Upper Air

The musical boyfriend/girlfriend duo, Phil Moore and Beth Tacular (along with Matt Damron on drums) are the talented masterminds who make up the indie-folk band known as Bowerbirds.  In 2006, the songbirds emerged from their nest in backwoods of North Carolina and onto the national music scene with their debut album Hymns for a Dark Horse.  Since then, Bowerbirds have become the paradigm of all that is natural, organic sound.  Their sophomore album entitled Upper Air (2009) is one of those rare albums you can play in its entirety without the impulse to skip over or delete tracks.  At first listen, this album is a near carbon copy in terms of sound and production to their first album, almost as if the band had followed a set of blueprints for melodies, harmonies and instrumentation.  However, the familiarity is easily forgivable when given a more heedful ear toward the lyrics and meanings (which are overflowing with poetic eloquence, but refusing to become pretentious).  Suddenly, Upper Air’s delicate interplay of prose and imagery becomes an entirely new animal that is quite distinguishable from that of the Dark Horse.

 

Because the album is so cohesive and fluid, it is hard to say which songs could be labeled as ‘stand out’ singles.  Each song is humble, earnest and filled with metaphoric symbols involving nature (which is appropriate since the band lives and makes music inside a cabin in the middle of a forest).  Nature is certainly a main focus of the record, but I noticed that there is a specific, reoccurring theme of trees and leaves in many of the songs:  “we’ll fall to sleep/beneath your tree/and the wind will pound through your leaves and serenade me” (Beneath Your Tree), “I live in your tall trees/amongst your fearless leaves/saw the bright colors/bright future” (Bright Future), “so I wake early/watch the leaves quake/in the first light/ braise the trees” (Crooked Lust).  No surprise that they’ve called themselves birds, huh?  To me, this theme serves as a thread tying all ten tracks into one big beautiful quilt full of intricate textures and contemplative ideologies. 

 

The songs on this album get down to the bare essence of human existence—they all have a heartbeat, and they don't leave room for embellishments.  Because of certain overarching global thematic concerns it’s easy to cast the Bowerbirds into the category of hippie environmentalists or granola socialists.  For example, in the premier track of the album “House of Diamonds” the chorus expresses their innate belief in anti-materialism through lyrics like “You are free from the greed of your culture/ You are free from the lust for the luster/ Of the diamond houses in the city’s cluster/ From your own ego, from your own blunder/ You own the stars you own the thunder/ but you have to share.”  Yes, they have highly evolved worldviews, which transpire into unconventional phrasing techniques, but once you allow yourself to overcome cynicism and simply appreciate the message, you realize that these guys aren’t trying to sell you hemp ankle bracelets or guilt trip you into signing up for Greenpeace—they’re simply trying to make meaningful music.

 The ultimate beauty of Upper Air is that what you hear is their truly their unadulterated sound—hence, someone who listens to the album will know what to expect at a live performance and will not be disappointed or unsatisfied.  Clearly, the Bowerbirds did not capitalize on being given the ability/opportunity to manipulate their sound and forge perfection through the ‘professional realm of studio recording’, and through paying close attention to their noble and unpretentious lyrics I would expect nothing else.  In fact, I wouldn’t be surprised if some of the tracks were actually recorded live (which is rare and difficult to pull off), meaning they all were in separate rooms but recorded all at once.  From their nature-inspired lyrics to their barebones production everything points to genuine, unrefined talent.  Instrumentally, this album is pretty basic with its rhythmic guitar, light piano, a single bass drum (genius!); but with the simple addition of accordion and intermittent strings (which compliment each other brilliantly) their sound becomes unique and highly recognizable.  Interestingly, it is Bowerbirds’ flaws that serve to enhance their sound the most, as their loose overlaying techniques, sloppy piano playing, and sometimes out of tune harmonies only further the notion of raw authenticity.

 

It is so refreshing to escape into their world through this album and hear people who sincerely care about inter-personal relationships and understanding their surroundings.  But as I digress into overindulgent compliments and superfluous acclaim, I am reminded that the Bowerbirds are, indeed, humble folks don’t need nor want to be constantly affirmed of their greatness.  As they clearly state in the track “Northern Lights”, "I don't need from you a waterfall of careless praise”.  So, in the spirit of being a thoughtful reviewer and respectful fan, I shall cease!

Glee

A new show set in the middle-of-nowhere, dismal town of Lima, Ohio dealing with the trials and tribulations of a struggling high school glee club probably sounds less than captivating to the majority of television consumers in this country. However, since Glee has hit prime time television this fall, an overwhelming majority of audiences has embraced it on account of its undeniable amount of musical talent.  Fox’s newest television series puts the musical talents of American Idol to shame with its screaming display of aptitude and flair.  This is primarily due to the strategic choice to cast young and outstanding talents within the musical theatre scene (such as Lea Michele who plays Rachel), rather than the perhaps more tempting option of picking well-known pop stars or more commercially popular and recognizable actors/singers.  The ambivalent cast has quickly risen to the spotlight as the show has proven that it is certainly suitable for prime time television.  Thankfully, though (for us theatre geeks), is has maintained a strong grasp on its intrinsic quirkiness and over-the-top dramatization and parodies of true Broadway musicals.

 

Within Glee’s very first season it has already drawn much attention and hype due to the innovative and explosive re-arrangements of contemporary hit songs, which are performed by the cast of “high-schoolers” at the end of each episode.  Also, the show’s producers have tactfully capitalized on an agreement with iTunes to sell and promote the songs in the iTunes music store as they are performed in the show each week.  These performances are beyond stellar to the point where it is hard to believe that they are supposed to be sung by a high school glee club.  There is no doubt that millions of former, current and about-to-be high school geeks and artsy-fartsies sit at home salivating over what they all secretly wish their own glee club could (have) aspire(d) to be.  With characters like Finn (Cory Monteith) and Quinn (Dianna Agron), the show even makes glee club appealing to the jocks and cheerleaders who wouldn’t be caught dead singing in the school choir.  

 

If you can look past the fact that the acting and filming of the show can at times come of as cheesy or overly perky (think Pleasantville on crack), it is clear that the creators have established a super distinguished quality and valuable viewing experience.  In turn, the entertainment value overrides the value of being entirely realistic.  To its credit, many of the situations and struggles are actually very relatable for anyone who is in or has been through high school, popular or not.  In Glee, there is something for everyone from archetypical high school characters to nostalgic high school situations and memories.

 

Everyone should give Glee a shot and watch as these musical theatre rock stars take their talent from the stage on to the screen.  The transition has so far proven to be magical! 

             

When Harry Met Sally

Can men and women ever truly be “just friends”?  According to Harry Burns (Billy Crystal) in Rob Reiner’s classic film When Harry Met Sally, the answer to this esoteric question is no: “the sex part always gets in the way”.  Early on in the film, Harry explains this concept to an attractive stranger, Sally Albright (Meg Ryan), as they make their way carpooling together from Chicago to New York reasoning that no man can be friends with a woman he finds attractive because he will always want to have sex with her.  Sally is particularly perturbed and astounded when Harry admits that even with the unattractive ones, “You pretty much want to nail 'em too.”  This heated debate makes its way through the entire film as Harry and Sally slip in and out of each other’s lives serendipitously.  This incredibly entertaining romantic comedy proves its point by the end of the film, but only through the tribulations and complications of Harry and Sally’s magnetic friendship turned romance.  With enticing insights on human behavior, sex and gender relations, When Harry Met Sally is undeniably attractive to men and women alike!

The Bends

Radiohead’s second album, The Bends, is one of many proclamations to the British band’s astounding resilience and diversity.  Interestingly, the title refers to a decompression sickness that deep-sea divers experience when coming up too quickly from a dive—an allusion to the sudden fame gained from the band’s hit single “Creep” off of their first album, Pablo Honey.

The Bends (which is thankfully much different than Pablo Honey) is a refreshing mixture of melodic ballads. The album’s twelve tracks are filled with longing, revelation and critiques of both culture and the human condition. Enveloping guitar arpeggios by Mr. Johnny Greenwood are interlaced with the exquisite tonalities of vocalist Thom Yorke creating a beautifully cohesive collection.  Each song has the ability to hold its own weight and bring its own unique quality to the album, with the most recognizable stand-out-hits being “High and Dry” and “Fake Plastic Trees”.  However, they save the best for last with "Street Spirit (Fade Out)", a song so brilliantly arranged and organically crafted that its swirling harmonies provide a perfectly soothing mood to end the listening experience. Its final words (and the album’s overall message) being: "Immerse your soul in love." 

Ishmael

Saving the world is not a simple undertaking, just ask Daniel Quinn author of the groundbreaking novel Ishmael.  In his self-proclaimed “adventure of the mind and spirit”, Quinn delves into the root of our society’s problems as a whole, shining light onto his perception of what we need to do in order to save our earth and humanity.  Within this, he analyzes the human condition vicariously through his main character: a half-ton silverback gorilla named Ishmael, who is able to communicate with an unnamed man who becomes his student.  As their conversations and interactions unfold, we begin to understand the problems of humanity and learn the flaws of what “Mother Culture” has taught us.  The possibility to change our ways and to save this world is what Quinn wants to teach through Ishmael.  Spreading the knowledge, as Ishmael says, is where it all begins: “You must first change people’s minds.”  

 

Kudos to Daniel Quinn, he changed mine.

            

Yang Fudong's Honey Series

It is hard to talk about politically charged artwork without mentioning China and its highly analyzed “cultural revolution”.  In the 21^st century, China has been one of the world’s fastest growing countries and because of that it has seen some major cultural adjustments from strict traditional values into more contemporary ones.  In the current exhibition at Columbia College’s Museum of Contemporary Photography, Reversed Images: Representations of Shanghai and Its Contemporary Material Culture, work by more than twenty photographers deals with this very controversial issue. 

Yang Fudong’s photo series entitled Honey (2003) is comprised of nine photographs and is a particularly appealing asset to the MoCP’s current display.  Upon a first glance of the montage, it appears to be mimicking the layout and design of a spread in a high fashion magazine because of the model’s airbrushed look, her clothing and her flat, emotionless expression always directed away from the camera.  However, upon reading about the piece’s intent and its political meaning, its true significance and its earnest substance comes to life, shattering its initial ‘Vanity Fair’ appeal.

Yang Fudong is a Chinese filmmaker and photographer living in Shanghai.  Fudong is only in his late 30's but yet he has already developed a strong international reputation because of strongly charged and extraordinarily recognizable pieces like Honey. Yang was a finalist for the Guggenheim Museum’s Hugo Boss Prize in 2004, one of only three Chinese artists to earn such an honor.  Also, he was named one of the leading young artists by the Institution of Chinese Contemporary Art. 

In Honey, Fudong represents the young adult generation in China (who comprise the emerging middle class) through the portrayal of one young Chinese woman and the occasional appearance of three Chinese men inside of a high-rise apartment building (which exemplifies their new capitalistic values).  In all of the photos the young woman is dressed in couture-esque attire, sporting swanky fur, brown leather boots and fish net stockings.  She is adorned with jewelry and poised atop a pink leather sofa delicately dangling a cigarette on her fingertips at all times.  The woman’s edgy and rigid bright red bob of a hairstyle is a brilliant juxtaposition to the jutting calla lily which in the forefront of most of the photos.  Calla lilies are a prevalent symbol of traditional Chinese culture meaning magnificent beauty.  The combination of the traditional symbol of beauty to the modern idea of beauty is a key to Yang’s work and to his message of how the recent and rapid modernization of China has served to deteriorate its traditional values and culture into that of more corporate and urban.

It is hard to say if politically charged artwork like Honey is truly proactive or if it plays a significant part in the larger political realm, or if it is more or less empty, self-important attempt to draw attention to one’s work.  But what is evident is that with Honey, Fudong has provided an examination of feelings surrounding the matter instead of making a bold and opinionated statement about it.  Through this somewhat rare approach, he has been instrumental in providing a fresh and creative perspective on China’s controversial past and present that leaves the viewer with a lot to talk about! 

 

 

 

 

Gang's Innovative Aqua Tower

In a city known to have some of the world’s greatest architecture, Chicago’s skyline is comprised of some of the most phallic, virile and robust skyscrapers you have ever seen.  However, in the midst of the masculinity, a refreshing feminine energy has ascended in the form of a voluptuous buxom of a building named the Aqua Tower. Studio Gang’s principal architect Jeanne Gang designed the brand new tower, which is a luxury mixed-use skyscraper located at 225 North Columbus Drive. This building is nothing short of an absolute vision of Venus beauty. With its undulating waves and sparkling blue reflection mimicking that of Lake Michigan, it causes its surrounding structures to seem instantly mundane and straightedge. In her twirling ‘ballerina figurine’ framework, Gang has constructed 82 stories (making it the tallest building yet to be designed by a woman architect) which holds 740 studios, convertibles, and one- and two-bedroom apartments.  This swaggering beauty strategically offers some of the most amazing views of the city from its jutting balconies and green roof garden. And not only is this building designed to be environmentally friendly, but Gang (being the avid bird lover that she is) has taken specific consideration in creating tactically designed sheer glass walls to prevent the common fatality of birds flying into windows. 

When viewing this new skyscraper, it is easy to be reminded of Chicago’s famous twin Marina Towers located on 300 North State Street.  But at second glance, there is something much more special about the Aqua Tower that sets it worlds apart from the two futuristic mirror image buildings.  First of all, the Aqua is built on a rectangular base, but with its unique composition it is given the allusion of a circular and rounded form.  Contrarily, the Marina Towers are built on a circular base and, unsurprisingly, have a circular shape—no allusion involved.  The Aqua Tower is also far more complex because although it is a solid standing structure, its organic design gives the allusion of fluidity and motion.  The Aqua’s protruding balconies can definitely be compared to the Marina Tower’s similar “jutting” edges, however as the Marina’s are linear, lifeless and predictable the Aqua’s are deviating and biotic while still remaining alluringly harmonious.

Overall, the design of Jeanne Gang’s Aqua Tower is incredibly innovative.  Through her expertise, she has given the Chicago skyline a much-needed graceful, feminine twist.  The tower’s topographic contours and intricate thoughtful design process represent, as well as, uphold the great historic integrity of Chicago architecture.

Degas' Woman in Tub

With most art that came from the Impressionist movement, it is easy to confuse which paintings go with which artists because of the similarity of the subject matter.  Monet, Renior, and Van Gogh—all famous impressionist painters—depicted many a whimsical, romantic and beautiful portraits of people and scenes of nature, and unquestionably so!  But there is one impressionist painter in particular that can be almost unmistakably identified by subject matter alone, and that is Edgar Degas.  This Parisan painter’s body of work is characterized almost completely by his obsession with ballet dancers.  But was it really the obsession with the art of classical ballet that enticed him to paint?  History says no.  History also says that Degas was an outright misogynist.  In his 1884 piece entitled Woman in the Tub, Degas depicts a what it is that really kept him coming back to the ballet studio time and time again: the (near nude) female body.  Here we see the backside of a naked woman as she bends forward to clean her buttocks.  Not only is it an awkward view, but also it is in no way idealizing (much less flattering) of the female form.  Just as he does in many of his ballet portraits, he causes women to look much less attractive and much more dull and frumpy then they actually are.  It seems he could have chosen to take a different approach to representing these beautiful, disciplined and hard working women, but instead we have here an unbecoming view of a woman wiping her ass in the tub.  Thanks a lot, Degas. 

 

 

Salvador Dali's Persistence of Memory

Not only is Salvador Dali’s The Persistence of Memory one of his most famous masterpieces, but it is arguably one of the most recognizable paintings to come from the Surrealist movement.  Within its claim to fame are the symbolic, warped looking clocks melting over tree branches with a single intact pocket watch in the corner covered with swarming ants (one of Dali’s signature symbols).  Rendered in Dali’s hallmark hues of brown, blue, and yellow, this highly universal painting was completed by the Spanish painter in 1931 and since then it has been widely interpreted.  For instance, the most central figure of the piece is a fetus-like head washed up on the shore seemingly gasping for air.  The figure has been interpreted in a multitude of ways, some saying it’s a monster others saying it’s a depiction of Dali himself.  Also, many would dispute the symbolism between the melting clocks and the pocket watch with the ants. Although Dali never outwardly explained their meaning, they are widely acknowledged as symbolizing Dali’s perception of time and anxiety, reality, birth and death, and sexual desire.  But what, you ask, makes this strange and deranged painting so incredibly popular?  Well, perhaps it could be the stoner’s allure to the trippy, hallucinatory vibe and its almost dream-like quality.  Perhaps it could be the philosopher’s enticement to decipher the science and psychology behind Dali’s motivations.  Or maybe it is the intellectual’s drive to uncover the mystery sealed up inside the profound meaning and symbolism of this complex piece.  Whatever the reason, the viewer cannot help but become attracted to this particular Dali painting and all of its fascinating intricacies. 

Ask the Dust Review

“It tasted pretty much like coffee, but it wasn’t worth the nickel,” thought struggling writer, Arturo Bandini as he sat in a Los Angeles diner, inhaling a cigarette and praising Joe DiMaggio, all the while avoiding the looming reality of paying his overdue rent to the landlady at the Bunker Hill Hotel. “Either I paid up or I got out...”

In just the first couple paragraphs of his novel, Ask the Dust, “pre-beat” author John Fante paints the intricate portrait of an Italian-American writer (much like himself) dealing with the everyday battles involved with living amidst the only financial era in American history that is arguably worse than that of our own: The Great Depression. Clearly, there are vast differences between the times (i.e. a nickel today would barely get you a coffee bean, much less an entire cup) but the irony exists in the crisis that lies within each, from the recognizable troubles of a starving artist in this 1930’s tale to the grim reality of our present day job market.

Fante’s Ask the Dust is a ballad to daily life in the City of Angels performed through the manic mental and emotional processes of his main character, Bandini. Many strange encounters occur throughout the novel involving drinking, women, racism and poverty, all skillfully woven within a mixture of Bandini’s internal and external conflicts. After a couple days of following Bandini in a chaotic pattern of abiding hardships and bizarre interactions, we find our main man sipping another unworthy cup of coffee down at the Columbia Buffet. Here, he encounters Camilla Lopez, a Mexican waitress who he is both fascinated with and disgusted by. “She was a racial type, and such she was beautiful, but she was too strange for me.”

Nevertheless, Bandini was entranced and naturally, he proceeded to take the steps that any logical man attempting to impress an attractive woman would take. In utilizing the foolproof method of picking up women, Bandini begun by shamelessly criticizing her footwear, then to liven things up, he added in a bit of directed racial slander and finally, to seal the deal, he intentionally spilled his coffee, ensuring he left a hot mess for her to clean up. Needless to say, Camilla was hooked.

These backward antics continue between Arturo and Camilla (and eventually a few additional characters) throughout the entirety of their unconventional, tumultuous, dysfunctional, hostile and obsessive love/hate relationship. However, their interactions are as substance-less as their motives are confusing. As much as the plot is undeniably adorned with profound insights and overarching themes regarding substance abuse as well as the racist tone of Los Angeles (and perhaps the entire country) at the time, the characters’ actions are severely lacking in purpose, ultimately rendering them to seem quite excessive.

Conversely, Fante’s writing style is in no way lacking or excessive, but is a rush of literary brilliance. Fearlessly, Fante throws caution along with sentence structure to the wind, and what remains is an imaginative, eclectic (at times manic) array of thoughts purposefully arranged on the page. His tone is witty, clever and incredibly honest, while his writing is fast-paced yet still intricately crafted with detail. Above all, Fante manages to be passionate and sincere without using sweet, sugary anecdotes. Aside from its flaws, Fante’s indisputable talent as an author shines through, and for me Ask the Dust was definitely worth the 279 nickels.

Gervais- The Inventor of Predictable?

To tell the truth…after hearing an initial rundown of the premise of The Invention of Lying, a savvy viewer may immediately delegate this film as a reverse replication of the popular 90’s flick Liar, Liar.  However, co-writers/directors Ricky Gervais and Mark Robinson successfully took a familiar concept and twisted it into a sharp, fresh and un-linkable comedy.

 

Admittedly, the first 30 minutes of The Invention of Lying may well be the only truly inventive part of this quirky and inspired tale, as they are jam-packed with the majority of the jokes and laugh-out-loud humor.  These few opening scenes are absolutely brilliant…smartly written and seamlessly layered —as one would expect from the man who created BBC’s highly acclaimed shows The Office and Extras (Gervais).  Amongst the laughter, these scenes introduce the movie’s two main characters Mark (Gervais) and Anna (Jennifer Garner) and set up its premise of a parallel universe in which lying does not yet exist.  Unfortunately, the remaining 60 minutes of the film slowly wane in excitement as the unsustainable plot takes one too many predictable turns and the humor becomes tiresomely repetitive.  Yet, despite its dwindling dissent, this film’s initial hilarity, witty gags and quality cameos (including Philip Seymour Hoffman, Jason Bateman, Christopher Guest and Edward Norton) do, indeed, carry it through.

 

Set in an alternate reality reminiscent to that of Pleasantville, Gervais and Robinson place us in a world that is seemingly more perfect than then our own—however there’s always a catch!  In this world, humans have no concept of fibs, falsehoods, or fabrications, but it goes beyond just plain honesty.  Everyone in this world is completely unconscious of embarrassment and shame, and their highly uninhibited truth telling becomes blunt bursts of the most blatant of thoughts running through their minds.  This is clearly illustrated in one of the opening scenes where we find Mark picking up Anna for their arranged date.  Staged in a familiar and intentionally cliché “blind date” manner, a slightly overweight and average looking Mark nervously approaches the door as slim and beautiful Anna is waiting on the other side.  The movie then breaks the cliché tense exchange, introducing its truthful and frank humor.  “How are you?” inquires a hopeful Mark.  “Depressed and pessimistic about our date tonight,” Anna replies at the sight of him.  She then proceeds to express that she had just engaged in some tension relieving masturbation, which she hopes to finish up before dinner.  Literally… no one holds back anything. 

 

The plot momentarily digresses from the not-so-budding romance between Mark and Anna, and focuses on Mark’s dismal life as a writer for Lecture Films Motion Picture Studios (where, naturally, all non-fiction productions are made).  Here, we further encounter the casual exclamations of thoughts going through each character’s mind with the introduction of Mark’s domineering secretary (Tina Fey), his loathsome co-worker (Rob Lowe) and his advertising executives who use slogans like: “Pepsi.  When They Don’t Have Coke.”  With already nothing going right in his life, Mark has just been fired for failing to complete an assignment on 14^th century Plague in Europe.  With perfectly predictable timing, the turning point arrives when Mark, troubled with insufficient funds for rent payment, has a “light bulb” moment at the bank: What if I tell the banker that I have more money in my account then I actually do…? 

 

Boom. Lying is invented. 

 

From here, Mark tactfully uses his revelation to his advantage (especially in respect to his romantic interest, Anna).  You can probably predict how the plot unfolds at this point, but to its credit, the film is still sufficiently supported by good acting, surprising cameos, slightly profound undertones and occasionally unforeseen gags the whole way through—not to mention a clever and witty Biblical twist. 

 

So, in the spirit of compulsive truth telling, The Invention of Lying was probably made on the budget of a television sitcom and due to this and possibly many other unrelated circumstances, it has many flaws.  But, in the spirit of quality humor and entertainment these flaws can be easily overlooked… honestly!

 

Spektor's New Album: Far from Meeting Expectations…

With three years of building anticipation from fans of her highly acclaimed album Begin to Hope (released in 2006), Regina Spektor’s newly released album, Far, was a monumental let down.  The 29-year-old Russian-Jewish songstress immigrated to the states from Moscow as a child and has since made a name for herself with quirky and memorable hits such as “Fidelity” and “On the Radio”.  Fans of Spektor indulge most in her flawless piano arrangements and minimalist approach; her eccentric but understated vocals combined with insightful and penetrating yet soothingly simple lyrics.  Unfortunately, her new album Far has outstretched its boundaries and ventured a bit too much into cutesy-pop territory. 

 

The album opens with a tricky track called “The Calculation”. At first everything is okay, and you’re thinking, “there’s the Regina I know and love!”—that is, until the chorus chimes in out of nowhere with an unwelcome salvo of piano-pop cacophony.   With the exception of “Blue Lips” and “Genius Next Door”, the rest of the album follows the suit of being completely unanticipated.  Unfortunately, even the single “Eet” is underwhelming, over manufactured and really just nothing special. Overuse of voices aiming to coordinate with the theme of the song in tracks such as “Machine” and “Laughing With” come off just as contrived and overworked as the general production of the entire album.  And let’s not even get started on “Dance Anthem of the 80’s”—it belongs exactly where its title suggests.

 

You would think that the folks over at Sire Records would have provided better guidance for this jumbled, bipolar mix of tunes, but to the severe disappointment of (at least) one loving fan, Spektor has fallen far from the top of my list.  We can only begin to hope she will climb back up.

Nutini Serves his Album "Sunny Side Up" for our Savoring Pleasure

Paolo Nutini’s sophomore album titled “Sunny Side Up’ is surely shedding light upon the 19-year-old Scottish singers validity as an artist.  Already making giant strides beyond the sales of his first album “These Streets”, his new album is an amalgamation of soul, pop, folk and R&B.  Although certain tracks are clear candidates to be hit-singles, each of the twelve songs carries its own weight magnificently. 

 For your ultimate listening pleasure with Nutini’s new masterpiece, my suggestions are as follows: some comfortable lounging accommodations, an area with ample space for dancing, and your favorite ice cold beverage!  Now all that’s left to do is press play and let the music guide you.  The opening track, titled “10/10” has an energetic beat and catchy lyrics, along with a big band appeal and loud brass tones (**your cue to get up and groove**).  The next couple of tunes project a soulful vibe and bring down the rhythm sending you into a soothing realm of relaxation (**sit down and pick up beverage here**).   Then, in the song “Pencil Full of Lead” the energy picks back up (**stand, jive**) with jazz horns, a cheerful beat and lyrics that will warm your heart.  The climax of the album hits next with the beautiful love ballad titled, “No Other Way” (**may want to pause here and invite a (romantic) friend**).  With Nutini’s raspy vocal tone he belts out the chorus, “I work my days for you/cuz I love you/Girl, I don’t want you/I need you/ and I can’t see no other way…”.  And if that doesn’t set the mood kids… then you need to make another beverage and hit repeat. The rest of the album rides out smoothly and soulfully, so stay in your seat and savor. 

 “Sunny Side Up” is an album that serves up an exciting new dish of the Paolo Nutini we originally loved, so flip it on and enjoy!