as a recording musician, and seven years removed from her previous LP (2008’s “Bound To Be Mountains), she has re-emerged with “Wink at July”, the most ace declaration of her lyrical and musical gifts to date.  Her new album “Wink at July” (Tactile Records) finds her enlightening her muses beyond their most hopeful postulations, finally and fully divulging her songwriting smarts, vocal aptitude and guitar finesse. That she presents her art in an amicable compromise that lands somewhere between swaggering pride and graceful modesty only raises the album’s profile.

Rachel Garlin’s musical compositions are that rare find that I spend years crawling the infinite abyss of the internet for. Her words compel me to become a better writer; to up the game of my craft. She keeps her language approachable and indispensible, yet she parcels words together in unorthodox, surprising contexts that take sentences to exciting new places. I blush at how she demands simplicity to co-exist with complexity in both her lyricism and guitar playing. I am in awe of the mastery she exhibits with utilizing her voice to convey a variety of different spheres of emotion and expression. 

Leadoff track “Gwendolyn Says” launches with an emphasis on percussion. There is a pop punch to this sound that marks a decided departure from the more insular, sullen feel of her folkier sounding past output. Vocally she sounds as though she is having more fun than ever before. This is song designed to raise spirits, as if to announce that this is a more vibrant, celebratory collection than the Garlin tunes of yesteryear.

Garlin somehow manages to cast good vibes into her most melancholic offerings. Her songs urge me to take stock of the social landscape of my life, in the present tense. When I listen to "Accordion Song", I feel connected to conversations that I recently had with new people in my life. Listening to Rachel Garlin sing and play her guitar, I feel as though I am receiving validation for living purposefully. I feel as though this song is providing me with a firm nod of approval, that I am inching closer to achieving my goals, cementing the bonds I have with people in my life, and becoming the person that I want to be. This tune makes me feel profound, important and in motion, and for that, I am grateful. 

The guitar line on "Accordion Song" has sizeable strength. Her lyrics communicate great vulnerability and have a commitment to being real without sugarcoating her tribulations. Lyrically, the song captures the unpredictable, roundabout cycle of loss. It showcases how even the most minor moments and unrelated conversations can trigger memories of a beloved person who is no longer with us.

“I’m sorry I was not stronger when I saw you

Instead I only wanted to cry

Hearing about your dad, I admit

Got me thinking about mine

You were looking slight and small

Beside the writing on the wall

Our meeting here was supposed to be benign

And I thought I would be stronger when I saw you

Instead I only wanted to cry”

(Rachel Garlin- Accordion Song)

(from “Wink at July”- Tactile Records- 2015)

The song is both confessional and courageous, honouring her signature ability to touch hearts while challenging ears. Piano flourishes fizzle in and out, like marshmellows being grazed into a bonfire for a split second, only to dash away from the heat a millisecond later. Her voice has a soothing glow to it, which gives the tune a celebratory feel even as the subject matter is inherently personal and peppered with sadness. 

“Hey Keith Haring” unveils a rawer version of Garlin.  Sprightly guitar comes to the fore here. Rachel Garlin enunciates her philosophically infused musings in a way that leans closer to speaking than singing, stretching our perception of what the human voice can do and be. The more lo-fi production adds a flair of daring mischievousness into the mix. Garlin sounds as though she is transmitting a gigantic grin to us throughout the course of this song. Garlin manages to avert the dangerous risk of leaving her emotive side behind. In the hands of another, it could have felt like a disingenuous and less impactful move.  Luckily, Garlin’s joshing tone refrains from feeling campy or spoof like. It is just a transient glimpse at another side of this multi-pronged artist. That this side is can be so deft despite being so different is further evidence of her artistic cultivation and blossoming with this album.



"The Sea You See" employs a whispery vocal release, and lingering, drawn out phrasing to angelic effect. There is something transcendent and otherworldly about the way her voice opens your love values up wider than you thought they could stretch. Her singing is deeply spiritual and restorative, coming from a higher place of unfathomable purity and honesty. Her striking imagery in "The Sea You See" is indebted to her passionate, fruitful relationship with the natural world. The song is proof that a track can be so earthly and yet also elysian, enhancing (without denting) the legacy and importance of both of these stratosphere in our lives.

“I know how to walk a tatty field

To find a berry in the brambles

And I know how to dance a fearsome eight-some reel

I know how to make a shepherd’s pie

And hear the sound inside a seashell, yes

I know how to play a Burns lullaby

But though I got your eyes, I cannot see

The blue behind your gaze

When I see you see the sea you see

Beyond the ocean waves”


(Rachel Garlin- The Sea You See)

(from “Wink at July” - Tactile Records- 2015)

“Colorado Rain” has a more countrified demeanor. It also finds Rachel Garlin singing in a lower octave, showcasing the deeper, raspier side of her voice. Garlin wisely never completely surrenders to twang, as her insertion of a jazz sounding piano ensures her genre-neutral stance remains in good standing. Her voice wavers in tone throughout the song, moving from near euphoria to peeved and back, evoking a diverse compartment of catharsis and its freewheeling, all over the map process.

“Flying Together” is an advanced time capsule, custom made to retain the palpable path of the present tense. The minimalism of her introspective, bare sounding material from her first few albums glistens endearingly into focus, albeit with the newfound sense of refinement, sophistication and maturity that comes from making the album of her life (this one). On “Flying Together”, her lone acoustic guitar sounds less isolating and sterile than it did in 2002; this time, snug calamity prevails over despair.

“Spin” is for the dancing machine in you. It is for those times when you just want to press pause on your problems and groove to the beat. Garlin sounds energized and determined, like a teacher blowing the bubbles of possibility in his or her students’ faces.

“Stranded” thrusts the piano into a starring role to sublime effect, creating a dazzling décor of sound. One of the most eloquent and profound songs on the album, it is elevated by the most breathtaking vocal take of Garlin’s career.

The album’s finale (and title track), “Wink at July” is a culmination of Garlin’s finest points. An instrumentally riveting, lyrically active song brimming with a vocal clarity and indie DIY vibe, "Wink" features some muddy distortion, a soaring melodic maneuver and heartfelt words that leak out like the linear notes of Garlin’s inner self for all to see, “Wink at July” is the album’s longest track on the album for a reason: it is the release’s most poignant and assured track on an album chalk full of poignant and assured pieces.

In her new album “Wink at July”, Rachel Garlin has crafted an artistic achievement worth savouring and salivating over. A high water mark in not only her career, but also for music in 2015, Garlin’s “Wink at July” is the sound of an artist no longer flying (like she proclaims in “Flying Together”) but soaring. In 2015, let’s all soar together with “Wink at July”.


Check out  "Wink at July" on Rachel Garlin's bandcamp site here: http://rachel-garlin.bandcamp.com

The album can be purchased on bandcamp in cd/digital formats. Help support this phenomenal artist if you can! 

Mirah- Changing Light

Mirah- Changing Light

A record review by Nat Bourgon

May 13th, 2014

When the term “breakup” is uttered, the words “shattered”, “unhinged” and “broken” often combine to fill in the rest of the blanks. In a relationship, a person often builds a safe haven that feels untouchable, and empowering.  When a breakup ensues, this safe haven suddenly becomes much less safe.  These themes were bottled in a stunningly beautiful 2011 Mirah song entitled “Spaced Out Orbit.”

After experiencing a major breakup, and five years removed from her last proper solo record “(A)spera”, it would have been a textbook move, and an understandable and acceptable move at that, if Mirah’s new album “Changing Light” decided to elaborate on the large barrel of emotions at work in the crumbling of interpersonal relationships. We would have surely succeeded to ten songs of her trademark trembling commiserating, and grave lyrical connotations set to downbeat guitar pickings, so long as they were peppered with that thermal, peerless buzz that is her voice.  But "Changing Light" is a way braver record than anticipated both sonically and lyrically, as caustic chaos and hopeful intent mingle to staggering effect.

“Gold Rush” is a standout track for the way it is so quintessentially Mirah: simultaneously desolate, frenzied yet somehow consoling.  “Gold Rush” honours the otherworldly atmosphere of her 2011 song “Spaced Out Orbit” and manages to make something that expands on that template, and actually one ups it in both allurement and artistry.  Yet, the moments of classic Mirah such as "Gold Rush" feel special and earned, since they are more anomaly than tradition on this new record.

Indeed, "Changing Light" is the sound of an artist breaking free of habituation, wanting to expand beyond her past musical triumphs yet acutely aware of the intricacies of her gifts and strengths and willing to apply them to her newly spawned creations. "Changing Light" excels as an album on account of it being more of a document of a relentless dreamer, rather than the tears of a crushed singleton reminiscing about being coupled up. 

“Oxen Hope” has a delightful unruliness about it, meticulously mirroring the prickled landscape of a stinging breakup. Mirah lives up to her album title by remembering that in order to have “Changing Light”, you can’t forget the light.  Indeed, with lyrics like “We thought we knew we wanted what we had/But you busted your side of the yoke”, Mirah should be applauded for clinging tight to her playful instincts, amidst the inner turbulence and woes.  (Mirah- Oxen Hope- Changing Light- 2014).

Transitioning discontent to imaginative solace is a taxing labour, yet Mirah manages the feat on multiple occasions throughout "Light." 

Opener “Goat Shepherd” has a rock-oriented spine, alternating between being raw and inventive. A spiky and flavorful tune that defies the limitations singer-songwriter music is often held privy to, “Ghost Shepherd” definitively proclaims that there is no “(A)spera” redux in the cards: It proudly announces that “Changing Light” leaps down a novel path.

“Turned the Heat Off” is chipper and spirited, in the vein of the best Coldplay anthems, but even better thanks to Mirah's earthy, DIY aesthetic in tow. 

“Fleetfoot Ghost” is a sensual and intimate serenade that depicts the spark of love being spearheaded.

“24^th Street” has determination and rejuvenation at its core, evoking a soaking wet but refreshing oceanic wave splash.  The song advocates for the value of motion , even without a fixed destination in mind.

Ultimately, "Changing Light" is the most varied, poignant solo album of Mirah's fourteen year career, thanks to its realized conviction to paint (with sounds and words), a visceral image of the intense impact intimacy and connectivity can have on a person, rather than pass pointed judgment about the past. "Changing Light" thankfully finds Mirah accepting and moving forward with her wounds rather than aggravating them. She hits the long-awaited middle ground between maturity and restlessness. "Changing Light" seems Mirah mature enough to use the restlessness as a gateway to change, and restless enough to continue to reach, grow and dream, making it her meaningful, crucial memo to the human condition, and her finest record to date.

 

Hart of Dixie 3x12 thoughts

You know what made me really happy about 3x12? Brick and Zoe scenes! A big part of the reason Zoe moved to Bluebell in the first place was because she was wanted to work on improving her sense of empathy, and connectivity with others. In the time since Zoe has been in Bluebell, she has wrestled with recurring insecurities and an inability to navigate and foster long term relationships without conflict. Yet, she has grown, and evolved as a human being, She is more connected to other people now, and she has developed (in Season 3 especially) a sense of self confidence and pride in herself and who she is. I think that although being in a stable romantic relationship with Joel is part of it,an even bigger part of this self betterment determination and desire to learn more about her own self and try to be the best version of herself comes from her friendship with a certain Dr. Brick Breeland.

Did anyone notice how in 3x10 (Star of the Show), Zoe had such a sense of self-assurance and determination in her pursuit of running the cabaret. I think she was so determined because she told Brick that she could successfully run the cabaret, and she wanted to live up to the trust that he supposedly initially placed in her. Even though the trust Brick placed in her turned out to be not trust but instead a lack of trust (he lied to her), it doesn't change the fact that Zoe wanted to be the best cabaret director Bluebell had seen, in part because she was facing a situation of accountability to Brick.

Now in 3x12 (last night's episode---Should Have Been a Cowboy), did anyone notice how adamant Zoe was that she could win her bet with Brick? Did anyone see the way Zoe's eyes lighted up in a way we don't always see, when she was in the midst of making and attempting to win her bet with Brick about health and wellness week? She not only wanted to win the bet, but she wanted Brick to see her as the most passionate, eager, fearless, and enthused version of herself. Zoe sees these qualities in her ideal self. These are all qualities that Zoe possesses somewhere in her inner workings, but again, last night, we witnessed that it is Brick Breeland that is the one that knows how to light a fire and get those qualities to emerge more frequently. You see, in her friendship with Brick, there is a sense of accountability in her choices and actions that she feels she has to face. Brick always gets her to try harder, be a better person, and grow and evolve, and even though she gets annoyed and irritated sometimes that he demands more from her, Zoe knows deep down that she benefits immensely from their friendship, and that he is right to push her the way he does.

3x10 and now 3x12 continues to show us that Zoe Hart is her most lighthearted, fun, and authentic self in her friendship with Brick, and Brick continues to find joy and fulfillment in pretending to a brat to her but really doing so out of friendship affection, and a desire to want to her to be the best she can be! Brick also benefits heavily from his connection with Zoe. He doesn't seem to have a lot of close friends in Bluebell. Zoe has become his confidant. In Zoe he has someone to talk to about the stuff that Lemon wouldn't want to hear about or wouldn't understand. His friendship with Zoe gives him an outlet for him to be his own brand of goofy and sincere. e already admitted earlier this season that he likes having her around the practice, and I think for Brick, Zoe allows him to stay young at heart. Brick secretly at first (now not so secretly!) enjoys the humour, and playfulness that Zoe brings to his life. Love their dynamic and in my opinion, the writers deserve major props for recognizing their gem of a friendship, and making an effort to give them more scenes in the first half of season 3 than they got in all of season 2!

Johanna Warren- Fates

Johanna Warren- "Fates"

a review by Nat Bourgon

January 25th, 2014

Wisdom, sophistication and truth: An array of qualities that work together in syncopation to reveal not only what we love about music, but also why we turn to it. These qualities ally together seamlessly  on ‘Fates”, the exquisite debut solo offering from twenty-five year old multi-instrumentalist/songwriter Johanna Warren. 

Moody and provocative with a flair for subtle experimentation, “Fates” creates a stirring ambience that is brisk but never broken.  Warren’s songs walk the line between the soothing light of dreaminess and the scars of reality that come from being brave enough to experience, feel and truly live. Warren is a peerless guitarist. She voyages through varying paths unpredictably, yet clings to her tight melodic inclinations with perpetual aim and intention.  Johanna Warren’s croon is at once angelic and earthy.  Her colourful, sincere vocal enunciations hover over the minimal, intimate instrumentation with an easygoing, inobtrusive glow. 

Opener “Both Words” is a masterful display for Warren’s affinity for songwriting. A cool, breezy texture is delightfully contrasted with Warren’s dark-tinged words. The song is fleshed out with the inclusion of some sleepy, lulling piano flourishes courtesy of Bella Blasko. On standout “My Storm”, there is ingenuity in the way Warren’s acoustic guitar picking conjures a complex emotional landscape, that is equally apprehensive and serene.  “To the Bone” is a hopeful, restorative illumination, which attests to the earthquake-like jolt of love: the way love impacts and affects us.  Warren’s playful clarinet leaps about purposefully, adding smidgens of warmth and joyousness to the tune. The presence of her flute, especially on the ominous, trippy “Woods”, leaves a perturbed, exasperated mark. “Woods” is a harrowing, tragically informed composition that is musically wayward and lyrically mournful. Penultimate track “Past Tense” is a showcase for Johanna Warren’s entrancing, spiritually laden vocals, which are given ample space here to surge into greater earshot. 

How fitting that on a record called “Fates”, Johanna Warren makes a spot on prognosis of my recent fate. In the final seconds of sophomore track ‘We Fell”, Warren utters her feelings:  “You fell into my life like a coin in a wishing well /And I fell silent as a snowy field and instantly under your spell” (Johanna Warren- We Fell).  From the moment I first heard Johanna Warren’s record “Fates” and onwards, I have shared this sentiment of hers:  I too “fell…under (a) spell”…the spell of her breathtakingly poignant, affecting, passion infused music (Johanna Warren- We Fell). “Fates” is a stunning debut: a spellbinding, complex, poetically rich, genuine record, from an inordinately talented, first rate musician. Expect to find Warren’s name etched permanently alongside the chief songwriting greats in a pinch of time.