|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Review by Bill Binkelman This is the first CD from electronic keyboard artist Kori Linae Carothers, and (at times) it shows. However, some of the songs also display her knack for crafting accessible melodies and catchy rhythms. Her palette consists mostly of breezy romantic/nostalgic keyboard instrumentals in the same vein as works from Hennie Bekker, Bruce Kurnow, and possibly Suzanne Ciani (from her Hotel Luna era, not her earlier recordings). On some songs, the use of what may be a singular make of keyboard (with its assortment of pre-set sounds) lends an amateurish sound to the music, although not in such a way that it spoiled the appeal of the better compositions on the CD. I am in the minority in this opinion, but in the same way film makers frequently start modestly, taking short cuts in lower budget films, so too must musicians as far as I'm concerned. Open-minded reviewers in film, and in music, can recognize the "diamond" that may lie underneath the surface of coal that merely needs to be polished and refined. I believe Carothers has the makings of a solid musical career, given what is on display here. The Road Less Traveled starts a bit weakly with the ordinary "Airs" and its sing-songy melody played on digital piano with accompanying pitter-patter percussion. However, the CD deftly turns the corner from "merely okay" to "quite good" starting with track 5, "Asian Wind" on which midtempo sampled hand drums and Gamelan-like percussion textures are counterpointed by cheery flowing keyboards colored with a tint of the Far East. What sells the song is that Carothers does not over-reach her modest keyboard technology. "Reflections," while a more "typical" brand of dramatic new age keyboard music (soft romantic piano with underlying lush synth strings), offers some pleasant drama, although the strings could be cut back even a tad more without losing any of the emotional resonance. Even better is "The Day" on which haunting piano merges with synth strings to form a cohesive whole, sadly flowing like curtains blown by a gentle breeze. "Mountains" is also a success, reminding me of David Friedman's smashing debut release, Moonrise. The mixture of piano, strings, and new age keyboard sounds, with subtle hints of rhythm, makes me wish this was longer than its just-over-two minute duration. The best song on the CD is the title track. Carothers' piano playing shines here, floating merrily (but not sappily) over a bed of warm synth washes, painting a sweet and friendly musical portrait of cruising along a back country lane at a leisurely pace on a sunny day. Displaying her artistic versatility, Carothers also includes a handful of electronica/chill-out songs, which, while not attention-grabbing, are not too shabby either. "Mystique" shuffles down some dark back alleys, thanks to its minor chord washes and sultry beats (although the solo violin preset tends to detract from the song's appeal at times). "Judgement" (which closes the album) offers up some warm retro "spacy" synth music, albeit amidst somewhat pedestrian rhythms. Yet, the song has a certain retro-futuristic charm, much like SF lounge from the 1950s. Recording quality itself (levels, presence, stereo separation, and absence of "noise" in the master) is very good. If Carothers upgrades her instrumentation, tweaks her drum/percussion presets, and continues to compose in the style that dominates The Road Less Traveled, she hopefully will garner a lot of attention and respect, because there is no denying she has some certifiable talent. For her first recording out of the block, this is a darn good effort and I, for one, look forward to more music from her. |
|