Farryl Purkiss
Sunday, March 30th, 2008 by Kylesinger-songwriter // acoustic pop
Butterfly’s wings lift measures as Farryl’s voice strengthens chords bound to your heartstrings. From an open book on the north shore of KZN, South Africa, he sings his life in pages charted by notes and emotional highlights. Like a good friend in a local pub, watching a few beers disappear with, he’s there, standing by a mic, helping slay those grumpy distractions away. Where faint sounds of surf whisper through quiet nights, and feelings billow like smoke from campfire lights, there is cast his first chapter’s reminisce.
Simple, inviting songs, waiving to your ears.
Farryl Purkiss – Better Days
Farryl Purkiss – Times Like These
buy this cd
With her little piano-folk melodies, gently played acoustic guitars and well thought out lyrics, Scottish songstress Kat Flint embodies the essential aspects of contemporary folk music. The lyrical notes, vibrant freshness and catchy multi-layered vocal lines of “Go Stripes Faster” instantly captured my heart, while addictive hand-claps and kazoo-playing of “Anticlimax” showcase the quirkier side of her songwriting skills. Stylistically comparable to numerous folk-oriented artists, Kat brings emotion and a distinctive quality to every song she crafts.
Expanding understanding of American roots music, in a place described as a cross between a garage and studio in Texas, Dawn Landes and The We Sorta Tried Bluegrass Band recorded a cover of Peter Bjorn and John’s “Young Folks”. As a result, the whole bunch rendered the pop classic into a bluegrass gem of switching male-female vocal parts, accompanied by acoustic stringed instrumentation. New York-based gifted interpreter, sound engineer and songwriter Dawn Landes possesses a natural ability for bridging raw folk and alt country, and the beguiling intimacy and spontaneity of her songs is comparable to such artists as Beth Orton and Cat Power.
Featured on Aurgasm three years ago, 
Vincent Delerm revives French chanson tradition by incorporating certain retro elements with his eccentric tendencies and the feeling of melancholy. Catchy, jaunty piano driven “Il Fait Si Beau” is vibrant with enthusiasm, while “Natation Synchronisée” charms with its whimsical string arrangements, Vincent’s calm, relaxed voice. Pianist, composer and singer, Vincent possesses a good sense of humour, and his elegant songwriting style keeps the chanson compelling and modern.
Even if the name doesn’t ring a bell, chances are you’ve heard at least two of his songs. “Blue Eyes” and “Ride” were both featured on the soundtracks for “Garden State” and “The Last Kiss,” respectively. Don’t let that deter you. Cary has the incredible ability to home in on a variety of emotions, whether it’s heartache or defiance or a little of both. Each feeling is magnified, and while listening it’s as if at any moment you’ll burst into a million pieces.
When Paris-born, Israeli-raised Yael Naim met 
At the Fringe venue where I work most summers, the name Gwyneth Herbert has always lurked deep in the music program, and this year I finally decided to check her out. This is what I wrote about the show at the time:
Influenced by such French chanson classics as Serge Gainsbourg, the melancholic vein of American music idols, such as Tom Waits and Bob Dylan, and inventive Andrew Bird’s compositions, Emily Loizeau carefully crafts her tuneful melodies. Charming with her sincere joyfulness and wit, piano-playing singer and composer, Emily brings so much warmth and quirky freshness to nouvelle scène française. The playfulness of her debut album
Ferraby, an LA-born, Nashville-raised, Los Angeles-returnee, recorded his self-titled EP in his bedroom, and the intimacy of that fact is echoed in all of its tracks. Each one is brimming with honesty, optimism and a touch of vulnerability. His tenuous voice and the folky-upbeat tone of his songs is an addictive and comforting combination. Even though he recorded his newly released LP Catch The Brass Ring, in a large studio, none of this intimacy is lost. According to