Shameless Plug Department

My guy, the very talented Mr. Kevin Bartlett, has a new album out. If you know anything about indie music, you know it's not easy to get the word out without the big record company machine behind you. So you get help from your friends.

Go here. Listen.
If you like it you can buy a CD or download there or on iTunes.

I have been hearing this EP evolve for the past two years and have fallen madly in love with every single song. I am biased, yes, I am. But I'm not alone. This guy, known for gorgeous, lush, symphonic movie soundtracks has suddenly stood in front of the microphone and recorded songs that are singable, intelligent, interesting and just plain fun to listen to. And that's what other people are saying. I could say much more.

If you want a giggle, pay attention to the white girl church choir backing vocals on "Dear" in the Headlights and the bridge in Cool Thing. That would be me and, on Cool Thing, my daughter.

Another fantasy fulfilled. I got to sing backup on a rock album! My next fantasy is to be able to sing like the way-cool wailing backup on Cool Thing. That's Machan Taylor. Maybe in my next life.

http://www.cdbaby.com/cd/kevinbartlett1

Now That's Damned Challenging To My Ears

Do you remember the Walker Brothers? "The Sun Ain't Gonna Shine Anymore"?



I was feeling pretty droopy and spent part of Saturday afternoon watching "30th Century Man", the Bowie-produced film about Scott Walker, the voice of the Walker Brothers.

Man.

First, take a listen to Walker's later stuff and tell me that's not the sound that Bowie became famous for. The film struck me as Bowie's apology - "Sorry, Scott. I stole your sound but you're still my hero."

But keep listening. And prepare to have your mind splintered. It was interesting watching with a musician, as Walker's later music doesn't bother him in the least.

"I like it," KB said.

I can't say my reaction was that simple. Walker's music is to your ears what Jackson Pollack's art is to your eyes. It doesn't follow the rules. It's got nothing to hang on to, no familiar rhythm or structure that lets you relax and listen.

It's the kind of music that takes a category I refer to as "music for the mentally disturbed" to a whole new level. It's uncomfortable. It's compelling. I don't even know if I like it, or if I can like it, but I sure as hell recognize that it's a remarkable leap, a real effort to be innovative, to turn tradition on its head and smack its ass.

KB has also introduced me to Peter Hammill - and why no one's made a movie about him we don't know. Van der Graaf Generator? Ring a bell?

Hammill is also challenging, but a little more accessible. What he shares with Walker is that full tilt, blood on the microphone, nothing held back level of performance and a remarkable voice.



We saw him live at an intimate little setting in our town and I must tell you that his encore, where he simply stood on the balcony above us and sang an a cappella lullabye was one of the most incredible musical performances I've ever experienced.

I'd be interested - how does this music hit people? And what determines who loves it and who hates it?