I couldn't resist sending this review posted by Robert Urban to the outvoice mailing
list. I'm particularly intrigued by his description of the "Joni hole". Never quite
saw it that way myself.
>Outvoice CD Review
>LET IT FALL
>Artist - RICHARD ISEN
>Review by Robert Urban
>
>LET IT FALL contains 9 original songs plus a cover of Joni Mitchell's
>WILLIE.
>
>Several old friends come to haunt this listener via
>pianist/singer/songwriter RICHARD ISEN's fine new solo CD.
>The first is ISEN himself. Ten years ago I had the pleasure of
>arranging his difficult piano-based art songs for guitars and bass -
>as commissioned by NYC singer Eve Martinez - for her concerts and
>recording.
>
>Having not heard of the reclusive Isen since then (his new re-appearance
>finds him transported to LA from NYC) - I'm happy to report he has
>re-emergedinto the spotlight with all his gifts intact.
>
>On his new effort, Richard plays piano; sings all the lead vocals (in a
>lovely soft, crooning baritone) and most harmonies; and also contributes
>sampled bass, percussion and a variety of orchestral instruments. Our
>mutual old friend Eve Martinez adds some exquisite vocals harmonies.
>
>The song structures on LET IT FALL do not conform to currnet or typical
>"pop" types, which is very refreshing. The choruses and verses (if one can
>call them that) seem to flow on from some inner unknown force... in a
>rambling...
>stream of consciousness kind of way. There is a deep, touching beauty to
>the playing, singing, poetry and overall sonic effect.
>
>Much of Isen's lyrics are remembrances of some kind, esp of childhood, and
>I dare anyone to listen to LET IT FALL without drifting off into personal
>remembrances of their own. There is a certain hypnotic "free association"
>effect going on here....
>
>In describing Isen's songs, I must refer to another old "friend", whose
>influence permeates his work as much now as it did 10 years ago. Yes, the
>aura of Joni Mitchell hovers over these songs like ghostly guardian angel.
>Richard Isen has Joni Mitchell down. The piano style, the lyrics, the way
>he turns
>a melodic phrase, the dangling unresolved tones, that sense of something
>indescribably delicate brushing up against THE NOTHINGNESS, that "certain
>slant of light" quality ala Emily Dickenson - it's all there.
>
>Here's one difference between the two. Classic Joni would always treat us
>to some light-hearted uptempo (Chelsea Morning, Paved Paradise, etc.) before
>inevitably spiraling down to that dead end black hole of existential
>emptiness - a "joni-hole", if you will - the one that would leave all
>listeners slain
>with sudden enlightenment of The Void (Song to a Seagull, For Free).
>
>In his own way, Richard Isen BEGINS in the "j-hole" and really never
>leaves it! Listening to the entire LET IT FALL leaves this listener with a
>feeling similar to that felt after seeing the film "Sixth Sense". All is
>haunted... evanescent... lost. All is an attempt to recapture or remember
>something too fleeting to reach.... All is not sure how the present has
>come to be what it is...
>
>LET IT FALL makes me feel like I did when I first started listening to
>songwriters like Joni Mitchell - a long time ago... when the songs made
>such an impression... it's all a bit too spooky for words. Richard Isen has
>that gift.
>
>robert urban
>www.roberturban.com
_____________________________________________
Richard Isen <[EMAIL PROTECTED]>
Clearsong Records
. . .because a song is like a good companion.
please visit http://www.clearsong.com
