Brooklyn's Hem, in their new Eveningland CD, cite as a guiding light the "country-politan" sound of Ray Charles' 1962 classic LP, "Modern Sounds in Country and Western Music." Yes, there's lush orchestral backing on several tunes (the Slovak National Radio Orchestra, no less). But instead of Brother Ray's lucky-ol'-sun voice, Hem fronts the lazy soprano of Sally Ellyson. She inhabits these original songs (except for a cover of Johnny Cash/June Carter Cash hit, "Jackson") comfortably. Ellyson sounds somewhat like a powerful Margo Timmins (Cowboy Junkies). Hem gives us grown-up roots music that is thoughtful, breathtakingly gorgeous at times and eminently hummable.
3hive has turned out to be a revelation for me. Today, I heard City Girl, a song by The Owls . Airy, profound yet unencumbered by legacy. Kinda reminds me of early Suzanne Vega or Jane Siberry -- but new -- I haven't heard them before. Know what I mean? They don't remind me of how great Joni Mitchell is. How original Ani is. Surprised, not bored. I wanted to tell someone.
Read an MPR interview with them that captures them:
Owls' music is spare and quiet. The singing, always prominent in the mix, features ethereal and occasionally dissonant harmonies. The melodies are often deceptively bright, given the dark emotions the lyrics sometimes convey. Because of the occasionally sober tone of the songs, and the group's tentative stage presence, the Owls have been described as a band of librarians. For Allison Labonne, making music with The Owls is about stripping away any persona, and getting to the essence of things.
Listen to Air, City Girl, and Black Hands of Tyme