Bliss has a beautiful voice. It's ethereal, yet soulful, and cuts through clutter like a crystal knife. From Austin by way of Southern California, Bliss is working with the CD "The Sweet Soul Light." Bliss' songs are part pop, part indie rock and all engaging. The songs "Wild Wild World" and "All This Will Have to Keep" will have listeners requesting more from the woman with the bright red hair.
Cheryl Bliss: Press
Cheryl Bliss' second album strikes me as being less ethereal than her debut and more grounded. It's still utterly gorgeous and her voice is angelic. "Last Chance" is impressively layered and the chorus is just beautiful. "Wild Wild World" is a fine example of her new, more wide screen approach. It's got a big, lush sound and is still dreamy and sweet. "Ultrabrite" is assertive and sunny in an Aimee Mann fashion. The lovely "Sleep Well Tonight" is just a wonderful song. This is a fabulous record.
The music of Austin-based singer-songwriter Cheryl Bliss is difficult to describe, which is probably a good thing as she isn’t immediately similar to anything else I’ve heard of late.
Bliss possesses the unconventional approach of Kate Bush, the lyrical aptitude of Aimee Mann and sheer otherworldliness of Alison Goldfrapp. Her songs live on a different plane - one where everything is more rich and colorful and soars along with little effort. And while a cohesive set, each song is distinct, it’s only true commonality being Bliss’ ethereal voice.
Bliss’ latest album, the appropriately titled The Sweet Soul Light, is an amazing and lush collection of songs that feature the songwriter at a place where magic is surely happening.
Womenfolk is proud to introduce the fifteenth in its This Woman’s Work series with the inclusion of Cheryl Bliss.
Not overlooked is the noteable release from Cheryl Bliss ... Cheryl Bliss' The Sweet Soul Light (Grab a Mic) brightens the void for lush indie pop ... The San Diego transplant sings with a waifish tone that suits her ethereal compositions ("Wild Wild World," "All This Will Have to Keep") as well as the disc's velvet production.
he Sweet Soul Light, the recent release by Cheryl Bliss, is refreshingly complex and strong. It's not another pop album, but a strong feminine pop collection. By that I mean that even though the tone is soft, the music and the lyrics are deep, rich and meaningful, something that currently lacks in most of the modern pop world, especially from women.
It's not that surprising when you see a list of her musical influences. She cites U2, Radiohead, and Peter Gabriel as her inspiration and you can see the similarities, there is a real depth to the song construction: keyboards, guitars, drums, and her vocals are layered and refined.
Lyrically, the album is as strong as it is musically, if that is possible. There is wisdom to the songs, and the tracks flow one to the other to combine and form a real concept for the album. It all comes together with a theme of digging deep and achieving your goals no matter how scary that can be.
"Obviously we write out of where we are. I would hope this album is as cathartic for the listener to hear as it was for me to write." (Cheryl Bliss)
Bliss wrote "Sleep Well Tonight" after producer Daniel Lanois compared her voice to Julee Cruise's. Cheryl challenged herself to write a song that she could envision the serene songwriter singing. Did she meet the challenge? I think so. Soft and sweet, it is like a lullaby. The lyrics are warm and comforting, offering hope.
In contrast "Lean Into It" is a upbeat song with an uplifting rhythm. The lyrics carry a similar warm and hopeful message as the others, lending itself to that concept I mentioned earlier. It has a jazzy feel and is a mood lifter, bringing a smile to your face no matter your current mood.
All in all, The Sweet Soul Light is exactly that, sweet and soulful as well as soft and on some fronts moody, and definitely worth a listen.
Not your typical singer-songwriter, Cheryl Bliss' sophomore release 'The Sweet Soul Light' is an eclectic mix of obscure musical references. The album contains several gems. The first track "Fast As I Can" shimmers, and "Take What You Need" triumphs as a fine example of atmospheric pop. The record's centerpiece, "Last Chance," with its indelibly catchy drumbeat and Bliss' assured vocals, showcases the singer-songwriter at her most distinctive and promising.
In a market normally dominated by men, Austin has been treated to several new and very good female vocalists and songwriters of late. Cheryl Bliss is a prime example.
She came here from San Diego with a released CD already to her credit, and released The Sweet Soul Light in Austin. She has a sweet voice that can be angelic in tone and would sound good in the ballad-mode favored by sweet-voiced singers like Emmy Lou Harris. She does a couple of tunes like that on The Sweet Soul Light. But that is not the extent of her songwriting or singing style. She can growl out a rock number or roam into the ethereal stratosphere with soaring space-age effects and vocals.
The arrangements used to show off her songs are very modern and reflect the influence of a pop culture where DJs and sound engineers can create just about anything in terms of sound and make it part of a piece of music. To her credit, she's pushing the envelope with some of the tunes instead of playing it safe inside the standard pop boundaries.
Many listeners have singled out the tender "Sleep Well Tonight" as the outstanding tune from the CD, but I particularly liked the take-no-prisoners attitude of "Every Girl's Got" and the far out romp of "Ultrabrite."
THE TECHNO MYSTIC DIVA WITH TEMPO, INTENSE MUSICAL IMPLOSION AND GROUNDED SEDUCTIVE SURREALISM...
LONDON-UK. Let Cheryl Bliss sing in London, and she will take the city, its bridges, its arts communities and music lovers by storm. She is a powerful singer, angelic, lyrical, passionate and graceful. Rarely, we do find a powerful performer with grace, or an angelic singer with passion.
Cheryl is this very rare kind of artist.
Here is a sample of lyrics this superb singer and seductive surrealistic diva sings:
"If you wait til the pieces fall into place
if you wait til you've found your own way to grace
If you wait til you're locked in a warm embrace
You'll never learn to trust...
If you wait til your passion has come alive
If you wait til you're strong enough to survive
If you wait til you lie in a box of pine
You'll never learn to trust."
The CD tracks include 10 songs. Three particular songs made me think, talk to myself about life, time lost and ache with passion and intensity for the happening of very personal wishes and expectations. They were powerful, truthful and deep in their human substance. Those songs are: "Angels Running After", "The Hunger", and "All I Was With You".
"Angels Running After" CD is pure vocal and musical splendor! Two thumbs up! This CD is a Must buy! Bliss' soprano-gutsy-jazzy-sensual-lyrical-explosive voice adds an ultra and extra dimension to lyrical jazz-pop music landscape. It is not the eclectic and multi-varied selection of tunes styles and genres, complex beat and tempos which create Bliss particular and singular talent, but the perfect harmony and synchronization which so delightfully blend and unite fabulous musical arrangements, instruments and scores orchestration and a voice out of this world.
February 1, 2003: Cheryl Bliss “Angels Running After” nominated CD of the Year at Kweevak.com
Cheryl Bliss “Angels Running After” has been nominated CD of the Year 2003. Nominees include both independent and mainstream artists. This is the fourth annual presentation of "CD of the Year" Awards from Kweevak’s Tracks.
This year there will again be two awards categories:
"Top 25 CD of the Year" and "Viewer’s Choice CD of the Year."
* There will be 25 winners in each category
* Top 25 CD of the Year winners will be selected by a panel of judges.
* Viewer’s Choice winners will be presented on the site in order of votes received (1-25).
Cheryl Bliss is also featured on the home page of Kweevak.com during January-February 2003.
Rating: Highly Recommended
"Angels Running After" cascades from the speakers with Cheryl's voice trickling down a waterfall.
The album is full of interesting variations in tempo, similar to the way Veda Hille or Ida utilize pacing, leaving little bits of empty space to set off the music. "All I Was With You" has a driving asymmetrical quality to it, eerily reminiscent of Rachael Sage's "Painting of a Painting", even with the vocal delivery.
My favorite track on the album is the delicate ethereal gem, "Spinning". Rarely does a song convey a sense of physical movement in the imagery. The combination of the velvety wash of keyboards, faint rhythmic percussion, bleeps and blips, enraptures me. Virtually every listen, when the chorus of "Spinning / The wind is Fred Astaire / And I believe I'm lightning / Igniting / With you here / Beside me" comes on, I feel as if I am doing a Viennese Waltz in my head (which is impressive considering I do not know how to waltz). "Trust" is a wonderful eclectic musical romp that makes me want to hit the repeat button on my CD player.
Vista's Cheryl Bliss among music-award nominees
North County Times, 10/4/01
A victory Tuesday in the 2001 San Diego Music Awards' Best Pop Album category may not help secure Cheryl Bliss that elusive record deal but the Vista singer-songwriter said, "I think it's just as good to be nominated as it is to win."
Really?
Consider Bliss' competition. Incredible Moses Leroy (aka Ron Fountenberry) has to be the favorite. His album "Electric Pocket Radio" had more local buzz this year than a High Times magazine editorial meeting. Cardiff trio Switchfoot landed a 2001 Grammy nomination with its record "Learning to Breathe." Folk songtress Dani Carroll, the Shambles and the Joey Bowen Band round out the Best Pop Album field. "I would be very astonished if I win," Bliss said.
That's a correct statement, but not because Bliss' debut CD, "Angels Running After," isn't worthy of some local hardware. It's a refreshing left turn from the kinda-rootsy, Sets 102-friendly folk-pop hybrid that seems to predominate San Diego's pop/coffeehouse scene. Bliss' ethereal, playful vocals and trippy melodies recall such subversive sorts as Kate Bush and Tori Amos, but the classically trained pianist finds her own voice on "Angels Running After."
"I do strive to be unique," Bliss said. "... I'm happy to be something different."
On top of writing the music, Bliss also produced and recorded "Angels Running After." "There's such a big learning curve. Producing is a much different animal than writing, performing or singing."
Cheryl Bliss; Angels Running After (Grab a Mic)
8 out of 10
Goes well with: Kate Bush, Tori Amos, Alison Moyet
Cosmopolitan pop with an attitude doesn’t usually find its way south of Irvine. Perhaps Cheryl Bliss doesn’t realize she’s a lone ethereal-pop diva in a city of female folkies -- and perhaps that’s her advantage.
Bliss is eerily reminiscent of a young Kate Bush -- her delicate, girlish delivery masks darker uncertainties in the lyrics. The title track of her debut, Angels Running After, also locates Bliss in the Tori Amos set, revealing her to be a breathy urban mystic who knows how to handle a piano (yet is seemingly free of Amos’ psychosexual baggage).
She, too, has her subtle aggressions, as shown with the punky spoken word, beatboxing, and whip-snaps in "All I Was With You" and the music-box romp of "Trust."
Bliss infuses her ethereal chops with enough ironic street smarts to win over, well, just about anyone.
Troy Johnson - SLAMM Magazine
Cheryl Bliss is that very special type of artist that
has the ability to transport the audience member
to another place and time. Her vocals, reminiscent
of Kate Bush, and her overall musical approach are
mystical, yet gritty ... supernatural and surreal, yet
grounded in solid conviction. She possesses a
tangible intensity that reaches out and pulls the
audience in.
Cheryl Bliss has a way of pulling you into her music with her voice, piano and lyrics. Her brand new 10-song release is a mix of pop, soft rock and very soulful music.
It is Cheryl's voice, which has been compared to that of Kate Bush, which really captures your attention, however. It's a pretty soprano that can soar to the high notes easily and at times sounds delicate and fragile as on the easy pop groove of the title track.
But on the very next tune, the hauntingly beautiful and swirling "All I Was With You" she offers you a seductive raspy whisper.
Instrumentally, this could go either commercial pop or into that hard-to-classify stuff one finds on public radio. It has nice piano (played by Cheryl), screaming electric guitar (Jamie Kime), a big name artist (guitarist Phil Keaggy), great grooves (compliments of the rhythm section of Steve Martz, Danny Reyes, Chris de Jesus and Tracy Ferry) and beautiful backup vocals from Sandy Brent and Ann Bailey.
The overall best tune would probably be "Fresh Water" because it's there that the keyboard playing and Cheryl's vocals are their most gorgeous.
To go along with the sometimes mystical, seductive and haunting atmosphere, the lyrics are equally well done. Oddly enough, however, the best phrasing comes on the CD's least pleasant tune "Trust" with it's banshee guitar, odd vocal effects, quick-change beat and strange sounding melody. But those words!
"If you wait til the pieces fall into place
if you wait til you've found your own way to grace
If you wait til you're locked in a warm embrace
You'll never learn to trust...
If you wait til your passion has come alive
If you wait til you're strong enough to survive
If you wait til you lie in a box of pine
You'll never learn to trust."
Overall, this is one cool CD. The great vocals, general instrumentation and lyrics are real attention-grabbers. This one is a keeper. Look for more from this talented woman.
I have always enjoyed the music of Kate Bush. I have always enjoyed electronica music, but NEVER could I have thought they would go together so well. I don't mean to suggest that Cheryl is a Kate Bush replica, she is not.
Cheryl has developed a beautiful blend of both worlds of soulful lyrics with intricate sounds to create listening beauty...
Spinning--as I fell into this song, it was delighting to listen to the steady background beat while I was soothed by liquid vocals. "I was lightning, igniting with you here ", was the catchiest (for me, I am still singing it!!) of lyrical emotion that I found, although "Wind is Fred Astaire" was a wonderful juxtaposition also.
Cheryl seems to have wide diversity of vocal inflexions and tones to suit the mood of her song which is TOTALLY lacking in today's music. I know you all know who I mean!!
I totally enjoyed the funky, playful All I was With You and found that this is a most enjoyable artist to listen to . Thanks Cheryl and keep it up!!!
5 Stars - Amazing songwriting … Cheryl's vocals will make you melt.
I suggest that you get your ears on this one!
FEATURED ARTIST - MP3.com
"All I Was With You" #1 Brit Pop chart-5 weeks
"Spinning" #2 Brit Pop chart-3 weeks
Mp3.com Independent reviewers:
Just listened to Cheryl Bliss....from CA..but REALLY from upstate NY! She is a very pretty and talented gal (sorry guys she is taken!)
Overall Rating (A) I listened to all three songs and am in the mood for a band review as opposed to a song review. Cheryl has a delicate way with words, simply hypnotic voice and an eclectic spirit that is captured effortlessly in (these three songs). Funny, I heard straight pop (bordering on techno trip pop) in "All I Was With You"; I heard sparse, hollow female contemporary (actually reminded me of Macy Gray meets Lisa Loeb) in "Spinning"; and then a bouncy, juicy, jazzy "Hunger" really rounds out her repertoire....man I am impressedƒ suffice it to say that she is the real deal...
Chance Recommends.....
- Chance Gardener, mp3.com
Yes, Bliss seems appropriate. I know something about Vista from whence you came and quite frankly am wondering how you found the gumption and muse to produce this wonderous strangeness.
< BLISS>
POP=short for popular....and I must agree whole-heartedly and then disagree vehemently. This is the sort of confectionary delight that confuses musicians, reviewers and record companies. First the middle class piano comes in assuring you that nothing will be threatened and that all is well. But hark..... a nasty distorted guitar/noise/sample/godknowswhat proving that punk rock is everywhere and will never die. Oh you say no samples so I guess it's a godknowswhat. Then a funky white girl bass line and the sad/mad/existential voice promising everything and nothing. I want both those things! The voice is equal parts Fiona/Shirley Manson/Marvin Gaye. I could go on and on but I won't. The production is not flawless but it is faultless allowing you to hear every catch and moan. I know that doesn't make any sense so kill and sue me. There's a pop genius at work as the piano fades out.
You wanted some comparisons so here we go. I hear Steely Dan...I hear Stevie Wonder....I hear the Beatles.....I hear a lot of long forgotten psychedelic sixties bands...I hear Crown of Creation era Jefferson Airplane...I hear the Doors...I hear a dog barking down the street and a flower girl crying because she didn't make enough money to feed her little brother.
The Hunger
Cheryl Bliss sings in a high sweet breathless voice that couldn't be improved without some kind of strange futuristic surgery. Couldn't be more perfect, more lost, more hungry. She sounds like she's a hundred years old and twelve years young. The supporting music is also perfect; it's pop; it's jazz. It's Paul McCartney and Cole Porter on Vacation in New Orleans. The vocal delivery is alternately strong as hell and weak as a wounded kitten. I like it.
Very layered with the occasional prayer thrown in. Beautiful; Haunting; Nonlinear; and the musicians need to be kudoed for best supporting cast in an impossible situation. Lyrically I'm confused, bemused, bewildered. It's all so sad and personal, I feel like i'm peeking into her bedroom and her Mum sneaks up behind and asks me what the hell do I think I'm doing. Jesus! I'm sorry.
Spinning
The best yet and that's saying something. A mood piece. a MOODY PIECE. Not a song per se but a beautiful poem set to a semi-funky beat, and a semi-sad memory of a lost love's confusions. A little girl is found in a big girl's head and still love is the thread that holds her all together.
-St. James Wood, mp3.com
Perhaps the latest techno-modern diva has arrived, or is waiting in the wings, in the form of Cheryl Bliss. Amid the reviewing of bands and one-man shows in cyberspace, I aver to a bias that comes with the freshness of a solo female performer.
But that aside, we are dealing with something real here, although it is difficult at this early stage to completely grasp Ms Bliss's entire act.
The melodies of these tunes are inseparable from Bliss's interpretation of them, which is a mighty edge for her. This woman's approach to material so far is to be a part of the atmosphere created by the sounds that back her. Still, there are times when her voice overcomes the theater and takes a front-and-center role. She works her voice with ease, it sounds, and has tonal phrasing that is trained and sexy at the same time.
There are some great female-oriented lyrics here. 'All I Was With You' is pure feminine angst, pulled off with a genuine weariness and poetic-imaged lyrics that make one wonder if anyone else but Bliss could do this song.
'Spinning' is an anti-melody, but Bliss makes it into some kind of spiritual chant, keeping it grounded with lyrics like 'The wind is Fred Astaire.'
So far, we are a bit enraptured. Bring on more, Bliss and company, we want to be sure this isn't just a crush. Sounds like you have the goods at this point for a genuine love affair with fans.
-Frank Cotolo, mp3.com
A little bit of everything, and it's all good. From the "fatboyz" mouthed boombox effects to the extraordinary simple 2-note, yet killer guitar lick that drives the chorus.
Big fat funky bass over the drums, which sound very real to me...yeah, they are..anyway...a great R&B groove thing going on underneath a tremendous vocal track(s) and the omnipresent guitar.
A very ambitious effort, all that stuff going on but it all falls into place. E-bows and synth slaps and...on and on...
I have a bitter headache right now and would love to take it out on something, anything, including this song...but I can't.
Cheryl Bliss (name sounds like a porn star moniker, doesn't it?) could and should be going places with more efforts like this. I wouldn't call this a breakthrough song but it's damn close to it..a little bit of big-time radio play and a high profile supporting tour - and a smart record label would ride this gal all the way to the bank.
R.V.H., mp3.com