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CD Reviews

Marc Von Em: Free
Marc Miranda Music, 2003

In a world where mediocrity—musical and otherwise—reigns supreme, it sure is nice to find someone who stands out in the crowd. Peekskill’s Marc Von Em does just that as he goes solo on his Free release; no more a trio member is he. This guy is seriously soulful and markedly thoughtful, and he’s also a pretty darn decent songwriter and vocalist.
Von Em explores two main themes in the 10 acoustic-based songs: the intimately personal and the infinitely universal. Over and again, in tracks like “Free”, “One of These Days,” and “Shade of Sky,” he boldly declares some of his heart’s deepest truths, doubts, and secrets.
Every now and then his social conscience peeks out, especially during “Only People” and “Witness”, which—along with “Shade of Sky,” in all its tender simplicity—may very well be the best tracks on the disc. The production of Free is clean and unobtrusive, yet it supports Von Em’s melodically colored canvas. Bits and pieces may remind you of Martin Sexton. That would probably be fine with Von Em, though he certainly has a style all his own.

—Kelly McCartney

Ollabelle: Ollabelle
Sony Music, 2003

I’m starting to wonder if my inalienable right to bitch isn’t getting the best of me. How else would you explain the fact that I have a bone to pick with this stunning debut, richly deserving a place on ‘best-of’ lists everywhere?

And this modest skeletal ruckus is? Considering the trash readily accepted as ‘the risk of doing business with culture,’ it would be lame to say that Ollabelle may be too much of a good thing. On the other hand, such a comment might spawn discussion and allow our participatory democracy to sail unbounded.

Steeped in a rural spirituality, the acolytes in Ollabelle—Amy Helm (clear sky vocals), Byron Isaacs (bass, vocals), Tony Leone (drums, vocals), Fiona McBain (acoustic guitar, vocals), Glenn Patscha (organ, piano, Wurlitzer, vocals), and Jimi Zhivago (guitars, dobro, mandolin, vocals)—need also remember that this music which brings down heaven on Sundays also raises hell on the weekends, and that a little bit of secular goes a long way.

Given free hand by T Bone Burnett, Ollabelle sticks to the impassioned testifyin’, especially in the cases of songs like “Soul Of A Man,” “Elijah Rock,” “John The Revelator,” “Get Back Temptation,” a gritty cover of “Can’t Nobody Do Me Like Jesus,” and “I Am Waiting,” from Jagger/Richards.

—Mike Jurkovic

Otton Lazar: Otton Lazar
Knowlabel, 2003

It’s a well-kept secret within the Chronogram inner sanctums that freelancers have to undergo spot steroid and polygraph testing to keep us honest and to keep nepotism, despotism, and suck-up-ism to the bare minimum. So, when I say there’s an intriguing bit of schizophrenia loose on this 12-song disc, I’m not lying. The demo is haunted by the VU shadowbox with specters of Radiohead, Nirvana, the Minus 5, and a punk, metallic Bowie. It had me biting my nails at times. It’s a sinister lure, like a car wreck you’ve got to wrench a vertebra to see.

The fractured brainchild of singer/songwriter/guitarist Michael Courville, Otton Lazar hits its peaks when the guitars hold sway and the strong-armed rhythm section—courtesy of bassist Chris Bittner and drummer Josh Eppard—bashes stoically behind the leader. “Out Of My Skin,” “Just Kissed,” “Jonnydays”, “Broken Pacts,” and the fueled psychedelica of “Today” are the tunes I’m speaking about specifically. On the slower, dronier tracks, Courville seems to lose his hold, like he’s trying to throw in something to please everyone. As most of us will attest, though, that’s an almost impossible task.

—Mike Jurkovic