Review by My Nguyen

Penning songs during the years he spent ambling between Boston, New York, LA, and San Diego, modern bluesman and frontman to Hills Like Elephants, Sean Davenport reached his musical apex in his debut, The Endless Charade, which richly closes the gap between talent, insight, and mismanaged endeavors. His ex-bands Abigail Warchild (NY) and Gun Runner (SD) testify to this long run of loose strings and unattached commitments. In his latest endeavor, Davenport has finally found the perfect setting in order to fully launch himself musically.    

Soulful songs entrenched in a Motown blues vibe, The Endless Charade is filled with stories about shallow word games that Davenport has turned into buzz worthy material filled with resonating and jazzy word play. Davenport elicits in his latest project the idea of format and formulas to his music. Like their songs about love that has gone awry, Hills Like Elephants is a band that very much delves into strategic moves. Their aim is to reach to the core of the listener through invigorating, suggestive, and structurally sound beats and arrangements, and in a matter of a few listens, it works.

Dreamy tracks that are haunted by living feelings, a few memorable tracks include “Intriguing Dilemma,” and “Background,” a song that has such a fiery element to it that there is a real potential for combustion. In “Perfect Enemy (Sushi Dinners),” where Davenport sings about contradictions and unfair fights, these songs will reward listeners with an unflagging vengeance. Halfway into the album, towards the sixth track, titled, “Even,” where Davenport talks about complications and heartbreak, he also manages to somehow level with his past loves alongside his audiences who will have subscribed themselves for the long haul.

Catchy and filled with reverb that has a semblance to 80’s music, these acute renderings of misshapen love are filled with visionary sounds despite their relentless talk about distractions and their feverish rants during the aftermath of delirium-filled affairs.  There’s a clear direction here, with a good beat juxtaposed with many an intriguing turn of phrase – their agenda is to grab hold of your attention so that you will become as equally inebriated as you will inevitably become besotted by the sounds that these soulful musicians have arranged.

Hills Like Elephants just released their debut, The Endless Charade late last month.  Be sure you get your copy now, or catch them live at one of their upcoming shows in San Diego:

 4/13/12 The Whistle Stop
 4/26/12 Bar Pink 

requiemme.com/bands/hills-like-elephants/

The Beautiful View

By My Nguyen Jan 9th 2012

Based in San Diego, The Beautiful View is mainly comprised of group members who grew up in Chula Vista (translated in Spanish means, Beautiful View), a city close enough to Tijuana to feel affected by the border violence headlining in the news, but removed enough for kids to safely play in the streets under the conservative banner that makes up San Diego county.  Perhaps it’s with this delicate balance between two entirely different regimes so closely aligned together, and yet coinciding as if they are world’s apart that makes The Beautiful View such a hard band to coin.

With influences and correlations from all over the place, The Beautiful View’s loud, oftimes gaudy sound in life is beautiful has connotations of punk enmeshed with classic rock with an operatic feel.  And with touches of Alien Ant Farm’s sound detected as well as far-reaches of The Airborne Toxic Event entrenched in the clever hooks and melodious sound, it doesn’t come as a surprise that TBV’s music emerges as a bit mainstream.

But gleaming with a little of glam rock in-between the epic backbeat and tight sound, perhaps radio music would pale in comparison.  Towards the second track “The Spaniard,” The Beautiful View makes it plain that they are an Alternative band, but as the incoming tracks on the album compilation elicits, TBV is able to retain a rawness that still makes them relatively indie.

Starting at “Mercy is a Cold Shower,” the guitar riffs and disparaging vocals shows that TBV’s debut LP can get yet even more dynamic and cohesive.  In life is beautiful’s fifth track, “Bells” as Aaron Magnan (vocals, guitar) sings “I’ve been waiting for you with bells on/ liberty bells/silver bells/and all hells on—,” the track should immediately signal to the world that TBV is a band to be reckoned with.  And while their debut full-length officially drops Jan. 10^th, the Chula Vista-based quartet is definitely making waves with a local tour, SXSW, and a national tour in the works.

Towards the 7^th track, “Ides of March,” (Wiki defines ‘ides of March’ as middle of March and the date of Julius Caesar’s assassination), you can see where The Beautiful View has perfected their sound.  Dripping with condescension and a killer ease, the song speaks of betrayals, and definitely has a psychedelic feel with a bit of reggae, and a surfer vibe.

The Beautiful View’s music has that same epic appeal that grows with every listen.  “Always Only Me” is about a loner seeking love.  Like an anthem for the soloist, as Magnan sings “Just keep the light on/Love will keep the love on,” you feel the modulations of emotions exhibited in the track especially after the great guitar solo near the end.

With an eclectic sound, you can see The Beautiful View’s influences are from all over the board.  TBV has elements of all classifications under the rock umbrella as well as the genre’s influences, but overall they have a really cool sound.  With great musicianship and happening vocals, be sure you grab your copy of life is beautiful, which comes out Jan. 10^th, or be sure you catch The Beautiful View live.  Loud and distinct with approachable vocals and a tight sound – just imagine them live.

For more info, please visit http://thebeautifulview.com/

By Christopher Skrypack Dec 21st 2011

Maine native Ricky Small and his band “The Talls” have found their home in San Diego County.  The self-titled album “Ricky Small and The Talls” demonstrates the group’s seriousness to their musicianship.

Formally educated at Berklee College of Music in Boston, Ricky’s lifelong pursuit of creativity has come to fruition.  His inspirational lyrics, soothing vocals and coastal rhythm mesh comfortably with the Ross Ma’u brother’s pacific island influences.  Small’s musical journey, swayed by such artists as Jason Miraz and Jack Johnson, has allowed him to merge his style to include a broad array of genres.  The debut album creates a conglomerate of reggae, jazz, funk, pop and folk.  Small’s charming vocals together with Nolan Greene’s professional and patient drumming exemplify the endorsement of San Diego’s young and up-and-coming talent.

The album cover’s artwork, both simple and subtle, gives a strong indication of the music within.  Recorded in El Cajon’s Room 16 Recording Studio, the polished tracks solidify the group’s localized nature.  Tracks such as “Irish Girl” illuminate Small’s poetic folklore while “The Cling” presents the band an opportunity to incorporate backing vocals demonstrating their completeness. Many of the remaining reggae tracks settle doubts as to whether Ricky Small and The Talls will be able to reach those fans looking for a stronger southern California sound.

However, the band may at times be too polished for their own good.  Although there are plenty of shifting rhythms to get a concert goer’s feet moving, the band may struggle with those fans looking for something a little more raw.  There are likely to be critics that will see the formal education as a limitation to Small’s ability to venture outside the box.  Regardless, youth and persistence are certainly on this lifelong musician’s side.  “Ricky Small and The Talls” is a strong foundational step towards their future.  The debut album will undoubtedly give listeners an indication of the band’s earnestness towards their craft, which is a pivotal element to perennial success.

www.rickysmall.com

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“Same Old Story”

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