When Dublin alt-folk songwriters Kevin May and Mick Lynch of The Guggenheim Grotto first appeared on the U.S. scene in 2006, comparisons to Simon and Garfunkel dominated the critical landscape. With their two-part harmonies, folk-acoustic stylings and earnest pop songwriting, it seemed no one could resist. Over the past four years, however, the duo has transcended the comparison — creating rich, multi-instrumental soundscapes. They dabble in synths and effects and radiate melancholic beauty. And sometimes they silence a room by simply harmonizing over a lone ukulele. Always though, their songwriting is marked with a belief in the promises of the universe, a curiosity about humanity and a hopeless romanticism embodied by only the most passionate of artists and dreamers.

This romanticism shines on the band’s new album, The Universe Is Laughing. A lyrical journey through life’s beautiful mysteries, the record sees Kevin and Mick further develop themes of self-discovery and enlightenment they first visited on 2009’s Happy The Man. In 2010, the band moved to the U.S. and began a series of weekly residencies in New York, Philadelphia, Los Angeles, Boston, and San Diego that grew wildly, ending in some truly special nights with rooms packed of newly charmed fans. In Los Angeles, the story came full circle during the band’s last night at The Hotel Cafe when Nic Harcourt, one of its earliest champions, filmed the performance for his new cable TV show Live Buzz. The band continues to tour from its Los Angeles base, bringing the new album to an ever-expanding audience.

Photo by Deborah Lopez

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Anna Dagmar’s love of words was born at a tiny desk, in a tiny room, just north of London. The St. Albans’ Cathedral choir, her father’s classical radio, and her mother’s lullabies echoed all around. And at age seven, she perched on the steps of a new home in Massachusetts, on lookout for the piano delivery truck. While many young students turn their noses up at classical music, as they would at Brussels sprouts, Dagmar devoured Chopin, Beethoven and Debussy like chocolate cake. It was the surprises in the music that fascinated her. At fourteen, she discovered the tender, mystical poetry of Joni Mitchell alongside the breathtaking improvisations of Keith Jarrett and Bill Evans, who transformed the piano into a choir of tiny voices. By the end of her training at The Eastman School of Music, Dagmar had found a way to weave her passions and influences together into surprising songs of her own. Now based in New York City, she has rapidly become known across the US and all the way to Stockholm for her virtuosity as a pianist, singer and songwriter. She has released three full-length albums and published the Anna Dagmar Songbook.

Photo by Angela Jimenez

• On The Guggenheim Grotto:
  . . . a spine tingling effect that I haven’t experienced since I heard Simon & Garfunkel’s Bookends album for the first time. Irish Voice
• With debts to both Radiohead and The Beatles, this is modern, intelligent, lyrically potent pop. Boston Herald
• . . . exquisite folk pop. Charleston Daily Mail
• . . .
• Anna Dagmar’s album showcases her gorgeous voice, lyrical piano stylings and lovely, intelligent songs. Lucy Kaplansky, singer-songwriter
• . . . solid jazz-pop song writing, bright piano playing, and earnest, honest vocals . . . Dagmar lays out her soul on every song . . . fans of heartfelt acoustic music will find much individuality in Dagmar’s releases. Zac Johnson, All Music Guide
• A luscious voice, emotional lyrics and brilliant piano solos. Bill Adler, Give CDs