REVIEW: Shawna Lenore & Darrell Kastin "Mar Português"

Besides the obvious, the father-daughter duo of Darrell Kastin and Shawna Lenore have a great deal in common.  Kastin, a Los Angeles native, is an author of novels, short stories and poetry, as well a musician and composer.  The Undiscovered Island, a novel written by Kastin, was published in 2009 while he also released a CD, Lullabies for Sinners, in 2007.  Lenore shares her father’s literary and musical talents and passions.  A graduate of Smith College and a singer, poet and writer, she is in the process of furthering her literary skills and credentials at the Vermont College of Fine Arts.

Recorded in one week, Mar Português is a collection of poem-songs sung in Portuguese and represents a convergence of these gifts and passions as the love of music and poetry are joined in a unique collaboration.  A point worthy of mentioning is that Elisabeth, Kastin’s wife and Lenore’s mother, is Portuguese, thus inspiring a love and appreciation for Portuguese literature, music and culture.  In the spring of 2010, Kastin and Lenore traveled to Lisbon to work on the project with Pedro Barroso, a legendary songwriter, musician, singer and producer, along with his group of consummate musicians.  The result is so natural, fluid and complete that one would think Barroso is Kastin and Lenore’s long lost brother and uncle, thus making Mar Português truly a family affair.  Characterized by stark beauty and a balance of old world flavor and timeless relevance, most of the songs on this project clock in at around three minutes.

For those unfamiliar with the language, all of the Portuguese poems (either written by Fernando Pessoa or Florbela Espanca) used on Mar Português were thoughtfully translated into English and printed in the accompanying booklet.

“Mar Português” (Portuguese Sea),” the pensive title track, allows Lenore’s voice to glow, showcasing its heartfelt and expressive resplendence.  With spartan accompaniment, including piano, guitar and cello, the song serves as a fitting introduction, easing the listener in.  The haunting beauty of Miguel Carreira’s accordion, along with guitar and percussion, make for a soothing rhythmic mixture on “Voz Que Se Cala” (Voice That Remains Quiet).”  As she caresses each note, Lenore brings Espanca’s poem to life, projecting an emotional connection with its love of nature and the deeper meaning found in its nuances.

“Conto de Fadas” (Fairy Tale)” with lyrics translated as, “My gestures are like the waves of Sorrento / I bear the letters of a flower in my name / It was from my blue eyes that a painter / Took the light and painted the wind,” is yet another example of the evocative and intriguing poetry brought to life with Lenore’s gorgeous voice and sparse yet fervent musical accompaniment.  “Dom Sebastião” and “O Nosso Livro” (“Our Book”) feature Barroso’s wonderfully rich baritone which contrasts beautifully with Lenore’s voice, the latter of the songs being a lovely duet.

Mar Português also features three hidden bonus tracks, the final one serving as Kastin’s (English) spoken message of his vision for the project, gratitude for all who participated and encouragement for listeners to explore Portuguese literature and culture.  This, along with having all of the poems/lyrics translated, offers a hearty welcome for the uninitiated.  For what it’s worth, fans of bands such as Plumb and Evanescence’s Amy Lee may indeed notice a connection with Lenore’s vocal talents and the mournful winsomeness reflected here.  Whether Plumb or Lee are directly influenced by Portuguese music, such as that contained on Mar Português, is something interesting to consider.  What is certain is the father-daughter duo of Darrell Kastin and Shawna Lenore, along with Pedro Barroso, have created a beautiful recording, full of austere yet refined melody, texture and lyrical depth.

To purchase, click here:  Mar Portugus/Portuguese Sea

Review by Mike Roots
Rating: 5 Stars (out of 5)

REVIEW: Omar Domkus "Shades of a Shadow"

Bassist Omar Domkus is a journeyman of sorts, having played in the band Cygnet in the 80′s and then co-founding, performing and recording three albums with punk rockers Scaterd-Few in the 90′s.  Other stops along the way with Scaterd-Few have included backing legendary Bad Brains vocalist HR on a tour in support of his 1990 release, Charge.  A couple of years later, Domkus would play bass on HR’s single “Rock of Enoch.”  For several years, the Phoenix-based musician took a break from performing to spend more time with his wife and their three children.  During this period he gradually returned to playing and writing, but it wasn’t until 2008 that he performed again in public.  After joining with his brother Allan at a San Diego venue for an off-the-cuff exhibition of Scaterd-Few material, he felt the itch to perform once again.  Over the next couple of years, Domkus performed at open mics in the Phoenix area, refining his sound and developing his craft even as he continued to write new material with on his fretless bass.

Shades of a Shadow is the richly varied, yet interconnected trove of songs that make up Omar Domkus’ solo debut album.  Drawing on spiritual inspiration from a Messianic Jewish perspective and themes of social justice, and incorporating elements of jazz, folk, rock and world beat, it’s difficult to pigeonhole, yet quite listenable.  The foreboding “Alarm” sets a serious tone with what sounds like bowed bass, shofar and the occasional trickling of water.  The effect is as inviting as it is ominous, perhaps serving as the clarion call of the watchman.  “Shema,” based on Deuteronomy 6:4, sustains the spiritual theme with chants and simple yet melodic singing.  Musically, the warm, fluid tones of Domkus’ fretless bass along with sparse percussion create the right atmosphere and tapestry for this primal expression of praise.

With the contribution of Ian Baird on percussion, the instrumental “Shades of a Shadow” has a mellow Middle Eastern vibe with its snaking bass lines and gentle rhythms.  With the surprising flair of Asian pop, “Tiananmen Square” features the lovely syncopated and harmonized vocals of Trinka.  With lyrics such as, “Crying with the voice of freedom / While the people’s army marches on to enslave their own,” the message here is as relevant today from a global standpoint as it was during the 1989 protests and tragedy that inspired this song.  “Tiananmen Square” offers evidence that rather than insisting his bass be in the spotlight, Domkus is content to be a supportive sideman.

Employing a rather percussive approach to the bass, the fittingly titled “Perceptions in the Mist” features Domkus’ single note lines as well as what sound like chords.  Baird’s sensitive yet lively percussion meshes beautifully with the bassist’s fretless alchemy, highlighted by gorgeous bridge-like passages.  Domkus waxes poetic on the folk rock composition “Little Man,” with its poignant lyrics of observation and contemplation.  Lush organ, strumming guitars, bass, and hand drums provide supple backing for his tender voice.
On “Aishes Chayil” (Hebrew for “woman of valor”), Domkus utilizes texture and harmonics on the bass as he expounds upon Proverbs 31 in this song of blessing and praise for his wife Jenny.  Aside from the title phrase, the rest of the lyrics are in English, and all are sung with heartfelt simplicity.  The peaceful strength and passion of “Aishes Chayil” is augmented nicely by Baird’s austere percussion.  The instrumental, “Baroque,” featuring clarinet played by Domkus’ son Kefa, has a distinctive Hebrew feel, particularly in its introspective opening passages.  Seamlessly, the tempo shifts with African/Brazilian hand drumming, exquisite bass harmonics, and what sounds like kalimba or xylophone.

The brooding “Looking Darkly Through a Mirror” is another vocal piece, accompanied by bass and various percussion instruments.  As Domkus sings, “You judge me, question my integrity / Yet never asking, if this is true of me / So, I’m hoping that you’re listening / That the shadow you saw was never me / My heart aches, that you could see me in this way,” a genuine desire for clarity and reconciliation is conveyed.  Not particularly melodic, “Looking Darkly Through a Mirror” is nonetheless effective.  A fun New Orleans-style Dixieland intro, replete with bleating trumpets courtesy of Scott Stanifer, gives way to progressive jazz in “Rejoice in the Dance.”  Domkus employs vamping chords and funky fills on the bass as Baird’s work on the drum kit is inspired.  Stanifer’s horn arrangements and solos bring a certain brightness to the piece.

“Reflections”, another instrumental collaboration made up of bass and percussion, neither detracts nor adds much to Shades of a Shadow.  Inspired by I Kings 19:1, “Whisper” is a gorgeous prayer piece, enhanced by distinctive bass harmonics and inventive percussion.  The result is deeply meaningful and meditative.  “Beauty and Bands” and “Amy” showcase the natural woody tone of Domkus’ fretless bass and Baird’s creative percussion techniques, but don’t break any new ground.  Both selections possess the pensiveness and frugal arrangements that characterize much of the album, and are certainly listenable and somewhat interesting.  The striking and worshipful “Tehillim,” titled after the Hebrew name for The Book of Psalms, is rich in instrumentation with acoustic guitar, bass, hand drums and shimmering cymbals.  As Domkus sings “Rejoice for He is good / Taste and see that He is good”, the atmosphere created is at once soothing, refreshing and reverent.

With Shades of a Shadow, Omar Domkus splendidly and tastefully takes the fretless bass into various modes of expression and exploration.  Infused with his Messianic faith along with thoughtful social commentary, vocal pieces sit comfortably and suitably among instrumental ones, allowing the messages and music to be fully pondered and enjoyed.

Review by Mike Roots
Rating: 4 Stars (out of 5)

REVIEW: Victor "Transparent"

  Victor H. Nelson, Jr., better known simply as Victor, is a fourth generation talent in a family with a rich and varied background in musical performance.  Considering that his great grandfather was a jazz pianist, his grandfather a classical pianist, and his father a doo-wop singer, it is clear there was no shortage of inspiration in his household.  With producer Raye Smith and a supporting cast of talented musicians, Victor’s Transparent represents the culmination of those years not only soaking up those creative vibes, but of developing his own vocal and songwriting gifts.


As a whole, Transparent is an R&B-steeped collection mostly concerned with romantic matters of the heart like love cherished, lost and yearned for.  Possessing a soulful tenor and a refined sense of fluidity and phrasing, Victor shows himself to be a singer’s singer.  As such, he tends not to fall into the trap of overwrought embellishment which snares many capable vocalists.  In fact, though front and center, Victor reveals himself to be adept at allowing lyrics, vocals, and instrumentation all to find their rightful place within a song.  “Can’t Believe It,” with its intimate female spoken word intro, is Victor’s Latin-flavored expression of humble gratitude for the love of his dearest.  Following a nicely placed bridge, Lenny Holmes contributes a lovely guitar solo, accented by a bit of scatting ala George Benson.  A subtle shift in tempo, fueled by jazzy salsa piano, adds a fitting touch as the track approaches its conclusion.
A duet with Jamela Bullock, “Occasionally” is a confessional song, revealing the loneliness and hurt experienced by both parties after a break up.  Over an old school urban groove, augmented by pulsing bass and retro synth sounds, Victor’s and Bullock’s voices mesh perfectly.  Though they sing of it being a “rare occasion,” it is evident the pain of one another’s absence runs deeper than they would care to admit.  “To the Next” offers counsel to a female friend recently spurned by her boyfriend, and reveals an interest greater than that of platonic friendship.  “Baby, lonely one, don’t look so sad / Don’t you know you were the best thing he ever had / It’s not your fault, and this is so true / He was a fool to leave someone like you / I know it hurts, but don’t you let it cloud your view / You never know, something better may be waiting” reflect Victor’s genuine concern for his friend.  Perhaps he is thinking about what he would like to say when he sings “maybe I could be the next one,” though he knows “it takes time for the hurts to heal.” Musically, “To the Next” is a down tempo affair characterized by darker vocal harmonies and organ shadings along with sunny breaks.

“Thought You Knew” continues with the retro urban vibes, as Victor wearily tries to assure his jealous girl that he is true and committed.  Accusations of infidelity have taken their toll, but he does his best to offer reassurance, but at the same time says “I do all I can do to try and convince you that I love you / But I can’t keep subjecting myself to all this jealous behavior / No, you just can’t keep taking me through changes.” Victor’s adroitness in harmonizing is showcased nicely here over a throbbing bass and atmospheric synth flourishes; an effective combination.  “Transparent,” the title track, is a sensitive ballad that expresses his relational commitment and his inability hide how he truly feels.  Holmes adds some pleasing guitar accompaniment, but it’s not enough to offset heavy-handed synth and backing vocals that just sound too loud in the mix.

With the sophistication of smooth jazz coupled with quiet storm passion on “Clumsey,” Victor articulates the resultant pain of “falling” and “stumbling” in relationships rather than proceeding with caution.  The pensiveness that colors most of the songs on Transparent is present on “Clumsey” too, though openness and balance in the song’s arrangements prove the perfect complement for his earnest vocals.  With jazz-inflected acoustic guitar and a subtly strident groove, “Still in Love” has a distinctly Terrence Trent D’Arby feel.  Renamed “Christopher’s Sail,” Victor’s interpretation of the 1980 Christopher Cross classic “Sailing” is imaginative, refreshing and quite enjoyable.  Adding a decidedly urban sheen while incorporating the sounds of seagulls and the delightful saxophone of Gordon Jones, he does more than justice to an A/C radio staple.

Evoking the classic soul of Al Green meets Luther Vandross, Victor’s “Something About You” radiates with warmth that is countered only by lyrics of frustration and regret.  Despite knowing he needs to guard his heart, he agonizes over having feelings for someone he knows he can’t be with.  Where Victor provides most of his own backing vocals on Transparent, here Raye Smith and Samatha Miller add welcomed contrast.

“Spirit” is a gospel song in which Victor reveals his inspiration for living from day to day.  “I may stumble, may even fall, but I’m never down for long / No, I just reach out to His forgiving hand / Lift me up, restore my soul, ease the burden of this load.” The arrangement and melody are fairly pedestrian, but the subject matter, bouncy gospel tempo and additional vocals of Yvette Soul and Phil Walker bring considerable lift to the album. “Full is the heart with the blood that was shed for me / Cleansed and whole, washed in the tears He cried on Calvary,” deeply personal lyrics, sung by Soul offer insight into Victor’s motivation and values.

Because “Spirit” works so well, it might have been nice to hear more tracks in which Victor expresses his faith and perhaps family and social concerns as well. But then it’s possible that future projects may very well deliver in this regard. Apart from a bit of uneven mixing, Transparent is a solid, well-crafted album that persuasively reveals Victor’s impressive singing and songwriting abilities.

Review by Mike Roots
Rating:  4 Stars (out of 5)

Tired of the same old, same old on the Torrington (CT) restaurant scene?

It seems if you're driving from Hartford on Route 44 (202) and heading west, after you get through Canton your choices in terms of cuisine really dwindle. While Avon, Simsbury and Canton boast of numerous choices such as Indian, Thai, Lao, Vietnamese and others, Torrington, the largest city in northwest Connecticut and the hub of Litchfield County has seemingly little variety. If you like pizza, no problem. Torrington probably has one of the highest pizzeria per capita ratios in the state! Likewise, there are many restaurants serving Chinese food, fast food, Italian and American/continental cuisine. Perhaps the proliferation of pizzerias and Italian restaurants is understandable since Connecticut is the most Italian state in the union, according to the latest census statistics.There are also some great diners and local institutions serving time-tested breakfasts, lunches and dinners to loyal customers. However, for the more adventurous there are some terrific options too.

Fuji Japanese Restaurant at 1883 East Main Street serves authentic Japanese cuisine in a pleasant environment, complete with entertaining hibachi chefs, a sushi bar and numerous other features. Las Delicias Latina at 433 Main Street is a great little Mexican place offering the real deal in terms of Mexican food at a great value in a cozy setting.
 

Falafel at Noujaim's Specialty Foods

 
Noujaim's Specialty Foods at 281 Winsted Road is another gem, serving up delicious Lebanese, Middle Eastern and Mediterranean cuisine to go or eat in. Another winner, Northern Galapagos, right next door at 281 Winsted Road, Suite 3, serves tasty Spanish and American cuisine in a bit more elegant settting.

Ecuatoriano & American Cuisine

A more recent establishment among Torrington restaurants is Ecuatoriano & American Cuisine located at 1241 East Main Street. Here, you can find outstanding Ecuadorian and South American dishes, American and Italian classics with a twist, exotic fruit drinks and shakes, and more.

Las Delicias Latina

My wife and I have eaten at each of these restaurants and would highly recommend them for their food, value and service. So, next time you want to go out for lunch or dinner, consider some of the not so ordinary options Torrington has to offer. Your adventurous exploits are sure to be rewarding.

REVIEW: Noam Elron "Fluctuation"

Israeli bassist Noam Elron, though an avid listener of music from his youth, only took to the serious pursuit of playing and composing in his mid-twenties.  However, in the ensuing time he has developed and burnished his craft through private study, session work and live performance in venues both large and small.  Some of the festivals Elron has played include the Israel Festival and Caesarea Jazz Plus.  Though jazz, both traditional and contemporary, appears to be his primary genre and mode of expression, his avenues of musical application include rock, R&B, funk and others.  Additionally, Elron has composed and performed music for film and theater as well as serving as co-leader and bassist for contemporary jazz unit, Umami Quartet.
Brimming with inspired performance, a variety of ethnic influences and magical interplay, Fluctuation is Elron’s brilliant solo debut recording.

Displaying the tasteful restraint and maturity of seasoned artistry, Fluctuation is really the fruit of a collaborative effort between guitarist Dima Gorelik, flautist Hadar Noiberg and percussionist Noam Landsman, rounded out and led by Elron on double bass.

“An Interesting Young Woman” serves as the album’s wistful intro, awash in lyrical guitar and flute melodies, shimmering cymbals and understated bass.  A rustic quality, perhaps evoking Gabor Szabo, offers early evidence of Elron’s contentment to let the music speak without him having to be in the spotlight.  It’s this wisdom and unselfishness which helps to make Fluctuation such a delightful collection.

The flamenco-infused “Los Agvañiotes” exquisitely balances the fiery guitar strumming and flute of Gorelik and Noiberg with peaceful passages.  Sharp accents and flowing melodies make for a fluid tension and release effect while Gorelik’s contemplative guitar solo halfway through is a terrific counterpoint.  Because Fluctuation is such a synergistic effort, it’s difficult to make the case that any one player stands out, but it’s clear that Noiberg’s flute shines with buoying melodic effect on “Los Agvañiotes” and throughout.

“Constante Anhelo” is a mellow piece, colored with Latin pastels and Elron’s deliciously textured and underscored playing. Like a fire gently stoked, energy gradually builds then recedes just at the climax.
Middle Eastern vibes, courtesy of Noiberg’s flute, add unexpected spice to the Latin Jazz of “Sababa 5”.  Memorably lyrical passages make the piece accessible and inviting whilst the sizzling energy of the group provides danceable inspiration.  Landsman’s drums and cymbals crackle with zest yet reveal an uncanny sensitivity to space and time.  What’s also evident is that Noiberg’s or Gorelik’s solos are never obligatory; rather they are thoughtful enhancements to the compositions and album at large.

In its intro, “Oblivion,” penned by Astor Piazzolla and the only non-original piece on the record, offers a humble showcase for Elron’s sinewy bass interpolations and slap percussion.  A quietly rich cohesion is established as the musicians interact, supported by Elron’s cavernous lines.  “Oblivion” is a splendid gem, radiating earthy colors and subtle beauty, and punctuated by impassioned interplay.  Landsman is particularly impressive here for his use of timber, texture and rhythm.

“Hydra Variations in F# Minor” reveals a bit of avant garde flair before settling into a groove.  Conversation between Noiberg’s flute and Gorelik’s guitar add a bit of tension as accented bass and drum offer a solid foundation.  The pensive “Fluctuation” is a gorgeous centerpiece, displaying creative mastery and thoughtful muse.  The sunny-sounding “The Day Without Time” breathes with openness and free expression, imbued with the soft richness of Noiberg’s flute.  Gorelik sets forth a memorable guitar motif which is revisited periodically.  Surprisingly, in a most pleasant way, backing choral chants enter into the mix, lending a distinctive old world flavor and suitable finishing touch as the music fades out.

Much in the way fellow bassist John Patitucci is able to interpret the music of various cultures and sensibly incorporate it into his own compositions, Noam Elron, with his solo debut, shows himself to perhaps be a branch off the same musical tree.  Fluctuation is an authentic beauty of an album that never sounds like it’s trying too hard to be anything; it just simply is.

Review by Mike Roots
Rating: 5 Stars (out of 5)

REVIEW: Mindy Hartman "Speak To Me Now: A Journey"

The very best of gospel and sacred music is borne not merely of creative inspiration, but of personal experience in one’s relationship to God.  The realization of His existence, salvation and purpose for humanity, and individuals, serves as a point of origin for getting to know, love and serve Him.  And so it is with Chambersburg, PA native Mindy Hartman.  Having become a follower of Christ upon her conversion at the age of fourteen, she became involved in music ministry in her local church.  During this time, she studied and trained under professional voice teachers to develop her gift and enable her to pursue her passion through music.  In addition, Hartman participated in the glee club at her high school and also discovered an interest in reciting poetry and prose, even going on to compete in a national tournament in her senior year.  In the fall of 1994, she joined Living Miracles, a young people’s choir directed by Doris Ortman, and continued with the choir until it disbanded ten years later.  Aside from singing, Hartman began to further explore opportunities to use her reading and recitation skills and thus became involved in narration and the recording of audio books.  While this considerable background of learning, growth and experience are foundational, it only tells part of the story of how Speak to Me Now: A Journey, her debut recording, came to be.

A fascinating and relevant point of consideration is that Hartman is blind from birth, and her blindness influences her perspective as a person, as a Christian, and as a singer.  Further, it was tragedy that God used to guide and encourage her to use her talents and gifts to honor Him and bless others.  Hartman’s seventeen year old brother Aaron died in an automobile accident just months before the September 11, 2001 attacks.  The fruits of her experiences, both good and bad, positively inform and influence the fifteen tracks that make up her faith-affirming debut.

Primarily a collaborative effort between Hartman and keyboardist Duncan Holmes, Speak to Me Now: A Journey is characterized by genuine expressions of quiet devotion and reflection.  The selections on the album are an effective combination of Holmes compositions and traditional hymns, each chosen with apparent consideration for the general theme.  Perhaps to complement the devotional and personal nature of the songs, Hartman’s voice was recorded dry, with no apparent enhancements.  For listeners, this may be slightly off-putting, but once the first few songs settle in, any distraction this may present, fades away.

The Holmes original, “In My Mother’s Womb” seems to be influenced by a combination of English folk  and Hebrew music, with what sounds like harpsichord and piano accompaniment.  Her alto is pleasing on the ears, and the harmonies on the chorus offer nice emphasis, though she tends to cut her syllables short, giving the song a narrative quality.  The title track, a simple and soothing prayer of yearning and commitment, while sincere in its message expressed unto God, falls short in terms of musical originality.  “Speak to Me Now” has a predictable flow in term of chord changes, and may have benefited from different musical choices.  Still, from a lyrical and vocal standpoint, it’s serviceable and does display Hartman’s warm and pure alto rather nicely.

The “The Master Has Come,” with its Welsh melody and challenging cadence, proves to be difficult for Hartman to squeeze in all of the words while having time to breathe.  In all fairness, this is one of those hymns that is generally not easy to sing, but it might have been advantageous for Holmes to slow the tempo down a bit. The great Irish hymn, “Be Thou My Vision,” similar in structure and its sheer lyrical fullness, is more successful.  Generally, Hartman handles the vocal phrasing quite well, but still, it’s quite a pace to keep up with.  Triumphant-sounding synthesizer chords and organ add to what begins with simply piano and vocals.
Hartman, with a delivery combining singing and speaking, comes across with self-effacing honesty as she shares the struggles of walking the road of faith on “Introspection.”  Her mood moves from voicing complaints about these challenges, including dealing with her own weaknesses, to endeavoring to trust in the Lord and His sacrifice.  Though the honesty and integrity of the message is not lost, Hartman’s sing-speak style is a bit awkward.

On “Trust and Obey,” rendered in simple a cappella harmony, the vocals are straightforward, allowing the lyrics to shine through.  “Lord God, Why Did You Choose Me” brings a refreshing musical change with its traditional gospel chord structure and tasteful and heartening accompaniment by Holmes on piano and string bass.  In addition, Holmes, possessing an earthy baritone voice, adds interesting contrast to Hartman’s alto.  Unfortunately, the combination of the two voices, aforementioned sing-speak delivery, and production doesn’t quite mesh.

When on “He Keeps Me Singing,” Hartman sings “All my life was wrecked by sin and strife / Discord filled my heart with pain / Jesus swept across the broken strings / Stirred the slumbering chords again,” there is a sense of personal connection with suffering and God’s redemption.  The combination of Holmes’ bouncy piano and Hartman’s ebullient vocals, subtly shifting to reflect sorrow and joy, represents a highlight on the album.  Likewise, the hymn “Oh Love That Wilt Not Let Me Go” is also a gem as it receives Holmes’ reverent and inspired piano treatment, providing the ideal backing for Hartman’s pledge to loyalty to the Lord.  The slower tempo revealed here, seems to be ideally suited and allows the strength of the music and the meaningfulness of the lyrics to come through.

“He’s My All in All” reflects Hartman’s passion for narration and storytelling with it’s biblical references to God’s faithfulness.  Effectively, she ties in these biblical accounts with her own life thereby making the song personal, while also emphasizing the practical application of scripture.  When Hartman sings “He’s a Father to the fatherless and I’ll tell you right now / He’s a husband for the woman who that’s alone / He’s a comfort to the comfortless / He binds the broken heart / He’s the kindest, truest friend I’ve even known,” it is comforting.  Considering Hartman’s blindness, “Turn Your Eyes Upon Jesus” takes on deeper meaning as the encouraging lyrics point to the kind of seeing that is by faith and of the heart.

Mindy Hartman is clearly a singer whose purpose is not to perform, but to minister, and that intent is unmistakable as evidenced by the choice of songs and the way in which they are presented. Though there are a few weak spots, Speak to Me Now: A Journey will certainly reward the listener in search of simple, sincere and uncluttered songs of faith, worship, loyalty and devotion.
Review by Mike Roots
Rating: 3 Stars (out of 5)

REVIEW: Robotic Lunch "Zangief"

Comprised of lead singer and guitarist Lee Aldridge, bassist and vocalist Chris Fleming, and drummer Bob Little, Robotic Lunch is a Canadian rock band whose name may give you the wrong idea about their sound.  Rather than relying on technology, such as programmed rhythms and synthesizers, this is a guitar-driven power trio, drawing on influences from bands such Soundgarden, Nirvana, Stone Temple Pilots and Alice In Chains.  As these influences would indicate, Robotic Lunch dishes up heavy and filling musical cuisine.  Zangief, perhaps named after a namesake video game street fighter, is Robotic Lunch’s introductory entrèe.

Possessing a voice somewhere between that of Chris Cornell and the late Josh Clayton-Felt (School of Fish), Aldridge both counters and compliments the heaviness of Robotic Lunch’s sound with the ability to wail, while adding pop sensibility.  To put it simply, Aldridge is much more of a singer than a screamer, and that’s a good thing.  Critically-acclaimed as an IOMA award-winning guitarist, his six-string abilities are characterized by a combination of thick and heavy riffs and searing solos.  Fleming and Little are likewise proficient on bass and drums, and Zangief reveals cohesiveness developed over six year of gigs and practices in and around Ontario.


Apparently a nod to Robotic Lunch’s assumed affinity for computers and video games, “010101001001001100″, with it’s blips and bleeps, serves as a short intro.  Between this, the band name and album title, you get the sense that maybe these guys know how to have fun and not take themselves too seriously.  However, the overall tone of Zangief certainly is serious. “Volatile” is a no-nonsense rocker, fueled by thick and distorted guitar riffs, and razor-sharp accents.  As Aldridge sings, “It takes way too long for you to crack the code / It may look like gold from here but I can tell you that it’s gonna explode / These lights are burning me / And now I cannot see / I’ll turn my plan to flee from this fight / So volatile”, the message is clearly one of warning.  Further references to a “world coming up from below” and of one who “made a trade for an eternity of self-defeat”, are perhaps apocalyptic in nature.  Though intense, both the lyrically and musically, “Volatile” is melodic and memorable in a most attention-getting sort of way.

“Circles”, possibly the clearest reflection of the Alice In Chains influence, is heavy and brooding, filled with sledgehammer riffs and three-part harmonies.  With “Seen Enough”, Robotic Lunch does what they do best by combining muscular rhythms and pop catchiness.  Dynamic instrumental play is accentuated by openness at various points as the heaviness lets up and comes back in at the just the right time.  The message could be perceived as either encouraging or sarcastic as Aldridge sings, “Wake up, let’s go / I can’t imagine there’s more to know / Each day renewed again / I’m stuck inside these walls I’ve built / It’s time to get up….”
On “Richard Ball”, Little’s thundering drums and Aldridge’s wailing guitar give way to chugging and changing riffs, ala King’s X and the Galactic Cowboys.  The song is either autobiographical or about the main character (Richard Ball?), and seems to tell of the perils of isolation.  “Nothing There” reveals Aldridge at his most Clayton-Felt-esque as he sings of paranoia and the feelings of not being free.  Whether or not these are self-examining is difficult to discern.

Not the name of a distance planet, “Onandon” is actually the words “on and on” cleverly combined, and the title of what may be the album’s most brutal sonic assault.  With processed and gutteral vocals, Aldridge sings, “Waking up anew / The battle (?) / Something’s got to give / Just don’t repeat defeat / It goes on and on” and “back on this treadmill again / I can’t get anywhere / Still I try to fight but there’s no end in sight / It just goes on and on.” It seems Aldridge is referring to a personal, perhaps spiritual battle.
Continuing with a pervading minor-key sound, “That’s What They Say” is a vignette, offering welcomed relief with it’s acoustic base.  With lyrics such as, “I call, you’re there to wash away the fear” it’s not certain whether they’re personal and devotional in nature or perhaps being considered, as, well, “that’s what they say”.

“Fossils”, at nine minutes in length, is reflective, thought-provoking and musically engaging.  Little is impressive with his paradiddle rhythms, and likewise Fleming, as he keeps things anchored with steady, grooving bass lines.  “Earth over me, just a memory me / But I left my mark, we’re not afraid of the dark / One minute here, next minute gone / When singing (?) / We won’t be waiting for long” and “I want it, you need it / And you don’t really care / I want it, you need it / Now I’m pulling out my hair” come across as enigmatic, maybe indicative of an intensive search and struggle for meaning and truth.  Later, when with soaring vocals, Aldridge sings “Thought it was something / Now I know that it’s nothing / I thought it was something more / Now give me more”, he seems to thirst for deeper meaning and purpose in life, perhaps in dissatisfaction with what the world has to offer.  It’s compelling, thoughtful and challenging stuff.

Zangief is a solid debut from Robotic Lunch.  Overall, the sound is intense and offers evidence of impressive musicianship while serving as vehicle to communicate and express thoughts both personal and observational.  While it’s likely not all of the songs will win over listeners, “Seen Enough”, “Volatile”  and “Nothing There” have particularly strong potential to increase Robotic Lunch’s audience and have them wondering what might be next added to the menu.
Review by Mike Roots
Rating:  4 stars (out of 5)