Katie Dobbins / She is Free

Jennifer Russo

Katie Dobbins is a New England-based folk singer who recently released her debut album, She is Free, a record that chronicles her quest for freedom from fear and insecurity and strives to relate to people experiencing the same. It also nods to those people who are the positive influencers for a person daring to achieve their dreams. It is a straightforward and honest CD, similar to some of Jewel’s earlier writing.

Katie’s voice reminded me a little of Natalie Merchant’s, with its throaty quality and pure tone. All songs except one, “Bring on the Fire,” are ballads that pay quiet homage to living. “Bring on the Fire” has more of a jazzy sound, with some brass and sultry bar rhythm. I really liked “Daddy’s Song,” which seems to be from the point of view of a child asking the “why” questions about everything she sees. There is a pretty innocence in this song, asking a father where the stars come from, with his simple answer that they live in her eyes. Anyone who has a child can relate.

My favorite song on the album though is “Cards on a Tuesday,” which hit home for me. The song is about her special relationship with her grandmother. It speaks to the relentlessness of time and the power of staying true to one’s passions and having a sense of humor and grateful spirit throughout our lives.

Dobbins is a special education teacher in Lexington, but since her album release back in May, she has been traveling to various locations to share her songs. She personifies the idea that music will set you free, and we eagerly await to see what else she has to share.

For more information, visit katiedobbinsmusic.com.

Katy Perry / Witness

Mike Wood

There is no denying Katy Perry’s popularity. She’s the most followed anybody on Twitter, recently setting the record as the first person to exceed 100 million followers. But her music – at least for me – well, that’s another story. Perry’s always been better in her recordings than live (sorry, Katy, not throwing shade … just the T). Uber-producer Max Martin has a hand in producing this album, and he may be the very reason Perry is overshadowed by production. We think of Perry as pop personified. But, on this, her fifth studio album, she’s muted – blending into the background rather than emerging as the formidable diva of Roar, or even the fun, candy-pop princess of Teenage Dream.

The songs are a departure for the artist, no doubt. And we get it; pop stars reach that turning point where they want to do or be something different. The problem is, aside from a new, blonde buzz cut, is the “something different” working? Perry uses lyrics to expound on challenges in her life and the world around us, but sometimes they sound, well, silly. Take “Tsunami,” where the double entendres are laid on thick: “So baby come and take a swim with me, make me ripple ’til I’m wavy/Don’t be scared to dive in deep and start a tsunami.” Cool? Or cringe-worthy? You decide.

Only time will tell, but in the interim, we anticipate lots of dancing, even if we are still trying to figure out who this artist really is – or has yet to become – if she isn’t Katy Perry.

Visit KatyPerry.com for the latest, and follow her like 100 million other people @katyperry.

A Killer’s Confession / Unbroken

Jason Savio

The debut album, Unbroken, by A Killer’s Confession, shoots a jolt out of your headphones that doesn’t let up, despite being 13 tracks long. Living up to its name, A Killer’s Confession’s first effort is as heavy and angry as you’d expect. But there is a twist ending to this one.

The intro, “Awakening,” is a proper beginning for this record. In it we hear what sounds like someone who has just gone off the deep end and is talking to himself. The majority of the following songs are filled with the prescribed metal screams and deep, angry growls, making a perfect fit for the super heavy power chords and double bass drum that accompany them. The guys receive some help, too, noticeably from the likes of Korn’s Brian “Head” Welch on the title track and One-Eyed Doll’s Kimberly Freeman on the radio-friendly attempt of “Sympathy.”

All of this is swell but isn’t necessarily surprising. What is, however, are the last few tracks. There are some hints early on that a A Killer’s Confession has some love for the techno flare, but it isn’t until “Judas Kiss” and “Letting Go” that it seemingly turns into different band, relishing the bamdmates’ techno and industrial influences.  “Letting Go” features demonic video game-type embellishments that stand out, while the closing “Purification” is a boogeyman stomp reminiscent of Rob Zombie.

By its end, Unbroken becomes a tale of two records. It can be viewed as a sign of inconsistency or commitment, but for a band just releasing its first effort, it also shows the potential for growth and longevity.

For more information, visit facebook.com/akillersconfession.