Skip to content



Terese Taylor is a singer/songwriter based out of her adopted home of San Francisco. Since 1999 she has been building a following in North America, and she has released three albums (in 1999, 2003, and 2006) prior to arriving at “At Your Mercy Circuit”. All of her hard work hasn’t yet translated into any mainstream success, which partly can be subscribed due to her indie – and alternative music background - and the fact that singer/songwriter music has never been in vogue in the mainstream popular music consciousness. That doesn’t change the fact that “At Your Mercy Circuit” is a wonderful, and sometimes quirky, rock record that appeals to both ends of the spectrum. It has something for those who appreciate introspective, minimal music - and those who love female-fronted rock albums. It is a time capsule back into the 90s when strong females ruled the airwaves, and the album charts in both the United States and Europe.

The album is mainly a record that is based around Taylor’s almost conversational vocals. These vocals sometimes make Terese appear unconfident or unsure of herself, her own voice, and the style that she has chosen. The setup is minimal with only a guitar, percussion and Taylor’s voice to guide the listener through the album. In a superficial manner, “At Your Mercy Circuit” is reminiscent of a decidedly unpoppy variation of what Sheryl Crow, Paula Cole, Jewel and Alanis Morissette did during the 1990s. The foundation for the record is to be found in the rock genre, even though the rock aspect is peripheral at best as Taylor’s quirky and biting lyrics and parlando vocals take centerstage. Most of Taylor’s songs are quite introspective, gloomy and not really hook oriented. It is a mostly slow record that is sometimes bluesy, and occasionally flirts with country. There are no excessive bells or whistles, and the roomy production emphasizes the nakedness and inwardness of Terese Taylor’s wonderful depressing rock songs. It is very similar to Jewel’s “Pieces Of You” that way, although the two are worlds apart in terms of vocals, lyrics and their general approach to songwriting.

‘Snow & Ravine’ is both bluesy, and slightly country (especially due to its rocking beat and usage of a violin). ‘His Own’ sounds almost improvised, especially vocally. ‘Jigsaw’ is almost grungy in its guitar work. ‘Folsom Street’ is a bluesy ballad, and ‘Drug Problem’ is a slow fragile rock song and both are easily the most obvious candidates for a potential single release treatment. ‘Folsom Street’ almost sounds like a discarded Norah Jones song circa “Come Away With Me”. That isn’t to say that the other tracks on the album aren’t worthy of your attention because they are – but these obviously stand out more. The record is fully committed to its niche, and even though it is probably a good deal more introspective and gloomy than what is usually expected in this genre, it works brilliantly within context. Even Terese’s conversational vocals get stronger and more nuanced as the record progresses, even though she’s as far away from a conventional pop singer or singer/songwriter as you could probably imagine. Her voice would work wonderfully in an alternative – or a Seattle grunge rock band as Elastica. The minimal nature of the songwriting and instrumentation greatly enhance the emotional resonance of the songs, as the listener can really focus on Taylor’s voice and lyrics – and isn’t constantly distracted by vocal acrobatics, instrumental fireworks or studio trickery.

The greatest strength of “At Your Mercy Circuit” is its disarming honesty, and that it delivers just that what it promises. Terese’s vocals might not instantly appeal to the listener, but once having absorbed the record over a number of listens – its simplicity and honesty reveal the enduring power of its central songwriting axis. Less is always more, and Taylor and her backing musicians understand this better than most. Nothing about this record is excessive, and overindulgent in any way, and that makes the effort all the more powerful. The album remains at a steady midpace, and occasionally the band will rock out (as on ‘Doesn’t Shine’, which also has some truly spectacular bass licks) – but that only seldomly happens, and the record mainstains its pondering, pensive pace for the majority of the album's running time. There aren’t any major hiccups or shortcomings, other than it is a record you need to be in the mood for. That’s the only drawback this record has for people who like their rock music more upbeat and light-hearted. Terese Taylor’s lyrics are wonderful explorations of the human condition, love and relationships.

Terese wrote the record in collaboration with Klaus Flouride of legendary California punk rock/hardcore pioneers The Dead Kennedys, which is somewhat of an odd pairing – but the results speak for themselves on this record. On “At Your Mercy Circuit” she is backed up by an all-star cast of musicians of various caliber, such as James Whiton (double bass, Tom Waits), Will Hendricks (bass, Eleni Mandell, Califone), Garrin Benfield (lead guitars, Andrew Bird), violinist/cellist duo Teddy Rankin-Parker & Kristina Dutton (Glen Hansard, Iron & Wine) and Patrick O'Heffernan of 'Friday Night Live' fame. The album is imbued with an alternative spirit, and although the format is as mainstream as they come, “At Your Mercy Circuit” isn’t your typical singer/songwriter record. Terese Taylor is too quirky to conform to the limiting conventions of that genre. The appeal of the record lies in the fact that it uses the tropes of the singer/songwriter genre, and goes off to the dark side with them. This isn’t some syrupy, saccharine record about infatuation, love – but an introspective examination of the toxic nature of relationships. As such it is different from the majority of what is released normally in this genre, and “At Your Mercy Circuit” is so much better for it.



Kawehi is different from the soulless drab that clogs the airwaves, and the focus-group tested artists that make up the popular music charts. Instead she’s an indie artist that has been diligently working to get where she is today. A bright and shining beacon of talent in a genre that has been often associated with mass-produced vapidity and forgetfulness. “Robot Heart” EP is an independently produced, and released EP that comes on the back of a series of successful cover song videos that have been setting the internet (and particularly Vimeo and YouTube) alight over the last months. Kawehi writes electronically charged soulful pop songs that sound just a tad different than most.

Where a lot of contemporary pop music is produced by a battery of producers, songwriters and engineers with little to no involvement from the performing artist – Honolulu, Hawaii born Kawehi writes, produces and sings all of her own songs. That indie spirit and hands-on approach not only makes Kawehi appealing to those outside of the clutches of mainstream music, it makes her just more honest and deserving altogether. Prior to releasing “Robot Heart” Kawehi cut a number of singles, demos and independent EPs before reaching a zenith with “Songs From My Apartment”. The “Songs From My Apartment” EP, which pretty much sells what it says on the tin – gave her a footing to come into her own as a budding young songwriter, and it was the first to reach a wider audience as it received some favorable press on its release. Currently living in Lawrence, Kansas with her musician husband (who produces most of her internet videos), things have been slowly falling in place for Kawehi, and “Robot Heart” should provide her a breakthrough a larger audience. If anything, the songs and keen sense for memorable hooks are definitely accounted for. “Robot Heart” is driven by a warm, pulsating electronic beat that lives up rather splendidly to the EP’s title. Despite the wholly electronic nature of Kawehi’s songs they are never without a heart, or a soul.

As a runner up to the EP she produced a number of cover songs to draw attention to her Kickstarter crowdfunding campaign. These include but are not limited to her viral hit ‘Heart-Shaped Box’ (Nirvana), 'Fake Plastic Trees' (Radio Head), ‘Closer’ (Nine Inch Nails) and ‘Somebody That I Used to Know’ (Gotye).  “Robot Heart” is a charming little EP filled with heartwarming electro soul, similar to the material Timbaland produced for late r&b star Aaliyah. In its more electronic material it sometimes borders on a soulful, more danceable interpretation of Nine Inch Nails’ “Pretty Hate Machine”. Soul is what binds this EP together, and its genre of choice. It isn’t the only sound it goes for, however, and that’s one of its strengths, Kawehi doesn’t limit herself to any genre, and just chooses whatever works best for the song in question.  Electronica, soul, rock – it’s all here, and it all flows together seamlessly. Kawehi makes it all sound so effortless, yet there’s a surprising amount of depth to her songs besides just being catchy, groovy and soulful.

Kawehi has a wonderfully warm but fragile voice that holds the middleground between Mandy Moore, Taylor Swift and Colbie Callait. That the music she writes to accompagny her is so minimal works wonders for her angelic voice. That isn’t to say that her songs are written around her vocals, both work in service of each other and the songs more than anything else. It isn’t as vocal-centric as a lot of popular mainstream music tends to be, and that’s a nice change of pace. Nothing on this EP is an afterthought, and even the interludes ‘Interwebs’, ‘Human Condition’ and ‘Droid Dance’ serve a purpose as they form introductory moodsetting segues to each of the original songs. The title track works around a simple electronic beat, some synthesizers and a few vocal tracks. The lyrics use the metaphor of computer paraphernalia as a metaphor for infatuation and feeling in love. The track flows seamlessly into the interlude ‘Interwebs’, which in turn sets the mood for the touching soulful ballad ‘Like Her’. This is the kind of soul (or r&b) that isn’t heard too much anymore on the radio. Its simplicity is its greatest forte. The second half of the EP, starting with ‘0s and 1s’, is more electronic compared to the first half – and somewhat reminiscent of Nine Inch Nails’ “Pretty Hate Machine” or Moby's early dance material (around the time of 'Go') that way.

Given the dire state of popular music at any given time, it is unfortunate that actual gifted songwriters, such as young hopefuls Kawehi and Polaris Rose, are forced to work outside of the industry. As always the indie artists are the ones who hold the true potential to become future superstars. Not being bound by any one genre, or limited by any of its tropes and conventions, Kawehi’s “Robot Heart” has something for everybody, and is highly recommended as such. Since this is only an EP one can assume that Kawehi is currently working on a full length comprising of songs like these. The EP flows well, and each of the songs are placed perfectly, and even the skippable interludes don’t detract too much from the meat of the EP. It could be argued that the EP is a bit too short of a teaser to truly get a feel for Kawehi’s electronic soul. Nevertheless, for a conceptual undertaking that was home-produced and independently marketed this is absolutely fantastic in both content and production. If Kawehi continues to expand her horizons and evolve musically, she’s bound to breakthrough to the general mainstream popular music consciousness. It’s all here. It just needs some additional finetuning to unlock its underlying potential. Open your heart to Kawehi and let her “Robot Heart” stir yours.