Heaps & Bounds

With her tall, thin frame and at one time, sporting bright red hair, British singer-songwriter Imogen Heap seemed to represent the physical embodiment of the intensity found in her music - striking, bold and unique.

A talented pianist, Heap spent much of her schooling studying classical music in her native England, ultimately leaning toward more experimental music as she grew older.

In 1997, Heap signed with Almo Records and saw the release of her debut album, I Megaphone, released the following year. Influenced by household names like Kate Bush and Eurythmics (Heap even recruited Dave Stewart of Eurythmics fame to produce), I Megaphone is a collection of intense electronic-infused pop, ranging from relentless aggression to the sweet and somber. Heavy use of programming and sound loops add force and effect and make much of the album possess a spacey, sometimes alien quality. But the main draw of the album is Heap’s remarkably distinguishable voice, which can growl and purr in seamless fluidity.

Both ‘Mutual’ and ‘Airplane’ were previously unreleased tracks, appearing on the singles for ‘Come Here Boy’ and ‘Shine’ repectively. The lyrics on ‘Mutual’ are bitingly humorous, if somewhat simplistic (ex: “If I were a dog / I would shit on you / If I was your happy / I’d make you sad.”), but the song is nevertheless memorable.

The effect-heavy ‘Airplane’ is on par with most of Heap’s catalogue and features her unique brand of alterna-pop, but was inexplicably left off of her debut. However, it does appear on the Japanese import for I Megaphone.

A true love song, ‘Come Here Boy’ was possibly the biggest pushed single from I Megaphone, and featured Heap’s talent at the piano. Featured here is a live version performed solely by the singer and taken from This Is Alice Music: Volume 3, a benefit compilation released annually from San Francisco radio station, Alice @ 97.3. This version provides a nice taste of Heap’s live presence.

Also featured here is ‘Sleep,’ the album’s end song and arguably, it’s most subtle. Light strings and a hypnotic piano provide a hazy and dreamy atmosphere, easily enveloping the listener into a trance.

I know that my face is only too familiar to your sleep
I can see it in your eyes and I can tell by your body heat
                            – Imogen Heap

After tours and promotions for I Megaphone had ended, Heap made guest appearances on various artist projects including Urban Species, Mich Gerber and Jeff Beck before teaming up again with Guy Sigsworth (previously known for his work with Bjork and Madonna) to form the synth-pop outfit, Frou Frou.

Given Heap’s involvement in Frou Frou, one might expect a similar sound to Heap’s solo work, but a much smoother sound is to can be found on 2002’s Details. With Sigsworth writing and handling studio controls and Heap writing and singing, Frou Frou broadened their listening audience when they released tracks for the soundtracks to ‘Shrek 2′ and ‘Garden State.’

Currently, Heap is preparing to release her second solo record, Speak For Yourself, which is scheduled for release later in the year. One song from the album, ‘Goodnight And Go,’ can be heard on Music From The O.C.: Mix 4 and can also be digitally purchased via Heap’s official site.


Downloads:

Mutual
Airplane
Come Here Boy (live)
Sleep

WWW:
Imogen Heap (official site)
Frou Frou (official site)

Likened To A Whistle Spout

With a sound that can be wholly described as pure rock, the band Magnapop made its mark in the early 90’s during the hay day of such bands as the Breeders and Nirvana. Led by singer Linda Hopper, the band consists of bassist Shannon Mulvaney, drummer David McNair and guitarist Ruthie Morris, with whom Hopper shares writing credits with.

Magnapop officially formed in 1987, but its first release wasn’t until they hooked up with friend and fellow Georgian, Michael Stipe, who assisted in producing their 1992 self-titled debut album, which was basically a collection of earlier demos. Here you can find ‘Favorite Writer,’ an outstanding example of the band’s knack for writing a great song.

Demos or no, Magnapop contains some of their most beloved songs to date.

In 1994, Magnapop released their second album, Hot Boxing, a collection produced by yet another famous friend, Hüsker Dü’s Bob Mould. Spread heavy with memorable songs and infectious hooks, Hot Boxing reaffirmed Magnapop’s promise in the rock world and even garnered a modest hit with ‘Slowly, Slowly.’

Careful when you say goodbye
Careful stays and careless dies
But careless is and careful tries
                            – Magnapop

Magnapop’s third album was 1996’s Rubbing Doesn’t Help. While not a bad record, it’s definitely the band’s least revered. Rubbing’s glossy production seems to overpower most of the band’s straightforward sharpness. Still, there are some great tracks to be found here, namely in its first single, ‘Open The Door,’ a song whose theme is drenched with the subject of death.

After a nearly decade-long absence between records, Magnapop resurfaced with Mouthfeel, their fourth record released in January of 2005. Fortunately for their fans, their sound recalls their first two records and is surprisingly unchanged. One would never have known that so much time has passed as the group has stayed cohesive through the years.

Featured here is ‘Smile 4u,’ a back-to-basics rocker which is as successful today as it no doubt would have been in 1992.

With the unveiling of Mouthfeel it seems that Magnapop are finally ready once again to dive into the spotlight. Good thing, as they were missed.


Downloads:

Favorite Writer
Slowly, Slowly
Open The Door
Smile 4u

WWW:
Magnapop (official site)

Life Made Me A Loner

In most reviews, Swedish singer-songwriter Ebba Forsberg is often compared to the music of Dido, but the comparison doesn’t seem to be entirely fair.

While Forsberg and Dido both possess similar voices, Forsberg’s music seems as if it doesn’t belong to one core genre. Heavily influenced by an array of styles, her songs are best described as jazz-inspired pop, even though that term could be used loosely.

Her introduction to music was born while living in South Africa as a teenager with her family. Forsberg was fascinated with the culture and soon taught herself piano and practiced using her singing voice. A few years would pass until Forsberg eventually relocated back to her native Sweden and would soon find herself performing with a few popular Swedish musical acts before eventually working on the material that would become her debut, Been There.

Released in 1998, Been There is Forsberg’s debut record released by Maverick Records. With a brief running time of just over forty minutes, the album carries well from song to song, never making the listener feel rushed when listening.

Also noteworthy is the interesting dynamic of the album’s conception, as Forsberg and her sister, Kajsa Ribbing, worked together to create the songs. Forsberg composing the music while Ribbing wrote the lyrics.

The album’s opener, ‘Lost Count’, became the first single and was perfectly chosen. Performed on piano and lined with Forsberg’s warm and soulful voice, it easily eases the listener to the entire record.

‘Lost Count,’ however, doesn’t quite prepare the listener to the next couple of songs that follow on Been There; both ‘Carried’ and ‘Most Of All’ follow a darker path, using a steady bassline to accentuate their chilling eeriness and providing a dim hallway for Forsberg’s voice to echo through. Still, the tracks are stand-outs.

I’ve asked my God why he’s abandoned me
And now I know he’s been there all the time
Through the hardest parts he’s carried me
And I must forgive myself the mistakes I have done
                            – Ebba Forsberg

The album closes with the lush and jazzy ‘Didn’t Treat Me Right’ which is easily one of the record’s best tracks.

Unfortunately, Been There appears to have been discontinued and is becoming very difficult to find new. Even online retailers like Amazon and the like have deleted it from their inventories.

While researching Ebba Forsberg and her music I was happy to discover that there was also a second album entitled True Love, which was released in 2001. Information on it is scarce, but I believe it can be ordered at this Swedish retailer (an English translator link is in the upper-right corner of the page).


Downloads:

Lost Count
Carried
Most Of All
Didn’t Treat Me Right

WWW:
Ebba Forsberg (official site)

The Color Of Pleasure

Despite the similarity to Sinead O’Connor, singer-songwriter Sinead Lohan creates a brand of music decidedly different than O’Connor’s. Both have remarkable voices and leave traces of their Irish influences in their music, but Lohan is a much more subdued player, relying more on her ability to write infectious melodies than being the vocal powerhouse.

Lohan’s music was first heard on A Woman’s Heart 2, a compilation of songs from female Celtic singers. From it, Lohan’s ‘Sailing By’ was featured, and it seems that song alone is responsible for igniting her career.


Lohan’s debut album, Who Do You Think I Am, arrived in 1995 and featured twelve largely acoustic tracks which made Lohan a star in her native Ireland.

‘Bee In A Bottle’ opened the album and is a great example of the record’s overall feel. Featured here is a live recording performed at Schubas for 93 WXRT Radio in Chicago.

Who Do You Think I Am was adored by Irish fans and quickly sprung up the charts. Remarkably, the album would go platinum in five months.


After the unexpected success of her debut, the United States received its first taste of Lohan’s music in the form of her second album, No Mermaid in 1998.

Starkly different than her debut in terms of its production, No Mermaid was recorded in New Orleans with Malcolm Burn (Shawn Colvin, John Mellencamp) and benefitted largely from steady airplay and tours with Joan Baez and Sarah McLachlan’s Lilith Fair.

‘Hot On Your Trail’ follows an almost hypnotic formula, as does much of Lohan’s songs, with its hushed percussion and mechanical filtering. But Lohan’s soft, but crystal-clear voice is the focal point, consistently lifting it from being stale. Eerily haunting, the song begins with Lohan singing: “Hot on your trail, blood is red / Get on your high horse out of here / If they catch me I’m dead / Get on your high horse out of here.”

The title track is also a stand-out which will easily become a favorite to a new listener. Apparently themed around independence and breaking free of inhibitions, the song is incredibly visual in its lyrics alone: “We were dancing in the middle of the desert / You said we’ll burn under the hot sun / I said I’d rather be the color of pleasure / Than watch like you from under the thumb.”

Since its release Lohan has laid low, focusing more on her family than her music career. Her last known release stateside was her contribution to the film Anywhere But Here which featured ‘Everything Around Me Is Changing.’ Her official website (which is sadly hasn’t been updated in years) features a note written by Sinead which mentions that she is writing material for her next album. That was dated in January of 2000.

Honestly, there isn’t a single song that is lacking on No Mermaid. Actually, I found it rather difficult to just choose the songs I’ve ultimately decided upon. Lohan’s No Mermaid is one of those albums that remains a treasured gem in my vast collection. Should she never release another record, I’d be happy just for the fact that she recorded this record.


Downloads:

Bee In A Bottle (live)
Hot On Your Trail
No Mermaid
Everything Around Me Is Changing

WWW:
Sinead Lohan (official site)