Review: Middle of Nowhere - Elska

Straight from the island of Elska, it's, er... Elska!

OK, that's merely the fanciful conceit of New York musician Shelley Wollert, who created the persona of Elska, a "modern pioneer who discovered a newly formed volcanic island off the coast of Iceland."

On her debut album Middle of Nowhere, Elska creates a sound which can be described as many things, but near the top of the list is "unique."  Not necessarily when looked at music from all genres targeted at all ages, but certainly in the kindiesphere.  It's a collection of tiny beats, samples, that, thanks to the purported Icelandic background, means that I am contractually required to say that it sounds a bit like Bjork.

In a kids music scene that very often starts and ends with guitars, the near if not total absence of those on the album by itself can be a bresh of fresh air.  The beats are unique (is that a drill on "Arctic Fox"?), though generally they're employed in the service of modern pop songs whose structure will be familiar to most.  There are some delightfully odd detours, like "Hiddi Hiddi," which, though I think has words, is essentially vocal beat-making.  Elska has a handful of different vocal approaches (e.g., clear, whispery) that provide variety in that regard.  So, sonically, the music from Wollert and producer Allen Farmelo is very solid.

Where Elska may not be for every family depends on the family's tolerance for anything that smacks of preciousness.  According to her website, Elska's catchphrase is "Totally Amazing!," and she carries through that committed attitude on her videos, in concert, and on the album.  She commits to that persona in a way that may be just a little too... much for some parents.  (I think kids will generally respond more favorably than their parents.)

But since I'm the one writing this review, I'll say that I am generally though not virulently anti-preciousness and I think the songs land way more often on the safe side of that dividing line.  "Frozen in Time," for example, is a beautiful song about some things changing and some things being permanent.  It's not terribly complicated or even profound, but there's a sure touch with it.  And unlike some things that have some preciousness attached to them, it's not a stuffy album (see "Hiddi Hiddi," or the fact that on "Don't Make Fun of the Goobler," she calls the Goobler, her "home slice").

On the other hand, I could see some folks rolling their eyes at "The Land of Lost Socks," which is, well, I think you can figure out what it's about.  And as an overarching conceit, the "story" of Elska's island isn't really developed much; the songs just offer the briefest of sketches of characters and locations.  The brief (27-minute) album will have greatest appeal to kids ages 3 through 7.

Middle of Nowhere will, for a variety of reasons, not resonate with every family.  But I think a lot of modern pop families will be charmed in some way by Elska's debut disk.  As she explores it further and refines her singular voice, I think she's going to be an artist to follow.  Definitely recommended.

Review: I Found You! - Caspar Babypants

Chris Ballew's consistently entertaining modernization of old folk tunes (and writing some modern folk tunes of his own) as Caspar Babypants is problematic.

For the reviewer, at least.

Ever since receiving his latest effort I Found You! for at least a couple months now and I've been struggling with how to write about the album.  It's his sixth full-length Caspar Babypants album, and just as every one that's preceded it, it's snappy music, simple but well-constructed -- really, just heaps of fun.

Which makes me a bit sad.

Because, really, if you are a Caspar Babypants fan (as I am), you may already have this album.  And you're probably reading this review a) to confirm your own initial impressions of the album, b) to confirm that yes indeed you should get the album if you don't have it, or c) because you're my mom.  (Just kidding!  I don't think my mom reads my site.)

That doesn't make me sad.  What makes me sad is that if your family hasn't gotten into CB at this point, nothing I could write about this album would likely change your mind.  Chris Ballew writes catchy hooks with the frequency the rest of write grocery lists, and you're not already listening to him?  My pitiful wordsmithing can't change that attitude.

The first tracks here -- the gleeful horn-aided "I Found You," the funky "Just Wondering," the preschool traditional "All the Fish" -- sound like many Babypants classics.  They're instantly catchy and perfectly constructed for preschoolers to grasp and sing along.  That's probably part of my challenge -- unlike a new band with a distinct sound, or an artist changing their musical approach, Ballew doesn't sound that much different here from his first album Here I Am!.  All the components of I Found You! -- the re-imagined folk songs, the obsession with animals and nature, the simple arrangements -- were there from the beginning.  For that reason, while I particularly like the title track and "Just Wondering," some of my favorite pieces are the songs that sound a little different, such as "Say Farewell," treated as a sea shanty, or the fun-spooky "Skeletone."

As with all the Babypants disks, the target age range for this album are kids ages 2 through 6, though it'll certainly have broader appeal than that.  You can find the 50-minute album at the usual kindie suspects.

Despite the occasional navel-gazing in this review, I hope I've also conveyed how excellent I Found You! is.  Just because Chris Ballew's found a groove in recording music as Caspar Babypants doesn't mean that uncreative reviewers such as me should spoil your fun.  Highly recommended.

Holiday Kids Music Reviews (2012 Edition)

There were fewer Christmas and holiday CDs released this holiday season, but those that were all will probably appeal to at least a few families.  Yes, it's Christmas Eve, but you can still download those albums in time, right?  (And there's always 2013.)

Renee & Jeremy - Sunny Christmas

If I had to pick just one holiday album for this season, I think this EP from the Los Angeles duo would be it.  Perhaps that's a function of one too many Christmases in a clime that sometimes lets you wear short sleeves while eating your figgy pudding.  As always, the duo are in fine vocal form on the five standards ("Have Yourself a Merry Little Christmas" is the standout) and one original, the title track.

The Laurie Berkner Band - A Laurie Berkner Christmas

Berkner offers up the most traditional-sounding album, with fine arrangements throughout.  Having said that, given how you may hear many of these tracks multiple times any particular December day, the two best tracks here are the less-familiar "Children Go Where I Send Thee," a duet with Brady Rymer, and "Silent Night," which features Berkner and Elizabeth Mitchell, the two best female voices in kids music.

Mr. Richard & the Pound Hounds - Merry Christmas!

Florida-based Mr. Richard has much to be thankful for this holiday season -- his family's been battling some medical issues this year -- so not surprisingly, his new extended EP is a bouncy one.  A mix of Christmas standards and originals, my favorites are the jangly original "Up In My Christmas Tree" and the album-closing instrumental "Cantique de Noel" (aka "O Holy Night").

The Jimmies - Mama Said Nog You Out

This album's a year old, but it's no longer a Barnes & Noble exclusive.  So that means you can stop by your local, er, Amazon or iTunes and pick up a copy of Ashley's take on the season.  (Hint: there's no rendition of "O Holy Night" on this album -- this album's for the folks who like the mad rush of December.)  I liked the album last year, and I still like it this year.

Key Wilde & Mr. Clarke - Sing Songs of Christmas Cheer

Speaking of 2011 albums, I realized shortly after I published those reviews last year that I'd inadvertently excluded the extended EP from one of my favorite kids' bands (I think the album came out fairly late in the cycle as well).  In any case, the album is as goofy (and hard-rockin') as the rest of the duo's work -- "Angels We Have Heard On High" is epic in every sense of the word.

Dan Zanes - Christmas in Concord

I should also note that Dan Zanes' 2011 holiday EP has been expanded into an extended EP.  He adds a couple songs -- an original ("I'm Counting the Days (Until Christmas)") and a traditional spiritual ("Rise Up Shepherd and Follow" with Suzan-Lori Parks).  Though both are note, if you got the EP last year, neither track is a required addition.  Having said that, it was my favorite holiday album of 2011 (probably tied with the Key Wilde disk, and edging out the Jimmies disk), so if you don't have it already, it's worth picking up.

Big Bang Boom - The Holidays Are Here

I had to ask the title to these 5 songs (hence my original title, "untitled Christmas album"), but it's pretty good nonetheless.  As you would expect from the band and their cheeky attitude (see: "Santa Didn't Come Last Night"), there's no reverent rendition of centuries-old hymns, but it's generally tender and nostalgic.

Free Music Player for Myspace at ReverbNation.com

SpongeBob Squarepants - It's A SpongeBob Christmas Album

Yes.  SpongeBob Squarepants has a Christmas album.  (Why not?  Everybody else does.)  Here's the thing -- it's actually pretty good.  OK, the opening track sounds tacked on, but once you get past that, it's clear that more thought and care went into the album than was necessary.  Folks with no TVs (or senses of humor) won't appreciate it much, but it's more entertaining than I, not any big SpongeBob fan, expected.

Review: Rabbit Days and Dumplings - Elena Moon Park & Friends

It would be hard for me to review this album without establishing my affinities up front:

1.  I Kickstarted this album.

2.  Our son (AKA Little Boy Blue) was born in Asia (and adopted into our family as an infant).

3.  Dan Zanes has provided a healthy part of our family soundtrack over the past 10+ years.

4.  I love kimchi.

OK, now that we have that out of the way, is it any surprise that I am very charmed by Rabbit Days and Dumplings, the first album from Elena Moon Park?  (No, it shouldn't be.)  Park, the fiddler and instrumentalist from Dan Zanes' band, has taken music from her own Korean (by way of Tennessee) heritage, mixed it with other Asian family-friendly songs, and given the songs a Zanesian flair.  The result is exactly what you'd expect -- songs from a very different culture made accessible to an English-speaking, Western audience and just as importantly, made fun as well.

There are lots of singalong chorsus on the album, starting with the album opener, "Sol Nal."  Park doesn't attempt to provide lyrics for each song in her liner notes; rather, for many songs, she picks out a single phrase as the hook.  So, for "Sol Nal," it's "Sol Nal / Sol Nal / Sol Nal Un Cho Ah Yo," which she translates as 
"New Year / New Year / I like New Year's."  Or, for the train-inspired bluegrass-y "Diu Diu Deng," singing along with "Diu! Diu!," the sound of raindrops is enough.  Language is fluid in the songs, with Park and the other vocalists flowing in and out of the native tongue of each song and English.

Just as with the lyrics, where Park clearly tried to honor the original song and language but didn't feel like she had to sing every word in that original language, the arrangements have been blended into new, often Western forms.  For example, for the Japanese fishing song "Soran Bushi," Park turns it into a rousing sea shanty, "envisioning groups of men on boats singing it," as she puts it in the liner notes.  ("A Dokkoisho!," or "heave, ho!," could be your family's next motivating call.)  The Chinese song "Diu Shou Juan" is performed in New Orleans brass band style.  And as with every Dan Zanes album, Park has recruited a kajillion different musicians (the Kronos Quartet and Wu Man among them) to play along, often letting them take the lead.

With the (partial) language barrier, age is less of an issue with this album than others, but the subjects are often most appropriate for kids ages 3 through 7.  As you would expect from the folks at Festival Five, the album packaging is first-rate, but regardless of whether you get the physical copy or order mp3s, you can also download full lyrics, translations, and chords at the album's Songs page.  Listen to a sampler of songs here.

I'm clearly biased, but I think Rabbit Days and Dumplings is a great album.  If you're put off by the description of it as folk and children's music from East Asia, I encourage you to give it a chance, as you'll discover a set of songs from that, in these renditions, are very accessible to Western ears, and even voices.  Elena Moon Park have put together a remarkable album here, one that deserves a larger audience than it might otherwise be consigned to.  Highly recommended.

Review: Blue Clouds - Elizabeth Mitchell and You Are My Flower

How to sum up the latest album from Elizabeth Mitchell and You Are My Flower, the dream-soaked Blue Clouds?

I suppose one could start with that adjective, "dream-soaked."  From the song lyrics (the frog and mouse courtship and wedding of "Froggie Went A-Courtin'" or the dogs running around in "Yuki (Snow)") to the album art from renowned author and artist Remy Charlip to the arrangements featuring Mitchell's direct and gentle voice and strings and flute, among others, the entire album seems suffused with sleepy imagery and feelings.

Or perhaps it's with a bullet-point recounting of the high points on the album:

• The total feeling of empathy generated by her cover of Bill Withers' "I Wish You Well."
• The title track (a lullaby written by Mitchell's husband Daniel Littleton), which wraps up the album and is an instant modern classic
• Her version of "Everyone," which recasts Van Morrison's joy-filled song into something akin to a blessing.

I could always compare and contrast with Mitchell's previous work.  It's definitely more varied in scope than Little Seed, her fine Woody Guthrie tribute album from this summer.  For the listeners to Sunny Day who wished that Mitchell front-and-center more often in that album, instead of ceding lead vocals to daughter Storey on some tracks (I was perfectly fine with the shift as I saw what Mitchell was aiming at in being part of the Folkways tradition), they will find the mix more like You Are My Little Bird -- the kids are integrated nicely on the tracks, but it's Mitchell show.

Or I could be very technical about the whole thing: 38 minutes in length, best for ages 3 through 9, more album details here or stream some songs here.  Don't forget the physical packaging, typically Smithsonian-awesome, featuring Charlip's artwork, an introductory essay from author and artist Brian Selznick, and nice liner notes from Mitchell herself.

But instead the word I keep drifting back to is that of family.  Mitchell's immediate family -- her, husband Daniel, daughter Storey -- who have always been at the heart of this whole enterprise and her approach to making a living as a musician in this field.  Her extended family -- Brian Selznick not only writes a generous introduction, but it's dedicated to his friend Remy Charlip and the mother of his goddaughter Storey; her sister-in-law Anna Padgett writes a couple songs on the album.  Her super-extended Folkways family -- Smithsonian heroes Ruth Crawford Seeger and Ella Jenkins inspire tunes.  And my own family, who have been listening to Mitchell's music for more than a decade and have spent many (hundreds of) hours with her music.  Mitchell pulls us all in and, for a moment, makes us feel connected before sending us back into the world to be as generous with others as she has been with us.  Highly recommended.

Review: Lullaby - Justin Roberts

It's been awhile since I've written a review here.  There are a number of reasons for that, most of them entirely unrelated to kids music.

A small reason for my recent lack of reviews, however, is trying to figure out how to write to music without resorting to the same phrases and frames of reference I've been using for so long.  It's hard to do the same thing year-in, year-out without feeling a little drained.  It takes effort to mix it up, to stretch oneself in a new direction.

Which brings us ("Finally!," you say) to Justin Roberts' new album Lullaby.  For the follow-up to his masterful album Jungle Gym, Roberts didn't choose to write another album of perfect pop and power-pop songs (for that, we'll have to wait until 2013).  Instead, kindie's finest songwriter stretched in a slightly different direction, writing an entire album of, well, if not exactly lullabies, then at least songs for downtime.

Roberts isn't a stranger to slow songs, of course -- songs like "Dad Caught Stars" and "Song for You" are among his best work -- but they typically serve as the dessert, not the main course as they are here.  So instead of songs about bullies or baseball, Roberts has crafted a late-night album of love songs.

Of course, that's what a lot of lullabies are, an attempt to soothe the troubled child (or adult) with a pleasant melody and words that offer comfort and the reassurance of a watching and loving eye.  And some of the best lullaby albums are those that repurpose "adult" song and reframe them as songs of love from parent to child.

Most songs here, stripped of their origin in a "kids music" album, would sound just as appropriate in a mellow, "adult music" album.  Only "A Wild One," which sounds like a lost Van Morrison track, might draw a few odd looks from listeners were it mixed in with other non-kids-music tracks.  The track itself is dedicated "for Maurice," who, based on the lyrics regarding a boy reading books before bedtime, is clearly Maurice Sendak.  It's as close to an anti-lullaby this lullaby album gets.

Key to the feelings of warmth engendered by the album are the musical styles and arrangements.  The Latin samba of "What the Stork Sent," the '70s singer-songwriter folk of "Nothing on You," the string quartet on "Heart of Gold" -- Roberts is using a more muted palette, but appropriately so.  Roberts wrote the arrangements for the album with help from producer Liam Davis, who again creates an overall soundscape that serves Roberts' songs well.

Because this is a lullaby album, I am obligated by the terms and conditions of being a kids music reviewer to state that the 38-minute album is targeted at kids ages 0 through 5, but like many of the best "non-traditional" lullaby albums, its practical age range is much broader.  The album packaging, featuring paintings by Alison Jay, is, like the album itself, elegantly (but not fussily) understated, but I don't think you're missing out if you choose to get the album on mp3.

When I was in college, I would joke that they handed out copies of James Taylor's Greatest Hits album and Van Morrison's Moondance at freshman orientation, so prevalent were they in dorm rooms and apartments.  I still get some warm, fuzzy feelings when I occasionally pull them out.  Lullaby gives me those same sort of feelings, and I can see it unironically being part of parents' non-kids-time listening rotation.  I expect the album to be part of many families' relaxed afternoons, evenings, and late-night feedings.  Different tempo, same great songs.  Highly recommended.