Thunderbolt and Lightfoot - Songs for Mixed Company (2017)

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Written by Daniel Boyer, posted by blog admin

Phil Barry and Sarah Fuerst, under the banner of Thunderbolt and Lightfoot, has released a well-received self-titled debut EP and Songs for Mixed Company marks their first foray into full length album territory. The ten song collection is nominally labeled as folk, but such labels only tell some of the story. The duo also liberally indulge and experiment with other textures, primarily Americana rock, and their music makes frequent use of additional elements like organ and, even more improbably, Mellotron. Despite this occasional stretching of stylistic boundaries, however, the subject matter remains resolutely tethered to earth and falls well within the wheelhouse of the folk or singer/songwriter style. The two musical elements ranking most important on this release are, easily, the confluence of Barry and Fuerst’s voices working alongside Barry’s stellar guitar work, but organ player Mike Lynch certainly offers a lot along the way thanks to the measured and colorful touches he adds to the mix.

“Let’s Be Friends” introduces us to the duo’s first full length in superb fashion. Phil Barry’s acoustic guitar work doesn’t spark with a lot of pyrotechnic flash; instead, we clearly hear that his playing focus is resolutely locked on summoning up understated lyricism that complements the vocals and lyrical content. The guitar’s mood dovetails quite well into the lyrical subject matter. “Miss You” does a memorable job of revisiting some popular classic country music tropes without ever lapsing into imitation and these reference points make for a richer music experience. There’s a little steel guitar tossed in for good measure, but in the manner of writers and performers who understand a little goes a long way, Thunderbolt and Lightfoot never give us too much of a good thing. The Mellotron is used to great effect on the song “Can’t Be Trusted” and it thickens the melancholy mood of this character piece largely dominated by Barry’s vocals. Fuerst is never far away, however, and her second voice added to the mix gives the song an even more meditative air.

“Sad Song” brings a number of musical elements to bear. This is, arguably, the album’s most “arranged” number and the presence of keyboards and strings in the song gives it a quasi-orchestral feel missing from much of the album. “Year of the Monkey” has a stately mid-tempo pace punctuated by steady drumming and gently simmering organ lines in the background. Barry and Fuerst deliver another impressive co-vocal with Barry’s voice leading the way, but make no mistake – these tunes would be far less effective without Fuerst’s voice to balance out his own. Their cover of Bruce Springsteen’s 1984 hit “I’m on Fire” isn’t an entirely outside the box selection – many artists have turned their attentions to this tune – but Thunderbolt and Lightfoot own this underrated Springsteen classic in a way earlier covers do not. The understatement they bring to this song about desire is admirable and the song’s mood fits in perfectly with the other nine songs on this release. Songs for Mixed Company is a resounding success for this duo and further solidifies that they are one of the pre-eminent Americana/folk outfits working today.

Rhett Repko - About Last Night (2017)

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Written by Pamela Bellmore, posted by blog admin

Acoustic/electric troubadour Rhett Repko hails from the mighty Maryland scene; a scene that has given us everyone from heavy riff master Wino to the wild psychedelia of Animal Collective.  Anytime that I receive a promo or demo from the state, I’m always at ease knowing that I will probably be in for some really good music; Repko’s debut EP, a 6-track effort entitled About Last Night is no exception to the rule.  Splicing together tuneful charm and chunky guitar work, Rhett and his three-piece band provide some dazzling grooves and anthem-ready choruses for the listener to sink his or her teeth into.

The lead-in composition “Were You Ever Really Mine?” sports a slick, radio-friendly acoustic groove and prominent vocal melodies that showcases Repko’s knack for sultry high-note melodies.  Though he could steer the track in one sole direction, acoustic meditation is intersected by Stefan Heuer’s heavier riffs and busy lead guitar licks.  As the rhythm section goes from softly accompanying the lighter portions to employing slightly more bombastic on the rock portions, the song ends up far more than the sum of its parts.  “She Loves Me” has a punchy, drunk by noon country feel that’s more befitting of the outlaw originators than the false successors.  Filled to the brim with dirt-under-the-nails blues riffs and zippy lead bits, Repko and his acoustic maintain soulful melody even when things start ripping a little harder than usual. 

The EP’s centerpiece “About Last Night” could wow them at pop radio or ignite an arena crowd into silent communion with lighters in the air.  It’s a soft, slow motion number totally built around Rhett’s airy vocals, wandering guitar trips and a symphonic section.  A pair of late game rockers “Inside of Me” and “On the Run” ramp up the mood, respectively before closer “Bye Bye Baby” sends things off in waves of tranquil singer/songwriter, acoustic-guitar led pop.  It’s a romantic track that stands as one of the EP’s defining moments. 

This EP could become a huge crossover success with college radio behind it.  Mainstream radio could additionally benefit from adding Rhett Repko’s tunes to their playlist.  In the meantime, intrepid rock explores that search every corner of the Internet for satisfaction through music will no doubt find quite a gem in Rhett Repko’s flagship release.  The standout tunes on the release are  “She loves me,” “About Last Night” and “On the Run”, but it’s quite solid overall and should appeal to music devotees and casual fans alike.

Jackson Howard - Just for the Mystery (2017)

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Written by David Shouse, posted by blog admin

Singer/songwriters are a dime a dozen these days but good ones are a really rare commodity.  Jackson Howard proves that he is the good category with his second album, Just for the Mystery.  It’s largely an acoustic affair with a showcase placed on Howard’s finely aged, well-fermented vocals which glide through the tracks with potency and energy.  The journey taken here explores tender bits of folk, grizzled yet highly melodic country, groovy blues, playful jazz and just enough rock n’ roll to switch things up. 

Rock is the order of the day on the lively title-track with its electric guitar expositions running roughshod over acoustic bliss and tautly played rhythms (full of swinging beats and walking bass licks).  It allows for Jackson’s voice to crest several hills and reach its full potential throughout as he sings with the chops of a well-oiled soul/blues artist that’s right in his element with such a twitchy track.  “A Place in this World” draws down the sun in starry sky displays of melodic acoustic guitar, blue-eyed vocals and expertly controlled tempos.  The chorus rocks thing up slightly, in a more adult-contemporary kind of way than the straight mainstream rockin’ of the title track, but reels your ears in and keep them there when that glorious chorus comes on.

“Run with Me” is softer still until the last 30 seconds and the tune’s aura invokes an after midnight feel where the guitars serenely ebb alongside Howard’s emotionally charged musings.  “Hideaway” is an uplifting country/folk duet where the acoustics adopt a tangible southern twang and the vintage vocal duet with Mandy Cook reminds one of when Kenny Rogers and Dolly Parton would intertwine their melodies (as they did so lavishly with “Islands in the Stream”)… it’s not EXACTLY that kind of song, but the material reminds one of those days. 

A sizzling Led Zeppelin cover, “The Battle for Evermore,” reinstates Howard’s tougher blues side and thanks to Rachel Horter navigating Fairport Convention’s Sandy Denny’s harmonies, we have a solid winner that relishes its muscular acoustic guitars and rhythmic backbone. 

Elsewhere, the album stays cool and collected thanks to countrified, acoustic burners such as “Surround You,” “Driftwood,” “You Are More” and “Tribute.”  The jazz rocker “Dizzy” interjects another altogether different musical feel that pairs nicely with the piano/vocal ballad “If I Fall’s” glimmering hope.  A rowdy, rocked-out recreation of EMF’s “Unbelievable” ends the record in all out rock n’ roll excess, cementing Just for the Mystery as a recording bursting with  musical surprises. 

Circus of the West - We'll See Ourselves Out (2017)

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Written by Craig Bowles, posted by blog admin

Circus of the West’s first album We’ll See Ourselves Out covers a surprising amount of stylistic ground while tackling themes few configurations feel comfortable grappling with on a debut. The confidence radiating from this collection clearly indicates Circus of the West believed and likely still do how they can “establish” their presence, not through perseverance and refinement, but rather through sheer talent alone. There is a strong argument this is the case. Bands like this are largely absent from the mainstream and those that are commercial mainstays lack the innate chemistry Circus of the West exhibits here. This sounds like a group of musicians who didn’t come together arbitrarily, but rather formed into this existing unit because they are meant to be playing alongside one another. We’ll See Ourselves Out is one of the purest expressions of creative fireworks between top notch performers in recent history.

“Birdhand” gets the album off to an impressively wild and wooly start with its battery of guitar flourishes. The interplay between guitarists Ben Court and Joel Leviton is one of the defining elements of the band’s sound and they exhibit their talents here in an energetic workout that clearly inspires the rest of the band around them. Vocalist Edwin Caldie unleashes a white-knuckle, wild eyed vocal that, nonetheless, shows a deceptive amount of control. It’s always thrilling to hear a band who command their material so completely they can give listeners the thrill of sounding like they are about to run off the rails without ever actually doing so. The pace and intensity calm down with the album’s second track “Some Connections”, but the same kinetic interplay between guitars Leviton and Court create much of its creative spark. The track “Nothing Special” is one of the darker numbers on We’ll See Ourselves Out and the contrast between Caldie’s clean, emotive vocals and the lightly underlined strum and drang of the ominous piano melody is key to its ultimate success.

The comparatively low-fi outing of “Valentine Eye” strikes a notably different note on the collection without ever sounding out of place, but “Looking In” returns listeners to the fiery guitar rock we heard on the album’s opening number. The bass and percussion on the song “Asma” has infectious pop energy and a visceral sound attributable to the production. This is a band that sounds like they are playing right next to you and gunning, in the friendliest way possible, for your throat. The lyrics are rather dark despite the bounce in the arrangement and it makes for quite a compelling juxtaposition. The last full song on We’ll See Ourselves Out is the simply titled “More” and finds the band returning to a more sedate musical landscape with tangible pop leanings. There’s a little something for everyone on We’ll See Ourselves Out and Circus of the West get the material over with great style and deceptively simple sophistication.  

Julia McDonald - Gravity (2016)

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Written by Joshua Stryde, posted by blog admin

Julia McDonald’s debut Gravity is a first release you’ll remember for quite some time. It’s a six song collection carrying every bit as much lyrical and musical weight as most full length albums but features a collection of tracks with a well honed focus that never veers off track. McDonald is nineteen years old, but she already sounds like a seasoned artist capable of conveying any song to listeners and tailors her voice quite nicely to the musical accompaniment around her. Six songs, furthermore, seems like an ideal length for this release and affords McDonald ample opportunity to show off her talent for taking on a variety of styles and tempos. There’s also a strong singer/songwriter presence on this release thanks to the frequent presence of acoustic guitar but the drumming gives it a modern feel and avoids much straight-ahead, predictable percussion. It’s a lot of little touches that takes these great songs and make them into something even more.

The relaxed and confident movement of the EP’s title track starts Gravity off in fine form. The lyrical excellence of the song gets an added shine applied thanks to McDonald’s evocative singing. Her skills with phrasing and bringing an emotive quality to each line are amazing for such a young and quantifiably “inexperienced” singer. McDonald, at only nineteen years old, sings these songs full of thorny emotions and subject matter with the assurance and insight of someone much older. Regardless if her interpretations and the songs themselves are culled from personal experiences or purely imaginative acts inspired from another source, McDonald approaches the EP’s songs as if her life depended on nailing them and the title cut is one of the best examples. “Games” has traditional instrumentation providing much of its musical shape, but there is a stronger pop edge powering this track than we heard on the opener. The shifting rhythms she explores are quite modern and seem to reflect a little hip hop influence on a release that, most assuredly, doesn’t belong in that genre. The percussion does, however, give these songs a quirky twist that they might otherwise lack with a simpler treatment.

“No Good for Me” is cynical, vulnerable, and often nakedly cruel. It is, however, a brutally honest song that McDonald conveys to her listeners without any overt displays of sentimentality. It’s much more in the singer/songwriter area than “Games”, but there’s commercial appeal built into all of those songs to one degree or another. The EP’s final track “Simpler Things” has a strong synthesizer presence than many of the earlier track and a much more threatening posture. McDonald is obviously a performer focused on writing and recording serious minded songs rather than pursuing empty stardom alone, but she frames all of her efforts with a five star pop song sound that gets the music over in the best possible way.