tag:blogger.com,1999:blog-61100245987908171532024-02-19T05:51:06.448-08:00Music You Can UseA blog documenting the best in Americana music - blues, folk, bluegrass, country, and singer/songwriter fare included. Pop music is our thing too - we want to cover it all for you the reader.Unknownnoreply@blogger.comBlogger47125tag:blogger.com,1999:blog-6110024598790817153.post-52867595981735255432018-10-30T13:59:00.000-07:002018-10-30T13:59:06.955-07:00Yam Haus - Stargazer (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA60ba_n-qH7IM38SdQ-M5p2NPV16VOHpuyBql7fkHaTXKt_ujpTd8QPiq0B43gTaGym2rk0_P0Kk1y0P2fqmromkZZR_OB7Iaa2nWow3VCxEVJyI0aWKKqPzGAPVqWIS6To4V3u6Q4no-/s1600/yam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA60ba_n-qH7IM38SdQ-M5p2NPV16VOHpuyBql7fkHaTXKt_ujpTd8QPiq0B43gTaGym2rk0_P0Kk1y0P2fqmromkZZR_OB7Iaa2nWow3VCxEVJyI0aWKKqPzGAPVqWIS6To4V3u6Q4no-/s320/yam.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">: </span><a href="http://www.yamhaus.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.yamhaus.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/yamhaus"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.</span><span style="font-family: "Avenir","serif";">facebook.com/yamhaus</span></a><span style="font-family: "Avenir","serif";"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER: </span></u></b><a href="https://twitter.com/YAMHAUSBand" target="_blank"><span style="font-family: "Avenir","serif";">https://twitter.com/YAMHAUSBand</span></a><span style="font-family: "Avenir","serif";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Aaron Ellis, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Yam
Haus first formed during high school and the Wisconsin four piece relocated to
the Minneapolis area after graduation. Their first full length recording, <i style="mso-bidi-font-style: normal;">Stargazer</i>, is an unlikely tour de force
from a cadre of young musicians and songwriters who clearly demonstrate their
remarkable chemistry. It is unusual to discover a young band playing with this
level of cohesiveness so early on and it results a fully realized first effort
the band will have a difficult time surpassing, but there’s no indication they’ve
explored the limits of their talent with this debut collection. The title song
kicks things off with tremendous uplift and establishes an approach to their
pop songs with this track continuing through later tracks. The blending of
slashing electric guitar chords, a light drumming stomp, and colorful
synthesizer lines make for a first class album opener. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“West
Coast” isn’t as clearly built around its chorus as the first song is, but it
nevertheless has a sure handed pop touch and remarkably mature lyrics for the
form. Despite the obvious commercial nature of Yam Haus’ songwriting, they don’t
shy away from tackling the subject matter of their material with a mix of
clear-eyed adult perspectives linking up with their youthful energy. The second
track is immensely stylish as well. The stylishness continues with the third
track “Kingdom”, a song continuing in much the same vein we heard with earlier
tracks, and featuring the same sort of impactful chorus that helped push the
title track over the top. They rein their pop strengths in some with the track “Too
Many People”, exchanging the synthesizers of earlier numbers in favor of piano,
but the same strengths remain in evidence while also unleashing Lars Pruitt’s
voice in a way we didn’t experience with the opening songs. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Right
Now, Forever” does a 180 degree from the earlier numbers into “unplugged”
territory but the band sounds just as comfortable in these comparatively
spartan surroundings as they do during the aforementioned pop numbers. Guitar
is part of a greater overall whole for Yam Haus, but they do possess ample six
string firepower even during these more muted numbers; guitarist Seth Blum distinguishes
himself thanks to his playing prowess during this song. “Bad News” has one of
the best pure pop melodies on the release, especially its vocal melody, and
Lars Pruitt’s singing rates among his best moments on <i style="mso-bidi-font-style: normal;">Stargazer</i>. Despite his prominence on the album, however, we never
get the sense this is a one man show or glorified solo vehicle. Yam Haus sound
like a band from first song to last. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“We
Are the Storm” has stronger electric guitar presence than anything else
preceding it, excepting the title song perhaps, and Blum dishes out some
impressively rugged riffing for the song while still keeping it consistent with
the band’s over-arching sound. Pruitt proves himself capable of taking on a
rougher edged tune and sounding just as convincing as he does elsewhere. Yam
Haus’ <i style="mso-bidi-font-style: normal;">Stargazer </i>is rife with softer
strains as well showing, conclusively, that their debut offers something for
listeners of every stripe. Casual and hardcore music fans alike can and will
find much to admire with this album. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-7179626253474853612018-07-23T14:03:00.004-07:002018-07-23T14:03:50.099-07:00Astronomique - Sharp Divide (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNJN2YEpe1MiOllA8OBKxqaQIlXFKj5BD4LN659Lzspm9W8JpvB-Ctf5G_BWaf6WkzSJyPiYyRgDoWjCIudDfPFDSL_ioInWDnPpdYPH6d1t0cGfa6CQZRcBnKy51z_6XNhZh-_GUxZbJ_/s1600/astro.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="432" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNJN2YEpe1MiOllA8OBKxqaQIlXFKj5BD4LN659Lzspm9W8JpvB-Ctf5G_BWaf6WkzSJyPiYyRgDoWjCIudDfPFDSL_ioInWDnPpdYPH6d1t0cGfa6CQZRcBnKy51z_6XNhZh-_GUxZbJ_/s320/astro.png" width="320" /></a></div>
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<div style="margin-bottom: .0001pt; margin: 0in; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u>OFFICIAL:</u></b> <a href="http://www.astronomiquemusic.com/">http://www.astronomiquemusic.com</a></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u>FACEBOOK:</u></b><span style="mso-spacerun: yes;"> </span><a href="https://www.facebook.com/astronomiqueband/" target="_blank"><span style="color: black; font-family: "Gill;">https://www.facebook.com/astronomiqueband/</span></a><span style="color: black; font-family: "Gill;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u>TWITTER:</u></b> <a href="https://twitter.com/Astronomiques" target="_blank"><span style="color: black; font-family: "Gill;">https://twitter.com/Astronomiques</span></a><span style="color: black; font-family: "Gill;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u>INSTAGRAM:</u></b> <a href="https://www.instagram.com/astronomiques/" target="_blank"><span style="color: black; font-family: "Gill;">https://www.instagram.com/astronomiques/</span></a><span style="color: black; font-family: "Gill;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u>BANDCAMP:</u></b> <a href="https://astronomique.bandcamp.com/" target="_blank"><span style="color: black; font-family: "Gill;">https://astronomique.bandcamp.com</span></a><span style="color: black; font-family: "Gill;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Written by Craig Bowles, posted by
blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Astronomique’s Sharp Divide begins
well with the confident stride fueling “Forefathers” and they come across with
an authoritative edge one doesn’t often hear from similarly themed outfits.
Bassist Preston Saari and drummer Mitch Billings lay down an impressive groove,
but it’s guitarist Sean Hogan and synthesizer player/vocalist Logan Andra
Fongemie who deserves fulsome plaudits for their kinetic, focused contributions
to the song. Sharp Divide is consistent in many respects, but the hallmark
consistency of the collection rests with how it treats Fongemie’s voice – echo effects
give a sort of haunted quality to her otherwise ethereal vocal talents and
Hogan’s often chiming guitar lines act as a memorable counterpoint. “Losing Our
Control” raises the bar thanks to its seamless mix of a number of elements and,
despite its mid-tempo pace; we hear every bit of the same confidence bubbling
to the surface of the mix that defined the earlier tune. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The Minneapolis band goes one better
with the album’s title song. These songs are, customarily, a key track on any
release, presumably encapsulating the strongest musical and lyrical themes of
the release, and “Sharp Divide” isn’t any disappointment. Saari and Billings
are, once again, key to bringing the song off, but Hogan’s guitar playing has
added edge with this performance that sets it apart from the surrounding tunes.
“Unspoken” highlights Fongemie’s keyboard playing without ever making her the
sole focus and, when the full band launches into the song, Astronomique once
again successfully integrate her playing into the larger whole of the
arrangement. “Bleed Me: is another of the album’s top shelf tracks and, despite
the intensity of its imagery and how emphatically Fongemie conveys the writing,
there’s a good balance between the darker mood struck by the lyrics and the
entertaining musical arrangement. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Hardly Deliberate” has a different
percussive template than we’re accustomed to hearing from Astronomique while
still adhering to business as usual in other respects. Billings’ drumming,
however, keys everything and we can hear how it inspires the remaining band
members to reach even higher. There’s a slightly chaotic, dissonant edge to the
song without ever removing it too far from the band’s style. The last number on
Sharp Divide, “Heading Nowhere”, brings the release to a downcast ending, but
their talented for sweetening otherwise despairing musical messages remains
intact with this final number and mitigates any darkness creeping in around the
edges. Astronomique’s Sharp Divide swiftly establishes the four piece as one of
the most creative and idiosyncratic acts working in popular music today and
this ten song collection will surely propel them to a new level of renown. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-46574048338529589962018-06-27T16:14:00.003-07:002018-06-27T16:14:45.588-07:00Sky Orchid - Oculus (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGAPbC1mSWhyYryPuQAPWolepo2NvHSXPaMacFskWw24lV2VTJN8VTtF_iuNz3y-Q6Ku7YAy2gMW-68OH_N6FRT-3HFc0Vm08kMD5CBhFbQbF63ZjN8sW9QI_DIcb0FL8P-tcObLyPe2QU/s1600/sky.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="1000" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGAPbC1mSWhyYryPuQAPWolepo2NvHSXPaMacFskWw24lV2VTJN8VTtF_iuNz3y-Q6Ku7YAy2gMW-68OH_N6FRT-3HFc0Vm08kMD5CBhFbQbF63ZjN8sW9QI_DIcb0FL8P-tcObLyPe2QU/s320/sky.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://skyorchid.net/">https://skyorchid.net/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/skyorchidofficial/">https://www.facebook.com/skyorchidofficial/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/skyorchidband">https://twitter.com/skyorchidband</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Larry Robertson, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Formed
during June 2015, the two members of Sky Orchid, actually brothers, already
logged 8 years of jamming together under their belts before that.<span style="mso-spacerun: yes;"> </span>Trimming the fat from prior incarnations and
attempts at this project, we are left with a lean, mean duo that knows their
way around a set of songs.<span style="mso-spacerun: yes;"> </span>The debut <i style="mso-bidi-font-style: normal;">Oculus</i> shows a stunning early grasp on
craft and soft/loud dynamics for such a young act and it’s obvious that was
honed through years of playing with one another.<span style="mso-spacerun: yes;"> </span>Passion and emotion are crammed into every
corner of this release and it’s definitely one for music aficionados to soak up
for the long-term.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Gabriel
Traknyak handles guitars, vocals and keyboards while his brother Daniel takes
care of the drums and additional percussion used.<span style="mso-spacerun: yes;"> </span>They make use of several different
songwriting forms across the record and manage each individual one to great
effect.<span style="mso-spacerun: yes;"> </span>Opener “The River” beings with
dubbed beats, distant piano and trembling vocals that crests with riveting real
drumming, electric guitar and searing vocal power.<span style="mso-spacerun: yes;"> </span>This set-up yields great results on the
slightly more rock n’ roll-y “In the Fire (Part 1),” the brilliant and gorgeous
“Lex,” the trippy piano/guitar shakedown heard in “Yes<a href="https://www.blogger.com/null" name="_GoBack"></a>terday”
and penultimate closer “Fortify.”<span style="mso-spacerun: yes;"> </span>The group
truly shines in these auras of blackness where driving, buried beats and
trickling melody guitars give Gabriel’s lead vocals plenty of room to work and
eventually reach critical points of catharsis.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">They
dissemble any sense of formula by having a track like “Sneakers” kick-off like
the aforementioned songs but jettison the mellow, melodic drizzle for full-on
guitar rock, pounding backbeats and expressive singing that take the music down
a more hard rock avenue that’s made for maximum aural impact.<span style="mso-spacerun: yes;"> </span>“I’ll Stop the World (Part 2)” furthers this
notion thanks to its dive-bombing tempos set by Daniel’s drums and it maintains
a careful blend of slower, grittier chugs with fluttering higher speed rock
attacks shrouded in an 80s mist.<span style="mso-spacerun: yes;">
</span>“Wildfire” could almost past for some roots-y folk, what with its
lengthy first section gloriously embellishing the acoustic guitar and Gabriel’s
stern vocal pipes.<span style="mso-spacerun: yes;"> </span>It shatters into a
million pieces of space-y guitar rock as it climbs towards the finale but the
first half is the star of the show without question here.<span style="mso-spacerun: yes;"> </span>Then they abandon the more surreal, mystical
shades of their sound for some fun loving, upbeat groove and swagger on the
back-to-back pairing of “Breathe Easy” and “Take It All.” <span style="mso-spacerun: yes;"> </span>So many different songwriting styles could
come off as cluttered or unfocused without care, but these songs maintain
poise, point and purpose throughout.<span style="mso-spacerun: yes;"> </span></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Oculus</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> will surely
latch onto listeners looking for an experimental take on modern guitar rock
that doesn’t stick to one genre or feel the need to be constantly loud.<span style="mso-spacerun: yes;"> </span>The beauty is truly within the details of the
group’s sound on this recording.<span style="mso-spacerun: yes;"> </span>Thanks
to airtight production, the whole things sounds polished and professional with
just enough dirt underneath its nail to really give you a good kick in the gut;
all around great work by this pair of musical siblings.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-46492237063650909082018-06-22T06:06:00.002-07:002018-06-22T06:06:43.095-07:00Rhett Repko - Thnx For The Ride (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.rhettrepko.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.rhettrepko.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/rhettrepko/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/rhettrepko/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://twitter.com/RhettRepko"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/RhettRepko</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Craig Bowles, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Thnx
For The Ride, a seven song EP, marks Rhett Repko’s second impressive release in
2017 and bears all the signs it might propel Repko to a greater renown than he
has thus far experienced. It differs from his previous 2017 release, About Last
Night, thanks to a much more resolute focus on being a pure, outright rock
release incorporating the same singer/songwriter sensibility pervading his
earlier releases. Repko makes no bones about being a classicist in some
respects, but the most refreshing aspect of his songwriting and performances is
how he fuses that approach with a very modern production style and a
rambunctious sense of the possible. The title song embodies that. “Thnx for the
Ride” mixes things up without the song ever coming off as disjointed or patched
together – Repko and his band mates move from straight forward rock passages to
other sections that are near reggae or ska in their approach. The lyrics are a
bit unusual in the way they approach the time-tested subject matter of
relationships and that individual touch on the song separates it from the pack.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Please
Don’t Laugh” keeps the bar set high for Thnx For The Ride with an equally
punchy, if a bit more normalized, rock track that plays around with tempo
shifts, but never to the same extent as we hear with the opener. The vocals are
emphasized here a little more than before and lead guitarist Stefan Heuer
excels with an impassioned guitar solo near the song’s end. Perhaps the most
compelling section of the song comes near its mid-way point when the musical
intensity fades a little and we’re treated to a slow, deliberate middle break
that enhances the overall performance. “It Ain’t Coming From You” will be the
EP’s peak for many listeners like it is for me and much of this has to do with
the overall excellence of the song. There’s a strong acoustic strand underlying
the song and wonderfully propulsive drumming from Tom Bryant, but the real
highlight of the song comes from Repko’s vocal and another particularly tasty
shift in tempo that comes near the track’s second half when the band slows
things down and conjures a tasteful, thoughtful instrumental break. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Maybe
I’m Weak” elaborates on the previous song by expanding the dance between
electric and acoustic guitars. Certain parts of this song may strike some
listeners as choppy, but those passages are redeemed by yet one more intensely
emotive Repko vocal and the rock firepower he and the band brings to bear in
other portions of the tune. “And I Told Her So” has one of the EP’s best vocals
with lead guitarist Stefan Heuer contributing a lot with his backing vocals. He
rips loose with a biting solo, as well, during the song’s second half that
underlines the potent rock power of this number, Thnx For The Ride concludes
with the track “Make Me Right” and it’s a zesty closer for the EP that shows no
fall off in energy from the first song. Repko has reached a new pinnacle with
this release and Thnx For The Ride is chock full of great songs sure to be
featured in his live set. </span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6110024598790817153.post-10071063479219425042018-06-19T06:29:00.002-07:002018-06-19T06:29:57.576-07:00Joshua Ketchmark - Under Plastic Stars (2017)<div class="separator" style="clear: both; text-align: center;">
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">
</span><a href="http://www.joshuaketchmark.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">http://www.joshuaketchmark.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br />
<b><u>FACEBOOK:</u></b> </span><a href="https://www.facebook.com/josh.ketchmark"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">https://www.facebook.com/josh.ketchmark</span></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Written by Alonzo Evans, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Illinois-bred singer/songwriter Joshua Ketchmark has
built a slow and steady career on excellent musical craftsmanship and stellar
guitar playing that’s spanned a dozen releases to date.<span style="mso-spacerun: yes;"> </span>He’s brushed shoulders with Melissa Etheridge
and has worked with the production teams that have brought to life recordings
by Elvis Costello, Don Henley and Ryan Adams.<span style="mso-spacerun: yes;">
</span>In a tough modern musical climate where it’s very difficult to get your
own original compositions out there for the public to hear, Ketchmark has
accomplished way more than most.<span style="mso-spacerun: yes;"> </span>It’s
his talent that his gotten the singer/guitarist to where he is and it’s his
talent that can be heard all across his latest release, <i style="mso-bidi-font-style: normal;">Under Plastic Stars</i>. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The album opens with a gentle, trotting acoustic
number that’s draped in dusty folk influences and tinged of rural, back porch
country jamming.<span style="mso-spacerun: yes;"> </span>With his heartfelt
lyrics detailing a passionate relationship and instrumentation that puts a
production focal point on Joshua’s breathy voice and muscular acoustic guitars
while the rhythm section dives into a little groove that pushes the material
forward with grace and goodness.<span style="mso-spacerun: yes;"> </span>Subtle
church organ atmosphere is introduced on the twinkling, starlit magic of “Every
Mystery.”<span style="mso-spacerun: yes;"> </span>Gorgeous acoustic guitars
draped in reverb and slight echo provide a launch pad for Ketchmark’s earthy, infectious
vocal delivery that paints a forlorn picture of being pushed away by the one
that you’re in love with.<span style="mso-spacerun: yes;"> </span>This cut leads
directly into the harder, bluesy 6-strings, dark keyboard shades and rumbling
bass lines of the crunching “Let It Rain.”<span style="mso-spacerun: yes;">
</span>An electric guitar buzz sometimes cuts through the thick, dense
instrumentals and the vocals slip more into a heartbroken roar that still shows
a surprising amount of melody and restraint.<span style="mso-spacerun: yes;">
</span>Even slide guitar makes an accompaniment appearance to round out the sound
on this excellent number.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Breezy and autumnal in its aura, “Lucky at Leavin’”
pairs an energetic acoustic line to smooth flowing melodies with a recording
quality that leaves the impression of Josh playing alone onstage at a large
concert hall.<span style="mso-spacerun: yes;"> </span>Sweet back-up vocal
harmonies from an unknown female guest provide further emotive expression to
the song while lap-steel and layered keys add to a great deal of texture to the
music’s many charms.<span style="mso-spacerun: yes;"> </span>“Hereafter” returns
to semi-rugged country/blues backed by a rousing drumbeat, lamenting and
powerful vocals overflowing with stunning vibrato and several climactic breaks
where the volume swells and the instrumental tones rise to the sky.<span style="mso-spacerun: yes;"> </span>Hymnal organ playing and a fireball electric
guitar solo renders “Get out Alive” an edge that only further mixes up the
varied moods and sounds on the record.<span style="mso-spacerun: yes;">
</span>Elsewhere the entirely acoustic “Harm’s Way” sucks the ears in from the
very first note, the vocal/piano led soul tune “Sweet Surrender” really
provides a showcase for Ketchmark’s gripping singing and awesome
multi-instrumentalism and closer “The Great Unknown” mingles rock volume and
tempos with country music’s ol’ fashioned vocal harmony standards and
simplistic but hook-y guitar/rhythm shakedowns.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Joshua Ketchmark
pulls out all of the stops on <i style="mso-bidi-font-style: normal;">Under
Plastic Stars</i>.<span style="mso-spacerun: yes;"> </span>With excellent
musical chops, stellar songwriting skills and great arrangements that blend a
multitude of different instruments together, there’s not a misstep to be found
on this album.<span style="mso-spacerun: yes;"> </span>It’s certainly won over
this first time listener to Ketchmark’s wonderful audio world.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-6148093695241410992018-06-16T22:40:00.000-07:002018-06-16T22:40:34.720-07:00Black Bluebirds - Like Blood for Music (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlXlD0UX-9F5QrAFHTROXw0hxwkSRyMLUDo4OQ6lTlU4EWfyYriqJlfaUERf-ENpAP8-kSH0BhsP9AkJm6_o0v7N4QByElcXqcKd8mUU6-GTPTebTVcfgy2mUJXv3nV_Pm8-0Byc8Quf6B/s1600/bluebirds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlXlD0UX-9F5QrAFHTROXw0hxwkSRyMLUDo4OQ6lTlU4EWfyYriqJlfaUERf-ENpAP8-kSH0BhsP9AkJm6_o0v7N4QByElcXqcKd8mUU6-GTPTebTVcfgy2mUJXv3nV_Pm8-0Byc8Quf6B/s320/bluebirds.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
</span><a href="http://blackbluebirds.com/"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">http://blackbluebirds.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
</span><a href="https://www.facebook.com/BlackBluebirds"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">https://www.facebook.com/BlackBluebirds</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Brad Johnson, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Few
indie rock albums start off as well as Black Bluebirds’ Like Blood for Music
does with “Love Kills Slowly”. It also works ideally as an opener as the song,
essentially, lays out the band’s musical identity without ever seeming like
they are pushing too hard for an audience reaction. The natural slant to their
performances on this ten song studio effort, especially in regards to song
structure, help make it one of the most satisfying guitar-heavy releases in
recent memory. “Strange Attractor” hits hard without ever coming off as heavy
handed and much of that is due to the effortless swagger Chad Helmonds brings
to his drumming. Daniel Fiskum’s vocals take the lead here, but Jessica Rasche’s
vocals offer some unobtrusive support while stukk enriching the final result. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
vivid qualities of “Life in White” are the first indisputable peak on Like
Blood for Music and Fiskum’s writing takes a decidedly poetic turn. The
acoustic flourishes built into this song give it an added shot of urgency that
it might otherwise lack despite its overall excellence and Fuskum’s singing
imparts the right amount of seriousness to the performance. “Battlehammer” and “Soul
of Wood” are the album’s two strongest rock efforts and a big reason why is
Chad Helmonds’ propulsive drumming that presses on the songs with a lot of
verve and attitude. The lyrics for the latter tune are particularly effective
and biting. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">One
of the album’s more dramatic moments comes with the spectacular “House of No
More Dreams” and the weaving of Fiskum’s synthesizer work and Simon Husbands’
electric guitar is often rather stunning. They deliver a distinctly theatrical
experience on songs like this without ever sounding overwrought. The strong
pulse guiding the song “Don’t Fall in Love” gives Fiskum and Rasche alike a
chance to flex their vocal chops in slightly surprising ways. Another powerful
piece of quasi-musical theater comes with the penultimate track “My Eyes Were
Clothes” and it’s arguably the album’s finest expression of using music to
create a narrative of sorts for your ears to follow. It’s one of the album’s
finest lyrics as well and it’s notable how Fiskum maintains the same laser
focus in his writing that we hear from the band’s musical imagination. The
songwriting suggests things for listeners rather than spelling everything out
for them and the choice deepens the listening experience for devoted music
fans.</span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Black
Bluebirds’ journey out of a classic music hub like Minneapolis is considerably
aided by how individual they are. They still use a familiar idiom, however, and
that helps get their intensely personal songwriting over with a potentially
wide audience. Like Blood for Music is a relatively short effort at only ten
songs, but the discipline and focus that goes into making these songs potent is
very memorable. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-40809658672549908432018-03-05T22:08:00.000-08:002018-03-05T22:09:45.384-08:00Rejectionist Front - Evolve (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3rbPD77mc8Qjj2Cbiunga46YQNJekzkQNn-y19GYfTJDL8Pl7UR9WR6vRd_IYuCinnvuX-tcasUOTAnKte6nM1Buq-51iVX8VW1alEyCCGUhv8-wjNNIj0FixqRJnqnRAfN9E6Z85OhTh/s1600/reject.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3rbPD77mc8Qjj2Cbiunga46YQNJekzkQNn-y19GYfTJDL8Pl7UR9WR6vRd_IYuCinnvuX-tcasUOTAnKte6nM1Buq-51iVX8VW1alEyCCGUhv8-wjNNIj0FixqRJnqnRAfN9E6Z85OhTh/s320/reject.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://rejectionistfront.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://rejectionistfront.com/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by Laura Dodero, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Rejectionist
Front’s continuing ascent to the upper echelon of modern rock acts picks up
speed with their second album release Evolve. The four piece hasn’t been
together for very long in comparison to where they are in their development and
the exponential growth of their power and potential is a phenomenon they’ve
successfully parlayed into plum festival appearances as well as important
placements on high profile various artist releases as well as theatrical and
television programming. They are politically engaged, particularly lead singer
and songwriter Michael Perlman, but never in the quasi-evangelical way many
music listeners find repelling. The band’s songs are, in one overriding one,
about the challenges of being a human in an often inhumane world and their
second album Evolve features a dozen songs further establishing them as one of
the best hard rock acts achieving prominence today. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“Ride”
kicks off this full length album with resounding emotional and sonic force.
Michael Perlman is a singer who gives himself over to every track and manifests
his talents differently each time out. Guitarist Lincoln Prout and bassist Tony
Tino provide spot on backing vocals for this near anthemic number that makes it
doubly effective. “All I Am” dispenses with the quasi high flown style they
flirt with on the opener and instead take things in a more rough and ready,
straight hard rock direction while losing none of their apparent chops and
crisp attack. The sonic architecture of the album’s third song “Savior” is much
the same as the second, but the construction is even tighter here and the
chorus, in particular, is carried off exceptionally well. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Perlman’s
ability to bring a distinct character to each of Evolve’s twelve songs
continues to shine through on the track “All is the Same” and it previews a
pensive side to the band’s songwriting that they explore in later songs as
well. Perlman is, undoubtedly, the straw stirring the band’s drink in many
respects, thanks to his aforementioned qualities and the way he handles the
lyrical content, but guitarist Lincoln Prout demonstrates a similar
chameleon-like talent for adapting his guitar sound as needed. The contrast of
Perlman’s near bluesy growl and accompanying guitar jangle opening the song “Reclaim”
soon transforms into one of the band’s more rousing numbers and a definite
highlight of the release. There’s a more menacing quality conveyed by the song “Innocent”
and the claustrophobic bite heard in some of Lincoln Prout’s guitar playing,
likewise, ranks among the musical highlights of Evolve and their continued
strength in building hard hitting choruses and instrumental breaks continues to
serve them well. The finale, “Inside of Me”, is naturally one of the album’s more
inward looking efforts, but Rejectionist Front’s songwriting is such that even
the personal finds an universal resonance – as it should. This New York City
four piece has passion to burn, but Evolve makes it abundantly clear they are a
band of the world as well. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-19779651407481980322018-02-06T10:39:00.000-08:002018-02-06T10:39:06.789-08:00Chris Murphy - Water Under the Bridge (2017)<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b>
<a href="http://chrismurphymusic.com/">http://chrismurphymusic.com/</a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/chrismurphymusic1/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/chrismurphymusic1/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/chrismurphymusic1/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/chrismurphymusic1/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by David Shouse, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Hailing
from Los Angeles, California Chris Murphy drops one off the most excitingly
innovative yet truly vintage sounding LPs of the decade.<span style="mso-spacerun: yes;"> </span>His debut with The Blind Baker Blues Band
leaves no stone unturned in its compositionally impenetrable and harmonically
cascading musical hybrid.<span style="mso-spacerun: yes;"> </span>A true mad
scientist’s potion that seamlessly and intoxicatingly meshes together blues,
pop, singer/songwriter folk, rock, rockabilly, swing, jazz, soul and sweeping,
lush multi-tracked movements into a cohesive shakedown where genre and style
have no place.<span style="mso-spacerun: yes;"> </span>In Murphy’s world passion
and playing mean everything.<span style="mso-spacerun: yes;"> </span>These two
components of Murphy’s music truly mean everything and are worth their weight
in pure gold.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Though
steadfast and stalwart implementations of organic instruments are the main
theme of this record, they are practically incorporated into each song in quite
unique and transcendental ways.<span style="mso-spacerun: yes;"> </span>Yet
Murphy’s adherence to the classic ways on <i style="mso-bidi-font-style: normal;">Water
Under the Bridge</i> keeps this record devoid of pretentious inclinations and
showboating just for the sake of it.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Water Under the Bridge</i> is packed full of
honest to goodness songs that are daring in their tried and true
instrumentation but willingly stretch the boundaries of somewhat set in stone
musical styles (country, blues, pop, rock, rockabilly, folk, soul, etc.).<span style="mso-spacerun: yes;"> </span>It’s the jazz element on this record that
makes it dangerous and unpredictable and that dynamic is in full bloom on
opening shack-shaker “Moveable Feast” and its blitzing acoust<a href="https://www.blogger.com/null" name="_GoBack"></a>ic/electric
violin attack, rockabilly rhythms, crystalline acoustic guitars and fierce,
surprisingly aggressive piano playing.<span style="mso-spacerun: yes;">
</span>This anything goes formula carries over into the more moderately paced
and tongue-in-cheekily titled “Joan Crawford Dances the Charleston.”<span style="mso-spacerun: yes;"> </span>The speedier rushes of the opener are reduced
to a simmering blues crawl with a 1940s country slow dance permeating the
measured pacing and thoughtful piano melodies.<span style="mso-spacerun: yes;">
</span>Six shooting vocal harmonies draw a bead on your eardrums as guitars,
banjos, violins, upright bass licks and brimstone chucking fiddle playing
hurtle in every direction on the road-burning bluegrass scorch of “Table for
Two.”<span style="mso-spacerun: yes;"> </span>The overload of attitude and
melody make this track a keeper across the board and Murphy’s understated,
honey-coated vocals paint memorable lines throughout.<span style="mso-spacerun: yes;"> </span>This ditty meets its polar opposite in
“Riverboat Blues’” creeping blues wail where extensive violin licks underpin a
workingman’s rhythmic groove and searing acoustic bits.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">If
anything, <i style="mso-bidi-font-style: normal;">Water Under the Bridge</i> is
completely airtight from the first note to the last and the songwriting is of a
high melodic standard yet unafraid of experimenting with genre parameters.<span style="mso-spacerun: yes;"> </span>“I Swear I’m Going to Learn This Time”
implants an accessible pop vocal harmony into an angular old school piece that gets
jazzy, halts to a soulful flicker and then layers on a successive series of
instrumental blows where each instrument gets a chance to shine with a lead
bit.<span style="mso-spacerun: yes;"> </span>“My Spanish Lover” has shades of Al
Dimeola in its graceful, elegant acoustic guitar lines and spicy time-signature
switches.<span style="mso-spacerun: yes;"> </span>“The Lemon Rag” returns to a
bluegrass blitzkrieg where speedy pacing and layer upon layer of stringed
instruments coil around the tightly woven piano melodies.<span style="mso-spacerun: yes;"> </span>There’s something for everyone on <i style="mso-bidi-font-style: normal;">Water Under the Bridge</i>.<span style="mso-spacerun: yes;"> </span>Chris Murphy is a multi-instrumental
visionary that really knows how to compose enrapturing music.<span style="mso-spacerun: yes;"> </span>If anyone in the last 20 years has been a
virtuoso of these particular genres, it’s without a doubt Murphy and the Blind
Blake Blues Band.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-66277084671904928072018-02-06T07:04:00.001-08:002018-02-06T07:04:28.367-08:00Alpha Mule - Peripheral Vision (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-1yiiGkYczAhOlu0AcyfwE2HsxviUJcIPFBC9h8ZClqyj82Aw68mbzZ45H5dmQcq26hsB8qTtBbY2vTboKqY8Y-Tk1NilAxZknnejLVTsfPy7g5c3UC7weO-3Cg8eWbyvBx7KJKbE7wBq/s1600/alpha.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="771" data-original-width="770" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-1yiiGkYczAhOlu0AcyfwE2HsxviUJcIPFBC9h8ZClqyj82Aw68mbzZ45H5dmQcq26hsB8qTtBbY2vTboKqY8Y-Tk1NilAxZknnejLVTsfPy7g5c3UC7weO-3Cg8eWbyvBx7KJKbE7wBq/s320/alpha.jpg" width="319" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://www.alphamulemusic.com/">http://www.alphamulemusic.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">BANDCAMP:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://alphamule.bandcamp.com/">https://alphamule.bandcamp.com/</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Larry Robertson, posted by blog admin</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Country
n’ western meets folk when Alpha Mule dons their instruments for a down-home
BBQ full of tight melodies and rising vocal harmonies.<span style="mso-spacerun: yes;"> </span>With touches of bluegrass, blues and other
rural Americana sounds; <i style="mso-bidi-font-style: normal;">Peripheral Vision</i>
is the band’s debut of original songs and there’s some great stuff to behold
here.<span style="mso-spacerun: yes;"> </span>Lots of quick banjo<a href="https://www.blogger.com/null" name="_GoBack"></a>, acoustic guitar shakedowns with verse vocal patterns
giving way to grandstand choruses that really make you want to sing-a-long at
the top of your lungs. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Corpus
Christi” kicks things off in dusky bluegrass mode; relatively upbeat
instrumentation smothered by a layer of production darkness that creates a nice
sonic blend.<span style="mso-spacerun: yes;"> </span>Banjo and acoustic guitar
duel while the group’s two main players cook up some delicious vocal
harmonies.<span style="mso-spacerun: yes;"> </span>The group, comprised of Joe
Forkan on guitar/vocals and Eric Stoner banjo/vocals manage to cover a lot of
ground as just a duo while bringing in a few players to handle additional
instrumentation like upright bass, etc.<span style="mso-spacerun: yes;">
</span>“On the Moon” is decidedly more upbeat with more twinkling to the
stringed instruments and a cleaner, more arid sound, as particularly fat, beefy
bass lines drive the action as the banjo and guitars glide overtop.<span style="mso-spacerun: yes;"> </span>The end result has an overall happier feel
with some cool lead vocals paving the way into listener’s memories.<span style="mso-spacerun: yes;"> </span>The title cut is a classic Nashville
tearjerker with the stalwart steel guitar accoutrements coloring in all of the
dark spaces and making for a soulful slow-burn full of authentic country twang
thanks to the acoustic guitar n’ banjo duel that happens in the body of the
song.<span style="mso-spacerun: yes;"> </span>“The Distance” tempers the old
school country style with jazz piano and it’s another strong piece that comes
in and hits you in those low emotional places.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Turning
to that boogie upright bass pluckin’ of the rockabilly style, “Pavlov” is a
funky number with emphasis on the rhythm section as the guitars and banjos
crackle n’ fade alongside some husky low-toned vocals.<span style="mso-spacerun: yes;"> </span>It’s obvious that these two are in tight
control of their sound at all times.<span style="mso-spacerun: yes;">
</span>Similarly driving and uptempo “Mule in the Mine” has that river panning,
coal miner’s tinge borrowed from bluegrass but it comes off as more far country
than farmland.<span style="mso-spacerun: yes;"> </span>It’s an interesting old
school track that’s catchy but expressive at the same time.<span style="mso-spacerun: yes;"> </span>“Step Outside” brings the steel guitars back
into focus before “The Ballad of Huell Howser” goes back to a body shakin’,
country two-step.<span style="mso-spacerun: yes;"> </span>The flamenco flavored,
Spanish guitar of “Music of Our Hearts” is another unique aural deviation from
the band’s core elements and “Empire” ends the album with a dark-folk
apocalypse.<span style="mso-spacerun: yes;"> </span>Some B-side bonus tracks and
alternate duo versions of the album tracks (without the extra instrumentation)
round things out for a very complete listen that covers all of the ground that
you want it to when the listening is all said and done.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Peripheral
Vision</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">
is a modern classic of the country genre that nobody should miss out.<span style="mso-spacerun: yes;"> </span>With excellent and tight playing, powerful
words and vocals and a production job that brings out every song’s greatest
strengths, there’s a lot to discover here for fans of the way back style.<span style="mso-spacerun: yes;"> </span>Anyone that digs country, folk, bluegrass and
beyond should have a heck of a time with this one.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-23284860344171517792018-02-05T14:57:00.000-08:002018-02-05T14:57:06.078-08:00Blue Apollo - Light Footed Hours + Circles (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_KkVP8LMvJkFQaZWADTlONvyHXDFmqPcc5EWjkRlEin-EFU9OALXEYLax3zhNuWVAb6DlIflrBltxhidZNNofeqkfaGowRQ5jGMCbQZpZVJTDY_pxuGXl1b0RFoSUuJ1_X7-gvJvZDQqO/s1600/blue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="714" data-original-width="1000" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_KkVP8LMvJkFQaZWADTlONvyHXDFmqPcc5EWjkRlEin-EFU9OALXEYLax3zhNuWVAb6DlIflrBltxhidZNNofeqkfaGowRQ5jGMCbQZpZVJTDY_pxuGXl1b0RFoSUuJ1_X7-gvJvZDQqO/s320/blue.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://blueapollomusic.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://blueapollomusic.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/blueapollomusic/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/blueapollomusic/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://twitter.com/BlueApolloMusic"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/BlueApolloMusic</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Raymond Burris, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Blue
Apollo’s 6 song debut finds this trio getting started off on the right foot and
then some.<span style="mso-spacerun: yes;"> </span>With a rocking sound equally
composed of melody and unusual indie rock swerves that include dramatic
build-ups, trippy texture work and some musical arrangements that are almost
symphonic in their delivery.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Light-Footed Hours</i> is an EP with enough
musical variety happening that it hits with the satisfaction of listening to a
full-length.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
back to back attack of the dexterous and speedy “Walls” which muscularly flexes
its way through pop punk tempos, diamond sharp indie riffs focused on
higher-end melodic pinches, busy drums with a steady tom-tom battery, beefy
bass grooves, spitfire guitar solos and guitarist/vocalist Luke Nassar’s
gorgeous melody vocals are wonderfully complimented by the slower paced though
no less gnarly “Feeling Right.”<span style="mso-spacerun: yes;"> </span>“Feeling
Right” seems to cherry pick its deep, bustling bass grooves from funk while the
guitar work and heartfelt vocals are straight out of the soulful r n’ b
department.<span style="mso-spacerun: yes;"> </span>All throughout both tracks
Nassar threads the material tightly with his pointed indie licks that enjoy
minor keys and noisy 90s indie melodies but somehow smoothens out the rough
edges for the creation of some really snazzy pop leaned stuff.<span style="mso-spacerun: yes;"> </span>The band’s more rocking grooves reach an apex
on third cut, “Therapy” where a fuzzy rock riff is filtered through an 80s
style sonic production tone with rhythmic dedication and cresting melodic
vocals that complete this piece to perfection.<span style="mso-spacerun: yes;">
</span>There’s not a bum or sour note hit throughout this three track marathon
and then the album starts to morph and shapeshift into its next phase.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">On
the second side of this EP the trio draws down the mood on the plaintive and
sublime “Avalanche” where Luke’s voice is accompanied by a piano in a lengthy
intro movement that ratchets up the melodic drama more and more with each
passing moment.<span style="mso-spacerun: yes;"> </span>As the backbeat begins
to fill in thanks t<a href="https://www.blogger.com/null" name="_GoBack"></a>o Jeremiah Jensen’s stern kick drum
thump and a budding root system of guitar/bass inflections, the tune eventually
reaches a climactic point where things step up into some melodic rockin’.<span style="mso-spacerun: yes;"> </span>They ply the same mindset to “Meant to Be”
but hold back on the piano accoutrements and replace that stylistic component
with some showering drops of acoustic guitar and another deliberate climb to a
summit of groovy indie pop.<span style="mso-spacerun: yes;"> </span>It’s a cool
facet of the band’s sound that even when they are tackling full on ballads that
they always set the songs up to go somewhere truly special and noteworthy.<span style="mso-spacerun: yes;"> </span>Finale number “Circles” is a bonus track but
it fits in with the framework of the rest of the tunes without a hitch.<span style="mso-spacerun: yes;"> </span>The rushing tom-tom percussion creates a
busy, swatting backbeat that’s colored in by radiant guitar licks and lush, organic
bass lines.<span style="mso-spacerun: yes;"> </span>A few dabs of piano and some
fully fleshed vocal hooks round this track out into a pyrotechnic explosion of
atmosphere and ambience that’s all wrapped up by a bow of stellar
songwriting.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Light-Footed
Hours</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">
is an ear pleasing EP with all killer and no filler.<span style="mso-spacerun: yes;"> </span>Blue Apollo know how to rock and they are a
truly “alternative” sounding band with a style that would have really made
during the 90s or the indie/emo surge that went into the early two
–thousands.<span style="mso-spacerun: yes;"> </span>This is a solid release and
it comes with a high recommendation for fans of the genre.</span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-86630444319063132422018-02-05T13:53:00.002-08:002018-02-05T13:53:40.666-08:00Shofar - s/t (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Askr9ofzNbqV8tGHxMXwBO3bWbnbDWvsIoFKYiZgG-QoDNFUOcIKUii-T5Fdc39fmqCT4zf4oO50CHSqgRMo5M4_KsZyaRHaArKBrlcLMozlIs-wtMpdagjTVbo4Ly1xq7lFQlwtXVSQ/s1600/shofar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Askr9ofzNbqV8tGHxMXwBO3bWbnbDWvsIoFKYiZgG-QoDNFUOcIKUii-T5Fdc39fmqCT4zf4oO50CHSqgRMo5M4_KsZyaRHaArKBrlcLMozlIs-wtMpdagjTVbo4Ly1xq7lFQlwtXVSQ/s1600/shofar.jpg" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">BANDCAMP:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://shofar.bandcamp.com/releases"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://shofar.bandcamp.com/releases</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">BROADJAM:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.broadjam.com/shofar"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.broadjam.com/shofar</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Raymond Burris, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Shofar’s
initial run in the early 2000’s sparked a great deal of deserved attention as
the band, led by singer and songwriter Larry Hagner, married a compelling rock
sound with a definite spiritually minded message without seeming like a pulpit
blocked their guitars, drums, and basses. They have returned after a long
absence with a self-titled EP release that shows they have further refined that
balance they so artfully achieved on initial recordings. This new release is
well in keeping with the Minneapolis area’s long standing reputation as a musical
nerve center and puts forward a band who is more than capable of entrancing
their audience with considered lyrical ideas and messages alongside gripping
musical works. The new EP re-launches their recording careers quite effectively
with a thoroughly modern sound that still makes great use of familiar effects .</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Running”
gets the EP off to a fast start. This is one of the EP’s best mixes of light
and shadow as it builds from a brief keyboard driven introduction into crushing
riffage before settling into much more melodic verses. There’s no question that
this is all-out rock with some singing from Hagner that shows equal parts
abandon and adventurousness, but Shofar gives audiences a gripping listen.
“Powerman” is cut from a much more classic cloth and has some echoes of The
Beatles and The Kinks in its presentation. Just the right amount of backing
vocals make this a further enjoyable tune and the light, commercially-minded
melodicism of the tune helps win over listeners as well. There’s a bit more
rock power being channeled with significant passages in the tune “Shades of
Grey”, but they never get anywhere near the bulldozing heights of the EP’s
first track. Hagner’s quite comfortable working in a singer/songwriter vein and
few songs make that more apparent. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Hands
Down” is going to be a rousing live number for the band that’s guaranteed to
score some heavy audience participation. It has the sort of wide swing and
swagger we haven’t heard from the EP’s earlier cuts and Hagner takes over the
lyric with a cool confidence that elevates the lyric a few extra notches. They
indulge themselves with some apocalyptic warning in the song “Countdown”, but
the songwriting point of view is implied rather than belabored and it makes for
an entertaining, though chilling, listen. “The Coming” doesn’t tumble head
first into a morass of self indulgence, as it likely would have in a lesser
band’s hands, but it’s definitely a piece where Hagner and Shofar see fit to
stretch themselves a little to excellent effect. It concludes Shofar’s
“comeback” EP with an emphatic musical statement that seems to say, yes, they
can get any audience up off their feet and moving, but songs like “The Coming”
are in their future as well because they are emboldened by the conviction they
have something important to say. And say it they shall. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-19198689442944226352018-01-04T11:40:00.001-08:002018-01-04T11:40:42.331-08:00Michael Askin - Road by the River (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">REVERBNATION:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.reverbnation.com/michaelaskin"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.reverbnation.com/michaelaskin</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/MichaelAskinMusic/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/MichaelAskinMusic/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Daniel Boyer, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">As
the title track to this 5-cut EP crashes into its first peppy snare beat and
the swinging southern-fried acoustic gravy rolls over top of a swaying bass
line, it becomes instantly clear that New Jersey singer/songwriter/guitarist
Michael Askin is firing on all cylinders.<span style="mso-spacerun: yes;">
</span>Primarily a guitarist, Askin found himself in the role of a solo artist
when he decided that he wanted to express his musical interests in a more
in-depth way.<span style="mso-spacerun: yes;"> </span>He played in the bands
Divine Sign and My State of Attraction but mainly as lead guitarist.<span style="mso-spacerun: yes;"> </span>Now he finds himself as not only lead
guitarist but lead vocalist, bassist, drummer, organist, composer and arranger
on <i style="mso-bidi-font-style: normal;">Road by the River</i>; the third in a
series of EPs he’s been releasing since 2013.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Eschewing
fancy playing for multifaceted instrumental layering, acoustic/electric texture
balance and utilizing keys/organ where it’s needed most, the entirety of the
music on <i style="mso-bidi-font-style: normal;">Down by the River</i> is
exciting and engaging.<span style="mso-spacerun: yes;"> </span>“Nashville” dials
down the twitchy rhythms and high-speed acoustic guitars of the opening track
for a stalwart, bluesy churn that wavers between slow and mid-tempo
timekeeping.<span style="mso-spacerun: yes;"> </span>The distant hum of synths
color in the background alongside slight electric riffs and a largely acoustic
groove that rocks as hard as it smoothly rolls.<span style="mso-spacerun: yes;">
</span>All throughout Askin’s unassuming but strong vocal timbre harnesses a
downplayed blues vibe that’s all about contagious melodies and occasional
2-part harmonies.<span style="mso-spacerun: yes;"> </span>Slide guitar only
heightens the melodic stakes on the table and if this track cuts and deals the
deck, “Sun Going Down” wins the game with gusto…”house rules’” style!<span style="mso-spacerun: yes;"> </span>Crumbling, heavy blues rock riffs and
smoke-cured vocal grain are offset by a humming organ/keyboard support system
that adds yet another layer to the arid, open acoustic guitar chords and gnarly
electric grooves.<span style="mso-spacerun: yes;"> </span>Askin holds down the
rhythm end with forlorn blues beats that tell a story while ensuring that
drumming doesn’t overtake the guitar.<span style="mso-spacerun: yes;"> </span>He
takes the same approach in terms of the bass’ numerous stops/starts and
half-step pacing.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Combing
the melodic folk country of the title track opener with the chunky, dense blues
of “Sun Going Down,” “Hard to Make a Living” contains just the right amount of
rock n’ roll alongside it’s bristling acoustic swerves and church organ enrichment.<span style="mso-spacerun: yes;"> </span>One of Michael’s catchiest, hookiest vocal
melodies appears in the chorus of this journeyman tune (which describes the
life of a to<a href="https://www.blogger.com/null" name="_GoBack"></a>uring musician trying to cut their teeth on
the road).<span style="mso-spacerun: yes;"> </span>Rounding out the EP, “Last
Train” wanders in on the same type of country kickin’ folk that The Byrds or
even the Guthries pioneered although Askin shakes up the mix with keyboard
oscillations that incrementally raise the volume until things reach a noisy,
Pink Floyd sort of progressive climax.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Road by the
River</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">
has nary a dull moment or wasted note in its short, 20 minute running
time.<span style="mso-spacerun: yes;"> </span>Askin excels at the blues, is a
capable rock n’ roller, tender folk traveler and just about anything else you
can imagine as a songwriter and a player.<span style="mso-spacerun: yes;">
</span>This record is uplifting and flat out rocks.<span style="mso-spacerun: yes;"> </span>It’s easily the strongest of his 3 EP efforts
to date and should be a favorite for old fans and newcomers alike.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-91719176978027324962018-01-04T08:25:00.002-08:002018-01-04T08:25:55.331-08:00Sarah Morris - Hearts in Need of Repair (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.sarahmorrismusic.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">www.sarahmorrismusic.com</span></a><strong><span style="font-size: 12.0pt;"></span></strong></div>
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<strong><u><span style="font-size: 12.0pt;">FACEBOOK:</span></u></strong><strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;"> </span></strong><a href="http://www.facebook.com/sarahmorris10"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">www.facebook.com/sarahmorris10</span></a><strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;"></span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Written by Laura Dodero, posted by blog admin</span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">The third album from Minneapolis headquartered
singer/songwriter Sarah Morris, Hearts in Need of Repair, is an eleven song
outing outstripping her fine duo of previous releases and clearing the decks
for Morris’ future. Morris has wisely opted to work with many of the same
musical talents who made her first two studio albums sparkle with deeply felt
emotion and unquestionable artistry, but Morris and her creative partners
stretch even further with this album and raise the bar for this outstanding
recording artist. It is Morris’ first release since 2013’s Ordinary Things, but
Morris has been far from fallow over the last four years – she’s earned
respected awards and experienced meaningful chart success, but Hearts in Need
of Repair expands her artistic profile in a way those earlier fine releases did
not.</span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Her sensitivity for the material is on full display
with the first song and title track. “Hearts in Need of a Little Repair”, abbreviated
for the album title’s purposes, is one of the highlights on this release and
amply illustrates just how far she’s come since her debut. Her progress as a
vocalist is most notable with this song. The title cut has a less identifiable structure
than many of the album’s other more archly traditional tunes, but it proves not
to be any sort of impediment for her. “Good at Goodbye” moves her into that
aforementioned more traditional territory and shows off one of the album’s
across the board strengths in its memorable chorus. Morris, likewise, couldn’t
hardly have better accompaniment for this collection and one of the band’s peak
moments comes with their supporting performance on this tune. The spikes of
strong drumming and electric guitar in “Helium” give it a more of a rugged
texture that it would otherwise like while banjo carries much of the melody. It
avoids the stereotypical frantic picking common to bluegrass but introducing
that musical voice to the collection makes for one of its more memorable
moments. </span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">The blues comes out most strongly on the songs “Falling
Over” and the later “Shelter or the Storm”. The former is easily the more
delicately wrought of the tune, more low-fi in character, while the latter has
a light blues rock bite that makes it stand out from the pack. “Course
Correction” has some country rock influences you can hear in its electric
guitar work, but it’s an element she backs off during the verses where the
focus falls more squarely on her vocals. The same shifting tempo that defined
the title song returns with this number and has a positive effect on the
overall result. “Empty Seat” is note perfect. No joke. There isn’t a single
moment in the arrangement or lyrics that don’t get over with listeners in a big
way and it should exert broad based appeal thanks to its excellence. It’s
easily the best turn on a great album. A final exceptional moment arrives with
the album closer “Confetti” and it has the effect of a leaf wafting to the
ground – profoundly graceful and full of the same aural lyricism defining the
release overall. Hearts in Need of Repair is a profoundly moving work, both
musically and lyrically, and the center of it all is one of the nation’s best
musical artists working on the scene today. </span></strong><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-24257971326768150962018-01-03T10:49:00.000-08:002018-01-03T10:49:10.866-08:00The Joe Olnick Band - Downtown (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.joeolnick.com/">https://www.joeolnick.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/JoeOlnickMusic">https://www.facebook.com/JoeOlnickMusic</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Frank McClure, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Led
by experimental, innovative guitarist Joe Olnick, the Joe Olnick Band is a
sizzling instrumental power trio rounded out by Jamie Aston on bass and drummer
Jamie Smucker.<span style="mso-spacerun: yes;"> </span>Downtown is the project’s
6<sup>th</sup> outing and this release is filled to the brim with diverse
influences that mix rock, funk, jazz and cinema soundscapes into a prog-rock
brew that’s nearly impossible to nail down.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
blazing title cut struts wildly with a funky bass groove atop a floor thumping
beat; immediately setting on an aggressive yet danceable aesthetic.<span style="mso-spacerun: yes;"> </span>Olnick’s trippy, wah-ed out guitar work is a
glorious reminder of greats like Jimi Hendrix, Tommy Bolin’s funkier jams off
of Teaser or even some of the crazy German rock from the late 60s/early
70s.<span style="mso-spacerun: yes;"> </span>It swings in a distinctive way that
hooks you in and scrambles your eggs with glee.<span style="mso-spacerun: yes;">
</span>“Philadelphia Moonlight (Part One)” is more surf-y and splashy, peddling
an easygoing and laidback groove propelled by some tight, agile fill-work.<span style="mso-spacerun: yes;"> </span>Aston lays down an alley cat prowl while
Smucker locks on like a pair of crosshairs.<span style="mso-spacerun: yes;">
</span>Olnick’s tasty licks and clever lead n’ rhythm jukes constantly comments
on the rhythm section’s raucous antics.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Parkside”
ratchets up a repeating, hypnotic funk groove by adding thoughtful layers in
bite-sized pieces; a slinky flux on the bass lines here, an extra couple of
snare interjections there and a hot-blooded lead bit right on top.<span style="mso-spacerun: yes;"> </span>It never changes tempos much but the textures
are constantly piling up higher and higher.<span style="mso-spacerun: yes;">
</span>The minimalist hum of “Philadelphia Moonlight (Part Two)” is a humming,
alien drone piece with a lot of amplified weirdness and single note
string-strangeness to give the ears an off-the-wall, atonal workout.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Living
up to its name, “Rush Hour” burns rubber on a tire fire barrage of electrified
riffs and licks as the silly slappin’, power groove of the rhythm section takes
absolutely no prisoners in clearing a path to the holy groove.<span style="mso-spacerun: yes;"> </span>Closer “Sports Complex” rips wide a
full-throttle combo of punk and psychedelic guitar scorch that couldn’t
possibly serve up a more teeth-kickin’ finale.<span style="mso-spacerun: yes;">
</span>The guitar work spirals out into endless rays of that late 60s/early 70s
aggressive psyche rock.<span style="mso-spacerun: yes;"> </span>Overall, it’s a
killer finale to an album that showcases many strengths from track to
track.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
feel like I’ve been hiding under a rock by just discovering Joe Olnick’s music
right now in 2017.<span style="mso-spacerun: yes;"> </span>It’s never too late
to get into someone’s art but I certainly feel like I’ve been missing out.<span style="mso-spacerun: yes;"> </span>Olnick, Aston and Smucker possess a solid
funk background and some superbly melodic free-jamming chops but a willingness
to explore the more dangerous, threatening boundaries of rock n’ roll and
that’s what makes this record a pleasure to experience.<span style="mso-spacerun: yes;"> </span>It really is best treated as an experience,
so that means getting a pair of headphones and playing it from start to finish
without interruption.<span style="mso-spacerun: yes;"> </span>Stick with the
longer, winding jams for the ride because this power trio packs each tune with subtle
changes that make for a challenging but rewarding listen.<span style="mso-spacerun: yes;"> </span><a href="https://www.blogger.com/null" name="_GoBack"></a><span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-12382332312017396622017-12-28T04:06:00.002-08:002017-12-28T04:07:04.796-08:00Slow Burning Car - Defection (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjYNRozTrr33SEUs4CnOXCZP5a06CMLSZecjgdQs63o96nGkYWbVK_oFt2gS7XrQYUhKBdiVnSVAFxyUATwbx9SlIT3JG11S08F4a7tSJgs04gJYrSWEL4En4MTURbmILJmt0NTzIq_wT/s1600/burning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLjYNRozTrr33SEUs4CnOXCZP5a06CMLSZecjgdQs63o96nGkYWbVK_oFt2gS7XrQYUhKBdiVnSVAFxyUATwbx9SlIT3JG11S08F4a7tSJgs04gJYrSWEL4En4MTURbmILJmt0NTzIq_wT/s320/burning.jpg" width="320" /></a></div>
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<br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://www.slowburningcar.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://www.slowburningcar.com/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/SlowBurningCar/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">https://www.facebook.com/SlowBurningCar/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by Larry Robertson, posted by blog admin</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Slow
Burning Car’s <i style="mso-bidi-font-style: normal;">Defection</i> is a smashing
rock album, nothing more and nothing less.<span style="mso-spacerun: yes;">
</span>If you want some no frills hard-rock with a modern edge then you’ll get
10 tracks of firmly footed, rock solid, riff-centric groove that manages a few
intricate stylistic juxtapositions throughout.<span style="mso-spacerun: yes;">
</span>Each song is individually sound and the entire album feels sonically
cohesive as opposed to a simple collection of songs.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
gusty, hard-rock slam of “Alpha Duplicor” sets things off like a powder keg
fuse.<span style="mso-spacerun: yes;"> </span>Going back to the sort of heavy
grooves that predated nu-metal’s banal dreck; a dual guitar screech peddles
lockstep riffs and spiraling solos that are kept aloft by a homing missile
accurate rhythm section and memorable vocal patterns.<span style="mso-spacerun: yes;"> </span>Bands like Hum and Shiner went this route on
their formative albums before Korn and Limp Bizket owned the airwaves and the
only big difference between Slow Burning Car and the early works of 90s indie
heavies is that they sport a more polished production sheen.<span style="mso-spacerun: yes;"> </span>“Soul Crimes” kicks into a punk-y overdrive
all about the crunchy, guitar driven verses leading up to choruses that are
inviting as all get-out in terms of catchy, harmonized wordplay.<span style="mso-spacerun: yes;"> </span>They interject the same invigorating flair
into “The Orb” but alter the background harmonies with some light auto-tuned
vocals and dig into a tougher, percussive backbeat while pumping the final
product full of noise rock guitar frequencies and sizzling lead/solo
outbursts.<span style="mso-spacerun: yes;"> </span>“The Devil in the Room,” “The
Sunday Derby” and “You Can’t Stay Here” all use punk rock as the main root of
their sound while screwing around with the abrasive noise rock textures and
fireball guitar solos.<span style="mso-spacerun: yes;"> </span>The end result
reminds me of experimental punks Victory and Associates or even late 90s
legends Adayinthelife. These bands may not have been hugely popular though they
delivered unique, innovative takes on punk/hardcore/rock that are well-worth a
dedicated listen even long after their respective heydays.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elsewhere
the album goes for all-out experimentalism on the moody, acoustic pairing of
“Bedtime” and “Chrysanthemum.”<span style="mso-spacerun: yes;"> </span>These
subdued journeys into texture and dual acoustic guitar layers call to mind
Husker Du’s work circa the underrated <i style="mso-bidi-font-style: normal;">Warehouse
Songs</i>. <span style="mso-spacerun: yes;"> </span>“Polar Warden” is a cosmic
space-rock jam that’s prime foundation lies within a looping, delay-drenched
bass line as splashy cymbals, orchestral keyboards and flashes of drippy guitar
melody color the track’s background with plentiful harmonic, ambiguous shades
of sound.<span style="mso-spacerun: yes;"> </span>Album endnote “Clouds” is the
heaviest track on <i style="mso-bidi-font-style: normal;">Defection</i>.<span style="mso-spacerun: yes;"> </span>It’s not directly heavy seeing as highly
melodic vocals, celestial guitar drones and plundering rhythms conjure more of
a space-y, dreamy groove grind ala Hum’s grand compositions on <i style="mso-bidi-font-style: normal;">Downward is Heavenward</i>.<span style="mso-spacerun: yes;"> </span>This piece even drifts off into the same
sort of lumbering, pavement cracking riffs that Hum laid down during their
heaviest moments.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Defection</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> is a sonically
diverse, ever-flowing set of songs that has numerous peaks and valleys.<span style="mso-spacerun: yes;"> </span>The band crests high and dives low to bring
back the kind of energy that will have you nodding your head and tapping your
toes throughout.<span style="mso-spacerun: yes;"> </span>Quite frankly, <i style="mso-bidi-font-style: normal;">Defection</i> doesn’t have a dull song in
the bunch and rock fans should have a field day with this one; good stuff
through and through.<span style="mso-spacerun: yes;"> </span><a href="https://www.blogger.com/null" name="_GoBack"></a><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-85534945356982829782017-12-19T09:50:00.001-08:002017-12-19T09:50:29.266-08:00J.Briozo - Deep in the Waves (2017)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Mike Yoder, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Minneapolis
based band Swallows have been critically acclaimed and made quite an impact in
the folky, old school Americana scene.<span style="mso-spacerun: yes;">
</span>Sadly, I haven’t heard any of their music at this point in time.<span style="mso-spacerun: yes;"> </span>J. Briozo is the moniker of Swallows’
vocalist Jeff Crandall’s solo project.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Deep in the Waves</i> is the debut record
and it’s a challenging, enigmatic piece of work that slips in and out of many
different musical styles; sometimes within the confines of a single song.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Crandall’s
got an ear for melody and a mystical songwriting style packed with engaging
hooks that really drag you deep into the music.<span style="mso-spacerun: yes;">
</span>Lead-in number “Blind” shines brightly with searing vocals harmonies
drifting over a light foundation of percussion, creeping bass lines, sullen yet
gloriously melodic guitar figures and a feel that’s draped in mystery.<span style="mso-spacerun: yes;"> </span>It’s just the tip of the iceberg of <i style="mso-bidi-font-style: normal;">Deep in the Waves</i> multifaceted aural
explorations.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There’s
really no stone left unturned in terms of the different types of songwriting
that Crandall employs.<span style="mso-spacerun: yes;"> </span>Several tracks
are based on a smoky vocals blues, luminous acoustic guitar shimmer and a wall
of auxiliary stringed-instruments.<span style="mso-spacerun: yes;"> </span>Cello,
violin and viola all appear and oftentimes altogether in several of these
sticky acoustic webs; the transcendental atmospherics of the title track come
to mind as well as the simplistic yet absolutely necessary bass grooves and
dusky acoustic licks of “Rain Song” are stellar examples of this mindset.<span style="mso-spacerun: yes;"> </span>“Blue” and “Santa Cruz” also offer up various
takes on this similar aesthetic.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Crandall’s
not opposed to all out rock n’ roll with a blues foundation either.<span style="mso-spacerun: yes;"> </span>The hard-driving electrified riffing mingles
with a tough rhythmic backbone, a gospel organ hum and gritty vocals complete
with triumphant harmonies on the infectious “Spinning Out.”<span style="mso-spacerun: yes;"> </span>Bursts of harmonized leads and winding solo
spires drive home a heady groove and call to mind Lynyrd Skynyrd, Drive by
Truckers and the Outlaws; yielding an edgy tune that never lets up from the
first note to the last.<span style="mso-spacerun: yes;"> </span>“The Big Parade”
locks onto the same ethic but throws in some prominent slide guitar and horns
for an interesting twist on the sound.<span style="mso-spacerun: yes;">
</span>Album endnote “Sun Sun True” also flirts with the same touches yet again
(the horn section returns) but twists any idea of formula by making use of
extensive vocal harmonies that create a choir/chorale effect.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Elsewhere,
Crandall composes his songs with a symphonic/orchestral approach devoid of rock
music and even blues.<span style="mso-spacerun: yes;"> </span>These alternate
compositions are filled to the brim with immaculate layering of a chamber
string quartet, allow for plenty of powerful vocal melodies and thusly come off
akin to a movie score (see “Firefly” and “Camera Obscura” for perfect
examples).<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Overall,
Deep in the Waves is a stunning debut offering that displays Jeff Crandall as a
talented vocalist, instrumentalist, songwriter, arranger and conductor.<span style="mso-spacerun: yes;"> </span>He knows exactly how to make the songs play
out to his every strength.<span style="mso-spacerun: yes;"> </span>No two songs
on the record sound exactly alike and the wealth of variety yields an album
that is sure to see multiple appearances on music journalists’ top 10 lists.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-23061485007198994542017-12-11T08:00:00.004-08:002017-12-11T08:00:56.809-08:00Ben Brookes - The Motor Car & The Weather Balloon (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9A4a4LxJT-4XR3bbQK0tWW_zWm0FOoe-bB8x5MEkbtMw7WBWya1FoYGbKwfZ4NlAPJOo63G85M3-U2fa0ybSZXMloRR8eSltJ9Rb5na6qOLP_-0iVX9REw3wKqmvRkFiqtKua0865UdSc/s1600/brookes.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9A4a4LxJT-4XR3bbQK0tWW_zWm0FOoe-bB8x5MEkbtMw7WBWya1FoYGbKwfZ4NlAPJOo63G85M3-U2fa0ybSZXMloRR8eSltJ9Rb5na6qOLP_-0iVX9REw3wKqmvRkFiqtKua0865UdSc/s320/brookes.jpeg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://benbrookes.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://benbrookes.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://facebook.com/benbrookesmusic"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://facebook.com/benbrookesmusic</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://twitter.com/benbrookesmusic"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://twitter.com/benbrookesmusic</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://instagram.com/benbrookesmusic"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://instagram.com/benbrookesmusic</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Frank McClure, posted by blog admin</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
outstanding debut from Portsmouth, UK born Ben Brookes, The Motor Car & The
Weather Balloon, recalls a time in rock and pop music when young artists
aspired to more than just pandering for commercial attention. If this album
scores commercially, Brookes can feel satisfied that his music has succeeded on
its own terms rather than regurgitating the music and poses of others. It
certainly succeeds artistically and the ten songs comprising its running order
never subject listeners to a single second of filler. Brookes’ considerable
talents have drawn the attention of some truly gifted veteran musicians; Mark
Healey of Badfinger fame produced the effort and further contributions from
Badfinger guitarist Joey Molland, keyboardist Greg Inhofer, and drummer Michael
Bland illustrate how seasoned performers with sterling credits in their past
are attracted to Brookes’ obvious talents. It makes for a thrilling listen and
the cross pollination of American and English influences helps shape the
release into something truly special. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“I
Wanna Go Home” begins the album on a confident, bright note with a lyric that
hints at deeper discontent and a musical arrangement that pushes back against
those darker shadows. Brookes’ vocals here, and elsewhere, sound fully engaged
with each passage and he shows excellent instincts for when to push his voice
and when to relax and let the music speak for itself. “Integration (Not Segregation)”
is one of the few instances on the album where Brookes indulges himself with
some outright social commentary, but it isn’t ripped verbatim from the headlines
and has more staying power as a statement than most as a result of that choice.
The song has a generous amount of electric guitar, but it is part of a general
trend dominating the album’s first half where acoustic guitar holds a greater sway
over the album’s sound. The track “Asleep in Galilee” riffs on traditional
English pop rock themes while managing to invoke, as well, a bluesy edge that
will resurface later in the album. This seemingly improbable mix of English pop
rock with near Americana makes it one of the album’s more successful tracks and
elicits a truly memorable vocal from Brookes. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Before
Sunlight” is a deeply affecting number thanks, once more, to the melodic gifts
that Brookes shows off throughout the course of this release. It features, as
well, one of the album’s better lyrics and it matches up rather nicely with the
aforementioned melody. Brookes really demonstrates his vocal talents with this
one and follows the melody with sure handed confidence that makes it a great
listening experience. The rock punch of “Stories in the Rain” and “Somewhere
Around Eight” never feel like they stretch the boundaries of belief; Brookes is
just as compelling of a performer as on the album’s lighter numbers and has a
convincing jagged edge he’s capable of bringing to bear on songs like this. The
album finishes up with “Shackles”, a song depending on the interplay between
acoustic and electric guitar for much of its musical spark, and the lyrical
themes close things with introspective flair. It’s a powerful release from the
first song to last. </span></div>
<br /><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-51565990174579069632017-12-11T07:23:00.000-08:002017-12-11T08:43:18.679-08:00Thomas Abban - A Sheik's Legacy (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH81gqwYsW2xiDuIW-LjR47vC4yduYLIHWLPEAuTj0r_eSatjtHvi95urffE77K2_LTuoslEHAr5p8DMLzJZ1GbheXipPL5P7V6-4Xj6_9odOIq_TXp-KuIsVxC8WqwkpXMUAbqYTmVaFJ/s1600/abban.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="635" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH81gqwYsW2xiDuIW-LjR47vC4yduYLIHWLPEAuTj0r_eSatjtHvi95urffE77K2_LTuoslEHAr5p8DMLzJZ1GbheXipPL5P7V6-4Xj6_9odOIq_TXp-KuIsVxC8WqwkpXMUAbqYTmVaFJ/s320/abban.jpeg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://www.thomasabban.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://www.thomasabban.com/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/ThomasAbbanOfficial/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">https://www.facebook.com/ThomasAbbanOfficial/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="https://www.instagram.com/thomasabbanofficial/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">https://www.instagram.com/thomasabbanofficial/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by David Shouse, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">It’s
not often a Jimi Hendrix, Jim Morrison, Kurt Cobain, etc. type comes along in
rock n’ roll that often anymore.<span style="mso-spacerun: yes;"> </span>Someone
who takes an idea from the smallest seed of a thought, grows it into a living
breathing musical organism and cultivates it into an idea so unique that no
matter what musical project they decide to tackle next, it will ALWAYS sound
exactly like that person.<span style="mso-spacerun: yes;"> </span>In 2017 we can
say that Thomas Abban is the rooted of such a creative force with his debut
album, <i style="mso-bidi-font-style: normal;">A Sheik’s Legacy</i>.<span style="mso-spacerun: yes;"> </span>This feels like an innovative concept album
of yore and though only Abban himself could tell you if it is or isn’t, the
songs achieve this connected and kinetic power; a feeling of unity throughout
the album that projects a staggeringly satisfying experience for the listener.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
haunting, brooding “Death Song” hits like a kick in the gut as a roaming,
acoustic walk down a wooded path soon becomes a hobbling, granite stomp of
manic guitar scrabbles, molten drums and Abban’s primal, feral vocal howls.<span style="mso-spacerun: yes;"> </span>It’s the start of an album with split
personalities.<span style="mso-spacerun: yes;"> </span>An album that unleashes a
ferocious edge while tempering its calamity into a gentle melodicism.<span style="mso-spacerun: yes;"> </span>Quickly picked, safari hunt acoustics thrust
“Symmetry & Black Tar” into an upbeat frenzy.<span style="mso-spacerun: yes;"> </span>Abban’s guitar-work glides nimbly atop the
surging drum n’ bass energy as the track gives away into heavier guitar riffs
and tribal percussion mash ups that eventually crash land into the lava hot,
knife-edge blues swipes of “Fear” and “Aladdin.”<span style="mso-spacerun: yes;"> </span>This duo goes straight for the throat in
terms of heft and downturned groove; it’s got enough sweat n’ swagger to turn
the heads of Sabbath fans.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">A
dusty, cowpoke vibe paints the image of a gunfight at high noon on “Time to
Think’s” country soaked goodness.<span style="mso-spacerun: yes;"> </span>These
constant but necessary changes in style, tempo, texture and dynamics only
enhances the sheer enjoyment of A Sheik’s Legacy,” further summoned up in the
exotic instrumentation of “Horizons” which incorporates some flute and provides
unique updates to the sounds of vintage outfits like Jethro Tull and Gravy
Train.<span style="mso-spacerun: yes;"> </span>Further down the line “Sinner” is
modern folk that somehow feels like the good, old stuff with a pop-infused but
hugely enjoyed chorus vocal from Abban (a combination Thomas returns to with
even greater success later down the line with “Irene.”<span style="mso-spacerun: yes;"> </span>The album continues to juxtapose numerous
musical and thematic elements till the brain-scorching, 60s burnt guitars of
the penultimate “Born of Fire” ends the album with a brimstone finish.<span style="mso-spacerun: yes;"> </span>Besides the pyrotechnic American gothic, bluesy
guitar grinds of the boundless Algiers, I can’t seem to think of anybody going
this route with both acoustic and electric instruments recently.<span style="mso-spacerun: yes;"> </span>That is to say that Thomas Abban and his
debut <i style="mso-bidi-font-style: normal;">A Sheik’s Legacy</i> are filling a
vast, aching void that’s been present in rock music for quite some time.<span style="mso-spacerun: yes;"> </span>For fans of the “album” era, searing,
original guitar work with chest-rattling rhythm playing, fascinating
songwriting and vocals that scream with personality; Abban’s work simply can’t
be beat.<span style="mso-spacerun: yes;"> </span><a href="https://www.blogger.com/null" name="_GoBack"></a></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-68998749423886599212017-12-08T11:33:00.003-08:002017-12-08T11:33:54.553-08:00Cyborg Asylum - Never Finished, Only Abandoned (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UIy2PpML36vOpZsSvHR1tE1-VlJwZNmkfK9Hygb-mmiAI84HTHxT2IKFQ0JMdE8VQvAza4wV1RelBIPkTXx5JgfzGfgwPqieupiUfVLQeZyHvJ_-MBDZ8dZztnlzx_zfqqF-m2oG0IGa/s1600/cyborg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1490" data-original-width="1490" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UIy2PpML36vOpZsSvHR1tE1-VlJwZNmkfK9Hygb-mmiAI84HTHxT2IKFQ0JMdE8VQvAza4wV1RelBIPkTXx5JgfzGfgwPqieupiUfVLQeZyHvJ_-MBDZ8dZztnlzx_zfqqF-m2oG0IGa/s320/cyborg.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.cyborgasylum.com/">https://www.cyborgasylum.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/CyborgAsylum/">https://www.facebook.com/CyborgAsylum/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/cyborgasylum">https://twitter.com/cyborgasylum</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Mike Yoder, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Industrial
noisemakers Cyborg Asylum create a fine mash-up of light and heavy dynamics on
their first long-player <i style="mso-bidi-font-style: normal;">Never Finished,
Only Abandoned</i>.<span style="mso-spacerun: yes;"> </span>This type of music
literally ruled and commanded the airwaves when I was growing up in the 80s and
its rule last until the late 90s.<span style="mso-spacerun: yes;"> </span>Cool
and creative groups (like King Loses Crown, Kroh, etc) have cropped up here and
there over time but largely the style has become a forgotten art form
post-2000.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Along
come David Varga and John Tumminia to prove that the genre still has plenty of
bite left in its fangs.<span style="mso-spacerun: yes;"> </span>Combining
stomping digitized percussion, sampled sound bytes, buzzing electric guitars
and crooning vocals, Cyborg Asylum creates a fresh take on the genre that
sounds as timeless as many of the genres forefathers.<span style="mso-spacerun: yes;"> </span>Instrumental lead-in “Blitz” screams and
wails like the start of Ministry’s metal era with thudding beats; ominous
backbeats and threatening samples (emergency distress sirens, gunfire,
explosions, etc.).<span style="mso-spacerun: yes;"> </span>These energetic
salvos seep into the swirling noise synths, crumbling bass, dirty electric
guitars and distorted vocals.<span style="mso-spacerun: yes;"> </span>Instead of
continuing with the attack element, John’s expressive melodic vocals conjure up
huge melodies and the instrumentation restrains itself to a heavier take on the
pretty new wave pioneered by New Order if mixed with Ministry’s first attempt a
harder crossover, <i style="mso-bidi-font-style: normal;">Twitch</i>. <span style="mso-spacerun: yes;"> </span>The end result is refreshing and unexpected.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
record continues to bounce from strength to strength like this; from soft to
loud, eerie to angry, experimental to traditional… and it works.<span style="mso-spacerun: yes;"> </span>First single “My Metallic Dream” utilizes
digital loops, delay and echo as guitar riffs slither in and out of danceable
club trance and fuzz-blasted alternative rock.<span style="mso-spacerun: yes;">
</span>Stellar vocal harmonies get stuck in your head quickly and magical vocal
melodies avoid sugarcoated sweetness, opting for great singing that stays
floaty and bewitching even when the music pounds with gusto during the
chorus.<span style="mso-spacerun: yes;"> </span>“War Machine” kicks off with an
ambient wall of layered electronica before going full-bore into a rumbling
industrial/metal war march that reaches an incendiary electric guitar
finale.<span style="mso-spacerun: yes;"> </span>The bleak, drippy synths and
soaring vocals of “Weightless” makes for an excellent album centerpiece that
slowly creeps and crawls to a caterwauling finale (Tumminia’s powerful vocal
range is a delight throughout).<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Angle
of Incidence” shoots for a grand vibe sampling viola, violins and cello;
sounding akin to a Disney track from Hell.<span style="mso-spacerun: yes;">
</span>Dirty guitar riffs and freaky bass dirges provide the counterpoints to
the delectable melodies and despite being an instrumental interlude; it’s one
of the record’s most fascinating pieces.<span style="mso-spacerun: yes;">
</span>The booming, bombastic duo of “Steampunk Highway” and “Fragments as
Illusion” are two of the album’s most techno-inflected compositions with subtle
synth melodies and strong vocal deliveries colliding with subsonic house beats
and driving tempos.<span style="mso-spacerun: yes;"> </span>They are capable of
igniting a dancefloor and getting fists pumping at a rock n’ roll show.<span style="mso-spacerun: yes;"> </span>“Ion” works the same musical blueprints minus
vocals to great effect.<span style="mso-spacerun: yes;"> </span>The Jekyll and
Hyde, soft/loud attack of “Asymmetry” and “Pale Green Dot” mesmerizes with
glorious melodies in its first half but unleashes the rock n’ roll thunder of
electric guitar and ruthless backbeats in the second half; leaving closer
“Paradigm Shift” to cap things off with a style that meshes Depeche Mode with
Stabbing Westward.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">All
in all, Cyborg Asylum is the perfect mingling of modern industrial aggro with
the soothing new wave soul of Depeche Mode and New Order.<span style="mso-spacerun: yes;"> </span>It’s a great combination and one that Cyborg
Asylum pulls off without a hitch; these guys are well-worth your hard-earned
listening time and dollar.<a href="https://www.blogger.com/null" name="_GoBack"></a><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-13246743225656745342017-12-07T00:01:00.000-08:002017-12-07T00:01:06.872-08:00Josh Birdsong - Where the Light Bends (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7zOaGYyBgkzGq_eJzDFnYCQ7VVHhnLcKNZU39zp3WwUc_6B4ijWL32Kmz5v_RpbGPv7_tVUvsnFYAgXV6rnASqU-F5VYv5sTZzdROYCaqjtY-Q_j_1IEj3SFtJ5PlVf_2hgA2L8W5t-_/s1600/birdsong.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7zOaGYyBgkzGq_eJzDFnYCQ7VVHhnLcKNZU39zp3WwUc_6B4ijWL32Kmz5v_RpbGPv7_tVUvsnFYAgXV6rnASqU-F5VYv5sTZzdROYCaqjtY-Q_j_1IEj3SFtJ5PlVf_2hgA2L8W5t-_/s320/birdsong.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://joshbirdsong.com/">http://joshbirdsong.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/joshbirdsongguitar/">https://www.facebook.com/joshbirdsongguitar/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/JoshBirdsong">https://twitter.com/JoshBirdsong</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.instagram.com/joshbirdsongmusic/">https://www.instagram.com/joshbirdsongmusic/</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Jason Snyder, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Nashville’s
Josh Birdsong certainly didn’t fall into trend based on location.<span style="mso-spacerun: yes;"> </span>The psychedelic, graceful organically grown
indie rock heard on his second EP, Where the Light Bends, flirts with
everything from 70s German influences (think Ash Ra Tempel’s electronica era)
to the layered modern trips of Animal Collective.<span style="mso-spacerun: yes;"> </span>Opener “Complex Context” enforces these comparisons
while establishing Birdsong’s own unique take on quirky, progressive indie
rock.<span style="mso-spacerun: yes;"> </span>A simplistic driving beat and
buoyant bass lines push along a cascading waterfall of effects laden guitars,
synth counterpoints and a distinct touch of English shoegaze.</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Second
cut “The Sound Beneath the Static” may not pack in the tempo changes or
technical flash but from a compositional/texture standpoint its swirling
keyboards, trembling vocalizations, soft percussiveness and delay/echo/loop
guitar pedal flourishes concoct a rich, lush atmosphere of melancholy gravitas
filled with hooks that stick to the brainstem.<span style="mso-spacerun: yes;">
</span>“Cloud 8” mashes together multiple string, electronic and vocal tracks
for a drippy, mind-altering brew that never outright becomes “rock n’ roll” but
never gets boring either.<span style="mso-spacerun: yes;"> </span>A solid foundation
of bottom end held together by the bass guitar and electronic beats keep things
low to the ground yet the constantly morphing guitar work, soulful vocals and
heavenly keyboards lift the music higher up in the atmosphere.<span style="mso-spacerun: yes;"> </span>Musically, this stuff would be perfect for an
arthouse film and oftentimes the arrangements feel cinematic in scope.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
droning, ethereal hum of “Too Much to Hold” unfolds even slower than the
preceding tunes but rewards the patient listener with guitar chords that
constantly build towards scenic majesty as Josh’s voice reaches numerous
melodic crests.<span style="mso-spacerun: yes;"> </span>Keyboards slowly fill in
the space around the guitar; twinkling like stars falling across a serene night
sky.<span style="mso-spacerun: yes;"> </span>There’s a blues-based ambience
threaded throughout the guitar work here that adds a slight groove to the cozy,
comfortable melodies.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Arctic
Desert” is one of the EP’s finest highlights.<span style="mso-spacerun: yes;">
</span>Utilizing a finger tapping guitar style to accentuate each note the
music packs in a lot of energy despite focusing on minimalism.<span style="mso-spacerun: yes;"> </span>It works up a hypnotic trance that Pink Floyd
fans could relate to.<span style="mso-spacerun: yes;"> </span>The tripped-out
keyboards show equal love to soundtrack style psychedelic bands like Goblin or
Zombi as well as darkwave and ambient techno musicians.<span style="mso-spacerun: yes;"> </span>Thanks to some juicy guitar twang and soaring
vocals, Birdsong manages to craft a stylistic take that on these varying sonic
ideas that are distinctly his own.<span style="mso-spacerun: yes;">
</span>Closing things off, the title track conjures up catchy vocals and
ever-flowing guitar tapestries that relish dream-pop influences.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Where
the Light Bends might not have a lot of variation in tempo or style within its
set parameters but it shines as a front to back whole that keeps you holding on
for the ride and firmly entrenched in its glowingly gorgeous songcraft.<span style="mso-spacerun: yes;"> </span>It’s that feature that makes Josh Birdsong an
extremely unique talent and a developing artist that you’re going to want to
keep on an eye on after hearing Where the Light Bends.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-60081948830072167532017-12-04T13:18:00.001-08:002017-12-04T13:18:22.227-08:00EZLA - Outcasts (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span></b><a href="https://www.instagram.com/ezlaofficial/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.instagram.com/ezlaofficial/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
<b style="mso-bidi-font-weight: normal;"><u>FACEBOOK:</u></b> </span><a href="https://www.facebook.com/ezlaofficial"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/ezlaofficial</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">/<br />
<b style="mso-bidi-font-weight: normal;"><u>TWITTER: </u></b></span><a href="https://twitter.com/ezlaofficial"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/ezlaofficial</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
<br />
Written by Pamela Bellmore, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">EZLA’s
first studio release, a five song EP entitled Outcasts, gives this young
Nashville based singer/songwriter the kind of opening for a recording career
that most artists can only dream of. She’s clearly an artist with virtually
boundless potential, but she’s also a finished product in many respects who has
entered the recording studio with a clear idea of what she wanted to
accomplish. Outcasts stands as a monument to her success. She’s clearly aiming
to craft much more than just your average electronic fueled pop outing and the
dark tenor of much of her lyrical content is further underlined and skewed by
the idiosyncratic nature of her voice. It has a slightly nasal quality that gives
her an insolent air, but she also proves herself to possess an exceptionally
flexible vocal instrument capable of conveying great sensitivity. It makes this
EP more memorable than most and she never hesitates to push her vision on
listeners with total confidence. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">She’s
definitely making an attempt, with some of these songs, at providing a twist on
the traditional pop anthem. Nowhere is this more apparent than on the opening
song and title track “Outcasts” where EZLA casts her lots with those cast away
from the mainstream and puts it over with a passionate delivery that will
surprise some listeners, thanks to her age, and definitely grab their
attention. “Skeletons” has a similar shadowy spirit, but there’s a stronger
sense of musicality here and a refrain that will burn itself into listener’s
memories. The use of melody on Outcasts is an important part in its ability to
get over with the audience and another key is the unpredictability of EZLA’s
arrangement. She isn’t afraid to change things up and challenge listener’s preconceived
notions in these first two songs and it makes for invigorating listening. “Satellites”
demonstrates her ability to shift gears and still keep the music working along
exactly the same lines, while tackling very different subject matter. Longing
and desire are big keys to this song, but it is, at the end of the day, much
more of a conventional love song than anything else she exposes us to on
Outcasts and hits the same nerves despite showing off a more appealing lyrical
face. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Hangman”
takes the audience back into more unsettled territory than the previous track.
It’s cut from the same cloth as the first two songs without ever sounding
imitative and shares the same predeiliciton for a strong refrain we heard in
the EP’s second number. The final track, “Psycho Killers”, makes it clear that
the EP has been building to this moment and it proves to be an involving climax
to the album while carrying us further into darker points of view than ever
before. Outcasts takes a straight line to get from point A to point B and
dazzles us along the way. It’s one of 2017’s most notable debuts. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-21658880554188595912017-11-13T12:26:00.000-08:002017-11-13T12:26:24.215-08:00Nick Black - Summer & Spring (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://nickblackmusic.com/">http://nickblackmusic.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/nickblackfanpage/">https://www.facebook.com/nickblackfanpage/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/nickblackmusic">https://twitter.com/nickblackmusic</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Bradley Johnson, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Summer
+ Spring is the third album from vocalist and guitarist Nick Black and, taken
as a follow up to his 2015 release Deep Blue, shows a musical artist growing by
leaps and bounds during the interim. Much of this is likely attributable to the
extensive live experience he’s continued to accumulate touring with his band
and certainly there isn’t a single song on the new album that doesn’t sound, in
some respects, like it was crafted with the stage at least partially in mind.
Black handled production duties for the album with James Bennett and the
mastering from Grammy winning engineer Brad Blackwood adds a glossy veneer to
these great songs that makes them sparkle for both casual and obsessive fan
alike. It’s a great album for Black’s existing fans and, as well, an excellent
introduction for any newcomers chock full of accessible material.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Even
the funkier aspects of the album are relatable. The sentiments in “Joy to the
Girl” aren’t difficult to make a connection to as listeners and the musical
fireworks generated by Black’s guitar and his co-musicians are substantial and,
often, sound quite challenging as players. This is clearly a collection of
musicians with a tight-knit connection and that chemistry is evident in every song.
The more relaxed, mellower numbers like the title reflect the same chemistry
deployed in a different way and his ability to shift gears as a guitarist,
moving from the assertive sound of the opener to a more orchestral approach on
the title song, reflects his growing versatility as a player. His increasing
confidence as the band’s out front personality and band leader comes across as
well on the entertaining romp “Nick at Night”, but it also reflects his depth
of knowledge regarding the musical style’s traditions. He never sounds anything
less than at home in the out front role for this band.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Runaway
Heart” might have a clichéd title, but the vocal and musical arrangement alike
is soaked with such drama that it redeems any criticisms one might have. The
guitar work is equally effective. There’s some straight up rock leanings in the
track that he expands on with the next number “Neighbor”. The chin up striding
quality that this song strikes makes for compelling listening and sounds
confident throughout. The tandem of “When the Morning Comes” and “Lay It on the
Line” find Nick Black working in full on funk mode and the latter song, in
particular, leans heavily on his brilliant horn section for melodic drive. They
are boisterous and energetic, but remain tasteful throughout. “When You Say
Love” is a slow, soulful burner with a wonderful sound and unwinds at a warm,
luxurious pace. The final track “The River” is a much more lo-fi affair than we
are used to from Nick Black, but acoustic blues suits his voice well and it
ends the album on a thoughtful, almost poetic, note. This is an important
release for Nick Black as it sends him nearer and nearer to the mainstream
while never losing sight of his roots. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-3465577043474183952017-11-12T17:17:00.000-08:002017-11-12T17:17:11.143-08:00Black Note Graffiti - Volume II: Without Nothing I'm You (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjmQn8YP5UjWcN20HEPqpkun6YB8kk3cmK0y5CrXiv6fAkE74xp1MJ5rwDW0ctqAoVlfo-HnhlYKzB8u0wqLwyHqdjCePeHgnZLTehOcEXgmBCJr6bBT7S6xprgjX7dNsUqA4-lC0GNJiP/s1600/blacknote.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="459" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjmQn8YP5UjWcN20HEPqpkun6YB8kk3cmK0y5CrXiv6fAkE74xp1MJ5rwDW0ctqAoVlfo-HnhlYKzB8u0wqLwyHqdjCePeHgnZLTehOcEXgmBCJr6bBT7S6xprgjX7dNsUqA4-lC0GNJiP/s320/blacknote.jpg" width="319" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL: </span></u></b><a href="http://blacknotegraffiti.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://blacknotegraffiti.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK: </span></u></b><a href="https://www.facebook.com/BlackNoteGraffiti"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/BlackNoteGraffiti</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER: </span></u></b><a href="https://twitter.com/blacknotegraffi"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/blacknotegraffi</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Bradley Johnson, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Ann
Arbor’s Black Note Graffiti’s second full length album, Volume II: Without
Nothing I’m You, strengthens their standing as one of the fast rising stars on
the indie rock scene and solidifies their reputations as not just energetic
riffers, but savvy and thoughtful songwriters increasingly expert at pouring
vintage wine into shiny, pristine new bottles. The eleven songs on this effort
showcase the vocal talents of Ricardo Ortiz and, while the band has since added
fifth member vocalist Gabrielle Bryant, he’s more than capable of conveying the
emotional and musical depth of these compositions without sacrificing any of
their inherent entertainment value. The band matches his conviction every step
of the way – the rhythm section of bassist Adam Nine and drummer Kurt Keller
play an enormous role in the success of this collection while Ortiz effectively
teams with guitarist Kris Keller to provide Volume 2: Without Nothing I’m You
all the music fireworks it requires to be memorable. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“No
Love Lost” announces itself remarkably well for an opener. This is Black Note
Graffiti in full hard rock/metal flight, but there’s never a sense with this
band of them going for the easy bash-thud mentality of similar acts. There’s
tremendous dynamics in what they do and the good taste to vary those elements
at the right times. “Such Is Art” continues the hard rock and metal poses but,
unlike many acts of their ilk circa 2017, Black Note Graffiti nail those moves
credibly and never strain listener’s attention. Ortiz does an exemplary job of
getting over the material, but it’s critical that he has superb material to
work with, like it is with most singers, and the band’s songwriting skills
never let him down in this department. Kurt Keller’s drumming is the marquee
element in “False Start” and he guides the other three musicians through the
song’s hairpin shifts in tempo without ever sacrificing the beat. Many of the
numbers on Volume 2 seem ideally tailored to come to life on stage moreso than
their studio counterparts and this song is no exception. It’s one of the
sleeper gems, perhaps, on Volume 2 and an excellent representation of the band’s
capabilities. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Shadows”,
however, shows more. The opening of the song is quite unlike anything else on
Volume 2 and shows their skill at varying their typical hard rock, guitar heavy
approach in favor of something more suggestive and subtle. The lyrical content
is, like much of it on the album, decidedly less than cheerful, but never in a
purple, overwrought way common to less talented or mature songwriters. “Relapse”
begins with the guitar and bass in a tight, intensely dramatic dance before the
song kicks off in full and it rates as one of the more emphatic and possibly
personal numbers on the release. Anyone who is a fan of guitar heavy music will
like this album, young or old, and Black Note Graffiti presents themselves in a
thoroughly modern fashion while still locking in on all the fundamentals that
makes music like this work. Volume II: Without Nothing I’m You is one of 2017’s
best rock releases. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-38822935145334763382017-11-07T04:22:00.001-08:002017-11-07T04:22:41.595-08:00YYY - A Tribute to the Beach Boys' Pet Sounds (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBT1zg8JZoP7RWKM6Pk7Wjl_Z7_AyrIpjT8lWQzLojbp6A0YFem48YwKuN2jwM1mnEy3JuRIJ912LEfhwOTrOUKvICn0MFhxOPu3tXaQASUHT3qZZOiq1ueRvhp4K6m8aCk9O0jDl4Cf3l/s1600/yyy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBT1zg8JZoP7RWKM6Pk7Wjl_Z7_AyrIpjT8lWQzLojbp6A0YFem48YwKuN2jwM1mnEy3JuRIJ912LEfhwOTrOUKvICn0MFhxOPu3tXaQASUHT3qZZOiq1ueRvhp4K6m8aCk9O0jDl4Cf3l/s320/yyy.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK: </span></u></b><a href="https://www.facebook.com/therealyyy/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/therealyyy/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Bradley Johnson, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It’s
a powerful amount of self confidence that convinces any musician they shouldn’t
just cover one of the Beach Boys’ greatest songs but, instead, cover their
greatest album from beginning to end. Austin Carson has no compunctions. He
further increases his chances by surrounding himself with the cream of the
Minneapolis indie crop that enhance his own memorable efforts with equally
intelligent and inspired performances of their own. This album, A Tribute to
The Beach Boys’ Pet Sounds, ends up being a community effort in a way and
certainly reflects the outrageously high level of musical talent working out of
and banging their way around the Minnesota music scene. They are, to a man and
woman, performers and musicians who understand this material and uniformly
respect it. It is, however, equally clear that the aforementioned respect is
also the basis from which they are willing to remake the album in a way more
fitting of their personal purposes. It’s a staggeringly successful effort. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Wouldn’t
It Be Nice?” has the same effect on the opening of YYY’s tribute as it does on
the original. It ushers listeners in to this musical world without any wasted
preamble and lays down some early “ground rules” of a sort. We can expect YYY
to use synthesizers and other keyboard based instruments to dramatic and even
cinematic effect, in essence creating soundscapes for listeners, while still
convincingly nailing down the vocal parts – if not outright, at least in
spirit. The earnestness of the speaker in “That’s Not Me” really comes through
in how YYY handles the song’s vocal and puts a spotlight on it as the key
factor in the song. Ornate and more traditional electronic fueled pop sounds
compete for their share of the aural landscape on “Don’t Talk” featuring the
talented Elle PF. The vocal stands out as the song’s sole consistent thread
from beginning to end as the arrangement explores a variety of interpretative
textures. There’s always a certain amount of wistfulness surrounding the
classic “Sloop John B” that covers often fail to capture but this isn’t one of
them. Instead, the elegiac spirit of the original comes through here in a clear
and sensitive singing performance with a musical arrangement tuned to just the
right sound and mood. Lydia Liza and Cool Moon are big difference makers on the
song “Hang On to Your Ego” and give it a distinctive sound compared to the original.
“Here Today” veers wildly from near ethereal synthesizer laced orchestrations
into stomping and joyous pop. The album’s title song affords YYY an opportunity
to craft a near virtuosic array of synth sounds into an expansive sounding, but
ultimately brief, near instrumental. It’s an excellent contrast to what he
offers with the last track “Good Vibrations”. Arguably the band’s most identifiable
song, YYY opts to keep some basic elements going from the original and Al Church’s
contributions on guitar are very tasty. His tribute album is much more than
mere tribute. It’s an emphatic statement about his own talents and aspirations
that sets the bar high for Austin Carson’s future. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6110024598790817153.post-111362767618383302017-10-29T13:08:00.001-07:002017-10-29T13:08:30.848-07:00Elliot Schneider - Don't Put All Your Eggs in One Basketcase (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL: </span></b><a href="http://elliotschneidermusic.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://elliotschneidermusic.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK: </span></b><a href="https://www.facebook.com/elliot.schneider.1"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/elliot.schneider.1</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by David Shouse, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Elliot
Schneider’s musical career is, in some ways, a microcosm about the rock and
roll experience in the second half of the 20<sup>th</sup> century and beyond.
Schneider’s talents as a composer and musician are great enough that they
earned the attention of luminaries like Les Paul and Schneider’s later musical
acts like his band the Pitts played live in seminal venues such as New York
City’s CBGB’s and move in the same circles as iconic performers of that era
such as Television and the Patti Smith Group. Schneider later followed another
path, returning to college and embarking on a teaching career that sustained
him until his recent retirement. Schneider, at this point, committed himself to
playing music again in a much more public fashion and his fourth album, Don’t
Put All Your Eggs in One Basketcase, serves as an excellent introduction for
those unfamiliar with Schneider’s skills and a glorious affirmation and
elaboration of his gifts for those already familiar with his work. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Many
songwriters would love to have written “The Moon Has Flown Away” and the
graceful, free-flowing unity of the music and lyrics is so natural that one can
easily assume it emerged fully formed from Schneider’s imagination. He has
organic, effortless pop inclinations thanks to the ingrained sense of melody he
possesses and few songs on this release express those gifts as clearly as “The
Moon Has Flown Away”. His love for traditional rock and roll gets a nice workout
on “Diehard Killjoy”, but it’s more than just an entertaining raver. The
deceptive simplicity might mean some overlook this tune, but that’s a mistake.
Everything from the well-placed backing vocals, the transitions between verses
continually winding themselves up and straight-ahead rock muscle, and tight
interplay between the instruments makes this tune stand out as being far
greater than the sum of its individual parts. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
throws some organ into the mix on the nostalgic “Lost on the Radio” and it adds
a new dimension to the music that complements his lyrics and vocal style. “Captain
Argent” has a more vital contemporary sound than any of the album’s first four
songs and the indie alt-rock posturing we hear has a lot of verve and breezy,
chiming guitars. Schneider turns in one of his more gritty and engaged vocals. The
traditional rock vibe returns with the song “Overruling Neo-Fascists” and it
makes for one of the more likable tracks on the album if, for no other reason,
the sheer incongruity of bringing this musical style together with the subject
matter. You can hear a small, but significant, punk rock influence in the song
that gives it at least a little of its expected bite. He wheels out the organ
again and some fist-clinched guitar rock attack with the song “Surreal Survivor”,
a recut of an earlier song from his career. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
final song on the new album “I Just Don’t Really Know If You Exist” is,
arguably, the most unique track on the album. The staggering array of
influences in the song Schneider brings together in a cohesive whole are far
from easy sells to one another, but coupling some of the sheer musical
perversity we know from artists like Zappa alongside pastoral folk song-like
melodies with meditative singer/songwriter styled work in the vein of Cat
Stevens makes for a potent mix. There are also narrative strengths on the song
that aren’t shared by the majority of the album’s tracks. Don’t Put All Your
Eggs in One Basketcase is Elliot Schneider’s best work to date. </span></div>
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