Fredo Viola’s music could be described in a number of ways — delicate, ethereal, soothing, even otherworldly — but “staid” will never make the list. The vocalist, composer and multi-instrumentalist is quickly becoming known not only for his haunting voice, but also for his willingness to play with and explore sounds in much the same way a visual artist works with color and texture.

Born in Europe, Viola and his family moved between England and Rome before settling in the United States. Though he performed music as a child, Viola attended the Tisch School of the Arts and started his professional career as a video editor and animator after studying to be a film director. His experience in these disciplines continues to inform his music not only through his layered sounds and vivid lyrics, but also through the music videos he produces to accompany his pieces. Though his most famous work to date is “The Sad Song” (which attracted the attention of everyone from Massive Attack to fantasy author Neil Gaiman), all of Viola’s music is notable for both its intricacies and whimsy. The Sad Song EP was released on the French label Because Music in February, but if his MySpace page is any indication, he’s far from finished with his musical aspirations. Head there to hear more, or click here to see (and hear) his music video for “Silent Night”.

Matthew Ryan’s music is somewhere between Stephen Fretwell’s soft introspection and the pensive searching of the Frames — which is to say that it is hauntingly beautiful. The Philadelphia native sings of quiet desperation in a gentle, rasping whisper that is weary beyond his years. What sets him apart, however, is the warm intimacy of his performance; no matter what the subject matter, Ryan draws listeners in with the simple eloquence of his lyrics. In May, Ryan will begin a tour of the United States in support of his latest album, Matthew Ryan vs the Silver State. Dates in Canada and the UK will follow; a touring schedule is currently listed on Ryan’s MySpace page.

What would happen if the Squirrel Nut Zippers and They Might Be Giants joined forces? It would probably end up sounding like The Two Man Gentleman Band, a New York City duo that performs jaunty tunes about love, math and American history while employing banjos, string bass and plenty of kazoo.
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What do you do when your front man leaves the band? If you’re Dan Hawkins, Ed Graham and Richie Edwards, you rearrange your lineup, recruit a friend to fill the gap, change your approach and soldier on. After the departure of Justin Hawkins, the remaining members of The Darkness regrouped to form Stone Gods — former bassist Edwards took over lead vocal and guitar duties, while band friend Toby Macfarlaine stepped in on bass.

The results? A band that’s harder, heavier, and a heck of a lot rowdier. Like fellow hard rockers Wolfmother, Airbourne and Jet, the members of Stone Gods aren’t afraid to wear their influences on their sleeves (AC/DC, Judas Priest, Thin Lizzy and Def Leppard, to name a few). The emphasis is on tight rhythms and harmonies, as well as some understated guitar work that nonetheless produces some juicy riffs. Edwards makes a surprisingly capable frontman — his raspy voice and energetic delivery cuts through even the most thunderous tunes and still manages to be suitable for the occasional acoustic interlude. Both can be sampled at the group’s MySpace page, while U.K. residents can get their hands on the band’s first EP starting February 25. A full-length debut album should follow some time this summer.

Rising from the ashes of previous bands, the members of London quintet Sister came together two years ago and set up rehearsal space in an abandoned industrial warehouse. The band is known for both their distinctive sense of style and their mellow, dreamy sound (which has earned them frequent comparisons to the Velvet Underground), but what sets them apart is frontwoman Gemma Banks. As lead vocalist, Banks’ delivery is understated but never delicate;  she exudes a cool confidence rather than base sex appeal. The rest of the band - Alan (guitar), Steve (bass), Jamie (keyboards) and Matt (drums) - does a fine job of showcasing her talents without fading into the background. Sister’s music may be atmospheric, but it commands attention.

The ceremony is scheduled, the nominations have been announced, and the AllMovie Blog is abuzz with speculation. Yes, it’s Oscar season again, but while others may quibble about who will win the coveted statue for Best Art Direction and Best Sound Editing, it’s the award for Best Original Song that perks up movie and music fans alike. What’s interesting about this year’s nods is that two of the films are about musicians, while the one film that isn’t has garnered three song nominations:

August Rush - “Raise It Up”

Enchanted - “Happy Working Song”

Enchanted - “So Close”

Enchanted - “That’s How You Know”

Once - “Falling Slowly”

Which song will win? That’s anyone’s guess — Disney films have a tradition of cleaning up in this category, and both Alan Menken and Stephen Schwartz have been nominated for Oscars numerous times in the past. The bittersweet sentimentality of August Rush could play in its favor, which is an unlikely but not unheard of situation, while the critical acclaim of Once (not to mention the powerhouse duo of Glen Hansard and Marketa Irglova) could result in a win for the real life couple. February 24 can’t come fast enough!

Backstage riders are often the stuff of legend and speculation — just ask any rock music fan about Van Halen’s aversion to brown M&Ms. (Granted, they did have a sound reason behind the demand that had nothing to do with color preference.) For those who are curious to know the behind-the-scenes quirks of the Killers, Foo Fighters, John Mayer, or Amy Winehouse, The Smoking Gun has compiled an online archive of tour riders from 220 acts and counting. There’s a little something for everyone (the list categorizes acts by genre) and each document makes for fascinating reading — point five on page three of the Beatles’ 1965 rider, for example, states that “artists will not be required to perform before a segregated audience.” And for sheer comedy, the rider for Iggy & the Stooges is not to be missed. Pity the poor soul who reads through its 18 pages to find this addendum waiting for them.

Combining a singer/songwriter’s introspection with a street poet’s fiery delivery, self-described “neo gospel punk style preacher/performer” Jinx Lennon is most easily compared to acts like John Cooper-Clarke, Gil Scott-Heron and Billy Bragg. Based in Dundalk, County Louth, Ireland, Lennon has been performing solo (and appearing with fellow singer/songwriter Paula Flynn) since 1999.

His insightful, sociopolitical lyrics address local, regional and national problems that are part of life in an economically prosperous Ireland — working-class struggles, employee rights and morale, rising prices, racism faced by immigrants and overdevelopment, just to name a few. While Lennon frequently cites specific places and local examples in his songs, the themes are universal enough to appeal to audiences around the world — though the bulk of his touring takes place in his home country, he has also ventured to Iceland, Britain and the United States.

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