Tag: Gretchen’s Wheel

Dear Stella and Gretchen’s Wheel

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Dear Stella

Dear Stella “Time Zones” EP

Austrian Stefanie Drexler (aka Dear Stella) is a fresh face on the power-pop scene, but behind the smile is a crafty music veteran who’s worked with stars Kai Danzberg, Bleu, Eric Barao, and Scott McPherson. Her impressive vocal range is similar to Lisa Mychols or Kelly Jones on this highly polished debut. Not quite power pop, this is closer to pop with some rock elements.

Opening with the magical “Time Machine” (co-written by “Bleu” McAuley) it’s a tasty musical treat in the Jellyfish mold, full of orchestral swirls and harmonies. Next, “As a Child” (co-written with Matt Appleton) has a bright melody with varied instrumentation, as it opines on the loss of childhood innocence. “The Last Kiss” (co-written with Eric Barao) is a song full of contrasts; it’s a sad soulful song that boasts rich bright orchestration. The next several tunes are about letting go of relationships, very much like the themes that Kai Danzberg has explored in his recent work; “What’s the Meaning of Love?” being a standout. Danzberg adds his vocals to the finale “Let Him Go.” Overall, a terrific debut. Highly Recommended.

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Gretchen's Wheel

Gretchen’s Wheel “Such Open Sky”

The talented Lindsay Murray has been a musical force for several years now, and although her style has morphed over the years, the ethereal voice and guitar crunch has always been a potent combination. The opener “You Should Know” is a dark, compelling melody with flowing minor chords. “Interloper” starts strong, akin to a Fleetwood Mac mixed with Alannah Myles – it’s a good balance of soft vocal and hard-edged guitar.

“Infernal Machines” is another big standout, and Murray soars here. There are many stylistic subtleties throughout as Murray tends to have her instrumentals lead the verse, but the hook sometimes can get buried. Additional highlights include the melodic majesty of “Sleight of Hand” and “Shapeshifters.” This album is also her most consistent vision, so you should check it out.

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Gretchen’s Wheel and The Elastic Band

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Gretchen's Wheel

Gretchen’s Wheel “Black Box Theory”

Nashville singer-songwriter Lindsay Murray’s gentle vocals always work best with a contrasting guitar riff. On last year’s Sad Scientist it was done quite effectively. The new album Black Box Theory was mastered by studio wiz Andy Reed and mixed by Nick Bertling (drums, guitar, synths). Without the additional players from her last album (Fernando Perdomo, Ken Stringfellow, etc.) this feels more like a personal statement for Lindsay.

The riffs get heavier and Murray’s tone is noticeably more serious, almost resigned as “Untethered” states “guess it never hurts to try / except when it does.“ The melodies on “Plans” and “Funny Thing” are compelling enough, but even the engaging jangle on “The Maze” is permeated with negativity as she intones “you’re too far gone to start again.” It almost feels like she’s channeling Aimee Mann at her most gloomy. She stays mostly in the lower vocal register, but at the very end in “Something’s Coming” we get a glimmer of hope. While overall its musically very good, the songs tend to homogeneously bleed into one another, and it isn’t until “Imp” we get a change in tempo. I hope we get something a little more uplifting on the next album. Still, fans may disagree and dig it.

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The Elastic Band

The Elastic Band “Fun, Fun, Fun”

Sometimes I find something so different and weird — it catches my attention even if it really isn’t power pop. The Elastic Band is from Granada, Spain and the music project of Pablo Román and María Sánchez. Using an electric mandolin and analog synths, old school 50’s sampling, they make small bedroom styled pop sound big.

The playful opener “All Its Done” is pleasing, if unintelligible with Pablo’s thick accent. Like a Euro mash-up of pop strings and playful percussion “BaRRy W” mentions Barry White but sure as hell doesn’t sound like him (even if it does get your feet moving!). “CalyPso” sounds like the Addams family harpsichord mixed with ELO-styled overdubbing. It’s definitely both fun and disorienting as it cycles through 13 tracks. If you dare for something different, give this a spin.

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Gretchen’s Wheel and Todd O’Keefe

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Gretchen's Wheels

Gretchen’s Wheel “Sad Scientist”

Gretchen’s Wheel is the creative outlet for singer/songwriter Lindsay Murray. Her past albums while polished and pleasing just lacked a power pop focus. Sad Scientist changes all that, as Lindsay has gotten out the “big guns” Fernando Perdomo and Andy Reed onboard to help, along with other respected musicians (Donny Brown, Nick Bertling) to really make this album shine. “Better In The Dark” is a masterful melody suited perfectly to Lindsay’s willowy vocal giving it a unique cadence and feel similar to early Christine McVie.

“Left Turn” is a clever lyrical play on the songwriting process, with some great riffs by Mr. Perdomo. “Surviving” is one of a few mid-tempo ballads that really pack an emotional punch. “Blank Slate” is another keeper, a catchy ear-worm that is custom-made for Lindsay’s vocal style, and the somber “Out of Your Hands,” speaks about the transience of life; “make the most of your time while you can.” Overall a fantastic album and highly recommended.

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Todd O'Keefe

Todd O’Keefe “Uptown”

This album is the definition of “one that floats under the radar,” as singer/songwriter Todd O’Keefe is a respected session musician for Jeff Beck, Ray Davies, and The Posies. But power pop fans will know him from his work as bassist for The 88, and The Green And Yellow TV. Todd’s first solo album, Uptown shows the power of a simple melody and acoustic guitar. Influences are varied from John Lennon, Bob Dylan to Paul Simon.

“The Man On The Mountain” is Guthrie-like folk tune done with a harmonica flourish and gusto. The solid “My Hometown” is a heartfelt ballad that hits all the right buttons, with its feeling of isolation. Related to that is the bouncy “The Day She Said Goodbye,” it’s such a good song, the type Wyatt Funderburke would layer and polish. But here it’s just a brilliantly stripped bare melody. “Highwayman” is a Simonesque ballad about a bandit in who dies unexpectedly. “Laughing Gas For The Idle Class” is an obvious Dylan protest similar to “Subterranean Homesick Blues.” Each song is short and sweet, and each melody stands firm without any embellishment. And maybe that’s what is missing here. If only a few tunes here were fuller productions… As it stands, it’s still ripe for multiple listens and very highly recommended.

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