Laura Meyer‘s Twitter bio describes her best: Globe-trekking folk-rock poet. The New York-based folk-rock artist recently completed a 38-day, 34-show tour across the US and will be back on the road in early December. It seems the tour bus is truly her home and she’s at ease at any locale — whether it’s performing in Dublin for over 10,000 fans at the Telluride Bluegrass Festival or in New York at the intimate Rockwood Music Hall.

It is perhaps no wonder that Meyer’s latest release, Miles From Nowhere was inspired by her time spent on the road. The 20-track album takes the listener on a journey throughout the 40,000 miles Meyer has traveled. With detailed scenic description and continuous alliteration, Miles From Nowhere grabs the listener’s ear and takes him to a new destination.

It’s not often that an artist can transport the listener to another time and place, but on Miles From Nowhere, Meyer succeeds. Whether she is singing about New Orleans on the rustic opening track, “Katrina, Katrina” or her beloved home on the colorful “Back In New York,” each song is distinctly different from the previous.

An old soul, it is easy to envision Meyer performing at folk festivals, for it is her lyrics that stand out most. The way she imparts constant emotion and vivid imagery throughout each track is remarkable, bringing to mind Joni Mitchell with her vocals and distinctive guitar style. Additionally, the occasional angst shown in edgier tracks like “Miles From Nowhere” and “Chelsea Hotel” exemplifies Alanis Morissette circa her Jagged Little Pill era.

Miles From Nowhere progresses naturally from song to song, despite obvious differences in tone throughout each new track. The softer “Katrina, Katrina” transforms into the edgy title track extremely well while the dark and somber “Chelsea Hotel” and it’s faster guitar picking segues equally fittingly into the love story of “New York, New York.”

Recorded in one session, Miles From Nowhere alternates solely between acoustic and electric guitar and Meyer on vocals. The album is simple, and not overproduced. In fact, it’s as if you’re receiving a private concert by Meyer in your living room. Her songs are incredibly honest as she opens up her diary to the world. “I trust the universe takes care of me/But sometimes my trust is just so hard to believe,” she sings on “Night Drive.”

Much of the album deals with the uncertainty of love. “The Ocean” embodies a spoken word segment on love and is a welcomed change while “New York, New York” speaks of the uncertainty in relationships. “I’ve always felt like New York is a yo-yo/Tied round my finger I can’t throw her away/But now I see after coming and going/New York’s the only one who ever stays/I’m just the toy in her hand/Like a boy who thinks that he’s a man/I’m just the toy in her hand/She throws me away and I go back again and again/I’ve always felt like love is for strangers/Soon as you know it, it goes away/I’ve tried to love him despite the danger/And in the end only love remained,” she sings.

Whether it’s her intricate finger picking or moving lyrics, Meyer is one folk-artist who deserves your attention. Visit her Web site and if you like what you hear, be sure to catch her on tour in December and January.

Recommended: For fans of Norah Jones, Joni Mitchell, Ingrid Michaelson.

Their first album in nearly three years, Switchfoot have said Hello Hurricane has been the hardest record they have ever made. The band tracked over 80 songs out of 150 written, the end result being 12 remarkably cohesive tracks. Between the aggressive rock numbers and powerful ballads, Hello Hurricane is a solid release embodying tales of struggle and loss intertwined with the overlying theme of hope and love. Their seventh studio release, Switchfoot prove their music is as important now than ever.

A press release explains it best: “Where the multiple-Platinum selling The Beautiful Letdown became an anthem for a generation of fans to leave a life of complacency with songs like “Dare You To Move,” “Meant to Live” and “This Is Your Life,” Hello Hurricane takes the message a step further, encouraging fans to live for something beyond themselves.”

Energetic tracks like current single, “Mess of Me” and opening song, “Needle and Haystack Life” reassess this message. “Don’t let go/Don’t give up hope/All is forgiven/You breathe it in/The highs and lows/We call it living/All is not lost/Become who you are/It happens once in a lifetime.”

Frontman Jon Foreman further explains the record’s concept. “Hello Hurricane acknowledges the storms that tear through our lives. This album is an attempt to respond to those storms with an element of hope, trying to understand what it means to be hopeful in a world that keeps on spinning.”

Known for their introspective lyrics and heartfelt ballads, the heavy rock entrance on the record may surprise longtime fans at first. High-energy, arena-friendly tracks can be heard early on Hello Hurricane, something the Switchfoot concert buff will enjoy but the average music fan may take a few spins to appreciate. In a four-minute album trailer Foreman provides clarification while talking of the difficulty in tracking the album. “They didn’t feel like the type of songs you wanted to die singing. For Hello Hurricane, that became the prerequisite for the song. If you’re not crying, why are you singing it? If you don’t believe it with every ounce of you, then there’s no point in singing it.” It is this quote that best describes the album.

Hello Hurricane takes the listener on a journey. The upbeat start of the record eventually takes a turn midway through, ending with three fitting ballads. Let me be clear, this is not an album of singles; it is an album that rewards those who listen to it in its entirety.

Slower track, “Your Love Is a Song” recalls earlier Switchfoot track, “Let Your Love Be Strong” and “Your Love Is Strong” off Foreman’s solo EP while “Bullet Soul” is a welcomed rebirth. Opening with excessive guitar fuzz in the speakers, it’s as rock as you can get. Listeners can easily picture Foreman jumping off the drum kit while screaming the lyrics at a live show.

Switchfoot thrive on their ballads and the emotional “Enough” is just one example. With soft guitar accompaniment and percussion, Foreman’s voice blends well as he sings, “Do you love me enough to let me go?/To let me follow through/Let me fall for you my love/Do you love me enough to let me go?” Possibly the simplest track on Hello Hurricane, the depth behind “Enough” is immeasurable.

“Free” follows “Enough” and is a song many can relate to. In a tale of the struggle breaking free of our own vices be it debt, greed, or our past, Foreman sings, “I’ve got my back against the wall/But I still hear the blue sky call/The chains that hold me back inside/Are the prisons of my mind . . . I try to live the light of day/Why would I do what I hate.” With dark guitar tones and percussion the song leaves an impact on the listener.

Produced by Mike Elizondo, (Eminem, Dr. Dre, Fiona Apple, Regina Spektor) Hello Hurricane is a new beginning for the band. While certain tracks rock harder than others, it is the stories within the songs that leave the greatest impression.

The title track is said to have been inspired by a woman who lost all she knew in Hurricane Katrina. Last year, with Habitat for Humanity, the band helped rebuild a woman’s home who relocated to Baton Rouge. As she learned to walk as an amputee, Foreman explained her mantra: “I walked out of my house and my life in New Orleans on my own legs; I’m going to walk into this one the same way.” Of “Hello Hurricane,” he explained, “This is the spirit that I wanted to capture with this song, and moreover with this record. The storms of life might take my house, my loved ones, or even my life- but they cannot silence my love.”

After learning the story behind the song, the track hits home. “Everything I have I count as loss/Everything I have is stripped away/Before I started building/I counted up these costs/There’s nothing left for you to take away/Hello hurricane/You can’t silence my love.”

The beautifully emotional ballads, “Always,” “Yet,” “Sing It Out” and “Red Eyes” close the album on a high note. Last track, “Red Eyes” brings the album full circle with Foreman singing the chorus from “Needle and Haystack Life” to the fadeout of the song: “We are once in a lifetime…” It is within these songs that Switchfoot truly shine. While the faster paced rock anthems introduce Hello Hurricane, it is the ballads of hope, love and yearning that end the album, leaving the listener with newborn faith, freedom and strength. Foreman explains it best:

>“Hello Hurricane is an attempt to sing into the storm. Hello Hurricane is a declaration: you can’t silence my love. My plans will fail, the storms of this life will come, and chaos will disrupt even my best intentions, but my love will not be destroyed. Beneath the sound and the fury there is a deeper order still- deeper than life itself. An order that cannot be shaken by the storms of this life. There is a love stronger than the chaos, running underneath us- beckoning us to go below the skin-deep externals, beyond the wind, even into the eye of the storm. Hello Hurricane, you’re not enough- you can’t silence my love.”

Hello Hurricane hits stores Tuesday, November 10. Are you planning on picking up a copy? I’d love to know your thoughts!

Related Links:
• Q&A; with Jon Foreman
• Q&A; with Chad Butler of Switchfoot
• Audio Interview with Tim Foreman of Switchfoot
• Switchfoot Raise Over $67,000 on Tour Benefiting Habitat for Humanity

In an age where Auto-Tune is recognized as music and overproduction takes the place of the stripped down and acoustic, Army of Me‘s latest EP, Make Yourself Naked is a welcomed reminder of where it all begins. On Make Yourself Naked, singer-songwriter Vince Scheuerman breaks things down and takes the listener on a journey.

“I never intended for anyone to hear this music,” Scheuerman said. In fact, the recordings on Make Yourself Naked were originally meant to be song ideas and demos for the next Army Of Me record. It was recorded on his laptop, in his bedroom in Washington DC.

Reminiscent to that of Switchfoot singer-songwriter Jon Foreman’s seasonally themed EP’s released last year, Scheuerman pours his heart and emotion into each track, inviting listeners into his bedroom. With the overlying theme of love, the EP includes the beautiful “Don’t Be Long” and “Love Song” (listen below).

While a definite contrast from Army of Me’s debut album, Citizen, the five-song EP was Scheuerman’s first attempt at self-recording: he only had a microphone, guitar, keyboard and laptop to work with. The result is a raw EP of honesty and intimacy.

Revealing his vulnerability, with delicate finger strumming on “Love Song” Scheuerman sings, “Love I want to give myself away/Love I want to receive you back in the same way/I make no sense on my own/We’re meant for each other/This is love/I forgot the part of my heart that could burn for someone/Happy surprise when I can’t take my eyes from you/You are something sweet/Surely have captured me/But I know I will stay anyway.”

“Lost At Sea” draws numerous aquatic metaphors, allowing the listener to come to his own conclusion while “On My Way” paints a vivid picture of a man on a long and uncertain journey. Beginning with soft strokes of the piano, “Don’t Be Long” ends the EP with an ethereal chorus to the fadeout of the song, begging the listener to question what’s in store next for Army of Me. A solid release, it is hard to believe Make Yourself Naked was recorded in Scheuerman’s bedroom on a laptop. Nonetheless, it is often these intimate moments that make the best music.

To listen to “Love Song” click here. Be sure to visit Army of Me on MySpace for tour dates and to purchase the EP.

Related Links:
• Audio Interview with Vince Scheuerman of Army of Me
• I’m With the Band
• Army of Me Invades Brooklyn
• Q&A; with Vince Scheuerman

Photo Credit: Wendy Hu

Labor Day has come and gone and as much as we’d like to deny it, autumn is officially here. While it may be time to pack up that bikini, there’s no need to turn the music down. With tunes this good, who said summer has to be over?

Black Eyed Peas – The E.N.D.

The E.N.D., short for The Energy Never Dies, does just that. Released in June, many of the tracks could be heard in clubs and parties all summer long. In fact, it didn’t seem right if the night ended having never heard at least one of Black Eyed Peas’ songs. Hit singles, “Boom Boom Pow,” “I Gotta Feeling,” and “Meet Me Halfway” are undeniably 2009 summer anthems. With their electrifying dance beats, catchy choruses and synth-fused tracks, Black Eyed Peas prove they still know how to get the party started.

Colbie Caillat – Breakthrough

If Colbie Caillat’s new album, Breakthrough, doesn’t emit summer nostalgia, I don’t know what will. You can practically hear the ocean waves and smell the sea salt as she’s singing current radio hit “Fallin’ For You” and moving opening track, “I Won’t.” Of course, that could be because she wrote the album while vacationing in Hawaii. Songs like the laidback acoustic “Droplets,” featuring co-singer/songwriter Jason Reeves, and emotional “I Never Told You” are a breath of fresh air. Bet you can’t help but reminisce about that summer romance.

The Gaslight Anthem – The ’59 Sound

Jersey’s own the Gaslight Anthem have had quite the summer. Having toured the globe in support of their incredibly well received sophomore effort, The ’59 Sound, the band also shared the stage with Bruce Springsteen at Glastonbury Festival in England. If there was one album that epitomized driving down the shore with the top down and radio blasting, it would be this one. Tracks like “Great Expectations,” “Here’s Lookin’ At You, Kid” and “Backseats” are filled with vivid imagery and descriptive narratives of failed relationships, lost youth and somber regrets masked by energetic musical accompaniment. With a punk rock feel combined with that classic Springsteen sound, The ’59 Sound references those long summer days and endless summer nights.

Gloriana – Gloriana

The country outfit’s debut self-titled release encompasses upbeat, high energy songs bound to get the crowd on their feet. This is no summer campfire music. Currently on the road supporting Taylor Swift, the four-piece, made up of brothers Tom and Mike Gossin, Rachel Reinert and Cheyenne Kimball, are sure to change the everyday music lover’s opinion on country. Catchy hit single “Wild At Heart” has been gaining attention throughout the summer, garnering them best single by a new country act in 2009 while tracks like “The Way It Goes” are sure to be just as successful. With fitting fiddle, steel and guitar accompaniment along with the bands’ emotive lyrics, Gloriana is sure to win over music fans everywhere.

Sean Paul – Imperial Blaze

The reggae king is back with his 20-track summer release, Imperial Blaze. Including smash club-centric tracks like “So Fine,” “Now That I’ve Got Your Love” and “Press It Up,” Sean Paul continues to prove his success as a producer and solo reggae artist. At a press conference earlier this summer, Paul talked of his new single. “I think [“So Fine”] is a perfect summer giant. It’s very bouncy. I usually cover stuff that you can hear in the clubs, in the cars. It’s raunchy but also sounds smooth. It has a cool attitude.” After listening to the track, I couldn’t agree more. In fact, most of Imperial Blaze has that same flavor: jams that make you want to get out on the dance floor.

What do you think? What albums did I leave out that should be considered? What’s your favorite summer album?

Nadia Kazmi’s debut release, Arrival, combines a unique blend of rock and soul with recognizable influences from many of music’s biggest icons. With poetic lyrics and strong vocals, Kazmi brings an eclectic flavor to her 10-track album. Encompassing many genres of music, Arrival, is just a hint of what’s to come for this singer-songwriter.

“Volcanoes,” draws the listener in right away with Kazmi ‘s powerful and jazzy vocals. The album starts forcefully : “I am a singer who cannot sing/A music maker but I don’t play a thing/Soul of my soul plays a game/I cannot win/This world’s treachery against me/Must be some kind of sin/Why open the door and/Not let me in,” she sings. The listener easily feels her passion and struggle accompanying the song through the musical buildup and moving lyrics. “Given the gift to speak, get close but never reach my peak,” Kazmi sings. An appropriate end to the song, much of the album deals with similar issues and frustrations – a woman’s quest to find meaning in this life.

Another emotional track, “Mother” tells the tale of a sister who kills her brother in his sleep. The woman in the song asks for forgiveness as she has evidently become her mother’s enemy after such a tragic event. Never failing with her unique storylines, Kazmi leaves the listener questioning what is to come next. Songs like “Mother” have a classic, ageless feel, almost as if they belong in another era.

Piano-based track, “Julian” is slower than previous tracks. Throughout Kazmi’s higher vocals the emotion is easily portrayed in a tale that involves reminiscing of a love that no longer exists. “Julian/This melody reminds me of you/Julian/How unfair, how unfair,” she sings. One can only wonder what may have happened.

“Arrival” recalls Queen and at times, Alicia Keys with Kazmi’s powerful vocals while tracks like “Tyranny of the Heart” introduces a different sound. With a slightly 70s styled beat, the song surprisingly resembles more of a club hit than previous ballads.

While Kazmi’s vocal ability is undeniable, the album lacks a cohesive flow jumping from soulful numbers to jazz tunes to club beats. One track especially, “Martians” has little to offer listeners. At times soporific with light guitar strumming and soft vocals, this song does nothing to flatter Kazmi. Her voice is powerful and comes across best when belting lyrics with feeling and the appropriate flattering music.

Despite the lack of symmetry throughout Arrival, most of the album is an appropriate testament to Kazmi’s talent. One example is “Prophets,” an edgier, stand-out track. With catchy percussion beats and Kazmi’s soulful singing (almost chanting style at times), the song hints at Kazmi’s talent and what is to come from this debut album.

For more on Nadia, be sure to visit her on MySpace.

Terry Penney’s latest release, Town That Time Forgot, is a blend of contemporary folk, roots, blues, country and rock and roll. Throughout the album, Penney transports the listener to another time, many decades ago when Buddy Holly and Elvis Presley were still alive making hits and leaving their marks on the music scene. Whether he is singing vividly about WWI over 90 years ago in “Benny Brown,” or an uncertain life in “Plan B,” Penney intrigues the listener, begging him to continue on his journey.

“A Place To Hide” begins Town That Time Forgot with crickets chirping, dogs barking and the sound of footsteps in the background before a guitar enters. “I’m bones and loneliness, I’ve been gone so long/Locked up in a prison cell for someone else’s wrong,” Penney sings. With catchy, memorable vocals throughout his tale, “A Place To Hide” has a classically rootsy folk feel.

Telling a story of an innocent man sent to jail for six years, the accompanying music is eerie and makes the listener wonder what will unfold next in the song. “I can hear Hank Williams’ ‘I’m So Lonesome I Could Cry’/Drifting through your kitchen on the smell of apple pie/I need to know you believe that I have nothing to admit/I never could have done those dreadful things they said I did.”

“A Place To Hide” is just a glimpse into the remainder of the album. While many pop culture references abound, history lessons also encompass much of Penney’s release. The album’s title track starts off as an acoustic ballad with Penney’s comforting vocals blending well with the accompanying music.

“Thanks For Everything” segues to more of an old school rock and roll vibe intertwined with a laid-back country feel. In fact, what is Penney’s biggest attribute is how he switches gears completely from one track to the next. From heart wrenching ”Be A Better Man” to soulful and bluesy, “Buddy Holly Blues,” Penney keeps the listener on his toes. Taking inspiration from the late Buddy Holly, the track is the perfect tribute.

“Benny Brown” is a descriptive tale reassessing a battle with the Germans during WWI. While it is questionable how accurate the portrayal may be, it is the job of a songwriter to paint a picture through his music and this is what Penney does, and does well, not only throughout “Benny Brown” but the entirety of Town That Time Forgot.

Somber and heartbreaking, “Be A Better Man” is another example of Penney’s versatility. “I used to like who I was/I had a place and a plan/I used to want so many things/I want to be a better man” Penney sings. “Well I fight with my wife/She’s taken all that she can/I don’t know why I’m the way that I am/I want to be a better man,” he continues. With fitting harmonica and acoustic guitar he aptly gets his point across.

Highlight of the album is upbeat track “Buddy Holly Blues.” Penney takes the listener back to the Buddy Holly era sampling parts of Holly’s music throughout his guitar playing. Definitely the most rock and roll track of the record, Penney’s talent is evident here in his adaptation and tribute to Holly.

Whether it’s singing ballads about WWI veterans or fugitives, one thing is certain, Terry Penney will be around for a while. His music is timeless and his descriptive stories a rare and unique find in today’s music industry. With such a standout release, I can only wonder what the next record will bring.

You can read this review, originally posted on ReviewYou.com. For more on Terry Penney, visit his MySpace.

An award-winning songwriter, Zan Burnham has been writing since the early 90s for his band Zan Zone. While previous recordings have featured electric instruments in a rock ‘n’ roll format, his latest release, Time & Materials is a stripped down acoustic approach. With mandolin, dulcimer and banjo accompaniment combined with acoustic guitar, bass and percussion, the album has an enjoyable eclectic vibe. From instrumental tracks “Skydog Salute” and “Bipolar/Hilarity Rag” to the more emotional “Better Dream,” the band’s talent is undeniable.

A mix of folk, Americana and blues, Time & Materials is a versatile release that offers much to its listeners. Whether it’s an eight minute instrumental song or a bluesier track (aptly titled “The Blues”) featuring multiple harmonica interludes, the album has that laidback, personal and at times campfire feel.

“Even though I’ve written a great many rock songs, there’s an intimacy that seems to feel so natural in a song composed and played on an acoustic guitar. You feel like your song expresses exactly the profound experiences and passionate feelings that inspired you to write,” Burnham said. I couldn’t agree more with his sentiments.

Starting off Time & Materials with “Better Dream,” the listener quickly feels the emotion in Burnham’s longing vocals. “Clock is tickin’ there upon the wall/Sunset scatters long shadows in the hall…I hear whispers and screams/Maybe there’s somethin’ better/Maybe there’s a better dream,” he sings with fitting finger picking as the questioning of life and its adequacy is displayed. In addition, a confused edginess is felt mid-song throughout the more somber lyrics.

“Carey Won’t You Sing For Me” is a more uplifting track with the man in the story requesting a beautiful song from his lady, Carey. “Carey won’t you sing along/You put such magic in a song/Your notes are never wrong,” Burnham sings. Obviously, the title says it all.

Time & Materials encompasses many instrumental tracks. While on any other album this may seem peculiar, Zan Zone proves to be the exception. Each song allows the listener to decipher as he wishes, making up his own story as the guitar or banjo plays along. The flow between each track seemingly provides the album’s own tale. Case in point: “September Rain” segues nicely after instrumental “Charles O’ Connor” so well in fact; it seems that both songs belong as one.

Whether it’s providing self introspection on “That Flame” or jamming throughout eight minute track “Skydog Salute,” Zan Zone demonstrate their prowess on each instrument. The variation keeps the listener on his toes, not quite sure what to expect next. While solely instrumental tracks are often hard to sway the listener, Zan Zone manages to keep the audience engaged, and that for any band is an impressive feat.

For more information, check out Zan Zone on MySpace. You can read this review, originally posted on ReviewYou.com.

After hit single and title track from 2006′s album, Nothing Left to Lose took off, Mat Kearney found himself on the road continuously. Supporting acts like John Mayer, Sheryl Crow and The Fray as well as his own headline stints, Kearney has been making a name for himself ever since.

Three years and many traveled miles later, Kearney is back with City of Black & White, due to hit shelves May 19. Of his release, Kearney has said it is a record about community. “There’s definitely the theme of this traveling/sojourner/vagabond kind of guy landing in the midst of people that he loves, and who love him.”

You can easily see this on first track, “All I Have.” Seemingly talking of the past three years on tour and being away from loved ones, Kearney sings “All I have, all I have, all I have, you know it’s yours/Every breath, every step, every moment I’m looking for/All I have, all I have, all I have is yours/If you watch my heart break a little bit more.”

Kearney has said he listened to U2 and Tom Petty while recording the album and this influence can be heard on many tracks. Additionally, “New York to California” strikingly evokes early Coldplay, specifically Chris Martin’s vocals and piano accompaniment throughout hit single “Clocks.”

Slower ballad “Never Be Ready” recalls Kearney’s radio hit “Nothing Left to Lose” with its catchy chorus and slow buildup throughout the song while “Lifeline” portrays longing, specifically in lyrics, “The world is too big to never ask why/The answers fall straight out of the sky . . . I can’t feel a thing without you by my side/Send me out a lifeline.” At times his voice sounds saddened, as he pours all his emotion into each song.

While there isn’t tremendous variation from track to track, Kearney’s relaxed and familiar vocals are what keep the listener intrigued. Emotional song, “Annie” encompasses a moving tale of a girl needing to break free of her mundane life. A relatable track, the listener can sense the passion and heartbreak felt within each line of the song.

City of Black & White is bound to continue Kearney’s musical success. Pick up a copy May 19th and be sure to catch him live, currently on tour with Keane! Listen to a preview of some songs off his upcoming release on MySpace.

Recommended: For fans of Coldplay, John Mayer, U2 and The Fray.

Having met in college, Bronx, New York natives Mark-uz MidKnyte (Knyte) and Lazarus (Laz) provide listeners a glimpse into their lives with catchy rhymes and moving tales on their debut album, Starving Artist. The duo, naming themselves Dead Poets, prove to be just what Hip-Hop needs today — MC’s rapping about the everyday struggle of an artist and how to overcome hardships through patience and positivity.

The diverse 12-track album blends well structured beats and lyrics, never leaving the listener astray. In fact, it’s often hard to believe this is Dead Poets’ debut release.

The listener quickly realizes this is not an ordinary Hip-Hop album. “Too Many Mics” brings references to politics, the music industry and humility. With catchy phrases like, “We cover more grounds than FedEx,” Knyte and Laz keep the listener hitting the repeat button in constant search of additional lines missed upon first listen.

Tales of difficulties in black society intertwined within funk, soul, R&B; and what will most likely become club hits, the variety on this album is impressive and never falls short. “On the Grind” talks of drug culture, the workforce and poor treatment by cops. In the midst of a song that seems hopeless, Knyte and Laz rap about redemption and how “progress is based on advancement.” The talent and emotion within this song is undeniable.

Tracks like club-centric jam “Tickled Pink” have the potential of Top 40 radio while “Step Up,” is a slower R&B; number encompassing a softer vibe with light percussion. Rapping, “Anything is possible from diplomas to degrees” later continuing, “Step up to the plate and be a man,” the positive outlook provided by Dead Poets is inspiring.

Stand out number is “Irresistible” featuring Denae and L’Monte on vocals. A catchy club hit, the infectious chorus is bound to be stuck in your head long after the song is over. Whatever genre of music you may enjoy; Dead Poets’ Starving Artist satiates every music lover’s appetite. Each track is fresh with varied guest vocalists bringing their own style and flavor to the table.

Ending the album with, “Uncomplicated” Dead Poets rap, “Follow your heart in a moment of truth.” Summing up the ideas behind Starving Artist — having respect, patience, serenity and humility towards each other, Knyte and Laz leave an impact on the listener. Not often an easy task for a Hip-Hop artist to accomplish, Dead Poets succeed and never come across as presumptuous or overproduced. “You can’t break the spirit of a true starving artist,” they sing on the title track. Luckily, for Knyte and Laz, this proves to be true. Hip-Hop world take notice.

For more on Dead Poets be sure to visit them on MySpace.

I’ve been reviewing a bunch of new albums over the past few weeks. Here are a few for you to peruse and if you like what you’ve read be sure to visit each band on MySpace!