Ahmond is a Brooklyn-based singer songwriter whose music can best be described as atmospheric adult alternative with a folk-world undertone. Being of the old school variety, I hear elements of Bowie in his voice, with perhaps a touch of Cat Stevens thrown in for good measure. There is fluidity in his voice that makes listening to his music very relaxing and captivating - especially in the opening track “A Boy You Once Knew.”
“Go to Africa” introduces tribal drums, some choral embellishments and a bit of a percussive drive; it is an aptly named track. Ahmond’s press material notes that this track has been compared to Paul Simon’s “Graceland” and although it is less layered than Simon’s track, the comparison is valid. Orchestral strings add a nice touch to the outtro.
“You’re the Life” has a bit more of an upbeat pop feel, which reminds me of old The English Beat tracks on Special Beat Service. A 21st century comparison might be Regina Spektor. This song is less dreamy and pushes Ahmond’s voice to its harder-edge pop side. The instrumentation suggests a more radio-ready feel than the prior tracks.
“The Modern Realm” immediately brought to mind some Gavin DeGraw, with its luscious piano and matter-of-fact vocal treatment. Dare I even say maybe Carole King would be a fair comparison? This song could easily find its way into the background music of a television show, as the main characters drift apart during a dream sequence.
“Thundershoes” and “Those Damn Things” continue to showcase a vocal diversity – ranging from dreamy introspective tones on “Thundershoes” to a Bowie-like treatment prominent in “Those Damn Things.” On the latter, Ahmond lets his voice gulp, soar, and semi-yodel, as it ranges freely from upper ethereal notes to deep bass-y grumblings.
Listen for yourself at http://www.myspace.com/ahmondband or http://www.ahmond.com/
“Go to Africa” introduces tribal drums, some choral embellishments and a bit of a percussive drive; it is an aptly named track. Ahmond’s press material notes that this track has been compared to Paul Simon’s “Graceland” and although it is less layered than Simon’s track, the comparison is valid. Orchestral strings add a nice touch to the outtro.
“You’re the Life” has a bit more of an upbeat pop feel, which reminds me of old The English Beat tracks on Special Beat Service. A 21st century comparison might be Regina Spektor. This song is less dreamy and pushes Ahmond’s voice to its harder-edge pop side. The instrumentation suggests a more radio-ready feel than the prior tracks.
“The Modern Realm” immediately brought to mind some Gavin DeGraw, with its luscious piano and matter-of-fact vocal treatment. Dare I even say maybe Carole King would be a fair comparison? This song could easily find its way into the background music of a television show, as the main characters drift apart during a dream sequence.
“Thundershoes” and “Those Damn Things” continue to showcase a vocal diversity – ranging from dreamy introspective tones on “Thundershoes” to a Bowie-like treatment prominent in “Those Damn Things.” On the latter, Ahmond lets his voice gulp, soar, and semi-yodel, as it ranges freely from upper ethereal notes to deep bass-y grumblings.
Listen for yourself at http://www.myspace.com/ahmondband or http://www.ahmond.com/
