tag:blogger.com,1999:blog-61626208650757141062024-02-07T13:09:42.942-08:00Unchained MusicUnknownnoreply@blogger.comBlogger46125tag:blogger.com,1999:blog-6162620865075714106.post-21921854519214782862018-10-24T10:30:00.000-07:002018-10-24T10:30:01.832-07:00Yam Haus - Stargazer (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiESixdrv3XgMqAYyvmZetvVTjGQIxrwjSMDRE4EqK2TkXv-kTiiHBOBtkO0Uc4kFsz9Qp0-AyPE9YqmeA05Lhygk3xGo3EbTGJDHbLwjXK3Mgigd_XN_2QqlpoAr48QHHlbH7rZQqEgN-o/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/AVvXsEiESixdrv3XgMqAYyvmZetvVTjGQIxrwjSMDRE4EqK2TkXv-kTiiHBOBtkO0Uc4kFsz9Qp0-AyPE9YqmeA05Lhygk3xGo3EbTGJDHbLwjXK3Mgigd_XN_2QqlpoAr48QHHlbH7rZQqEgN-o/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 David Shouse, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Yam
Haus began playing together during their high school days and the four piece,
hailing from Wisconsin, has since relocated to Minneapolis in an attempt to
discover a more visible platform for their burgeoning musical ambitions. Their
debut album <i style="mso-bidi-font-style: normal;">Stargazer</i> is a varied,
fully realized collection that should easily put them near the forefront of the
indie scene and promises to give them a foothold on the mainstream scene. The
album opens with its title cut and the mix of synthesizer sounds with bright,
snappy guitar lines. It’s a a recurring musical motif for Yam Haus and few of
the songs on the release equal the level they reach straight out of the gate. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“West
Coast” and “Kingdom” explore that sound even more thoroughly. Yam Haus never
intend to remake the songwriting wheel; much of the album’s writing concerns
itself with interpersonal relationships. However, they deliver the subject
matter with such stylishness and a personal touch elevating the material
several notches. Naturally, there’s a strong pop influence running through
these songs, but it blends well with their two guitar sound courtesy of lead
singer Lars Pruitt and second guitarist Seth Blum. The nuanced interplay
between the rhythm section of bassist Zach Beinlich and drummer Jake Felstow is
another crucial piece of the band’s musical puzzle that makes this opening trio
fly. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Too
Many People” has a surprising gospel influence, a sound that the opening songs
never indicate is coming, but they sound perfectly at home navigating through
the song’s affectations. The different keyboard sound they bring to bear with
this track is the song’s crowning touch. They take a sharp stylistic turn with
the track “Right Now, Forever” and the acoustic musicality of the song stands
in marked contrast to the band’s pop inclinations. Once again, however, they
never sound uncomfortable with this and give us an intimate, considered
performance ranking among the album’s best. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Synthesizers
regain prominence in the mix with the track “Bad News”, but the most compelling
part of this song is the vocal melody and Lars Pruitt does an excellent job
getting under the skin of the cut thanks to his superb phrasing. “Carry Me Home”
has a dream-like lightness of touch and wafts by listeners on the back of
glistening synthesizer lines and Pruitt’s sensitive vocal rendition. Yam Haus
won’t soon be confused with a hard rock act or anything of that ilk, but they
turn in a resounding guitar-centric performance with the song “We Are the Storm”
and sound quite convincing moving guitar to the fore. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
finale “Something Better” isn’t an exclusively acoustic tune and the
synthesizer adornments add a lot of color to the composition. It’s a
meditative, intelligent closer to <i style="mso-bidi-font-style: normal;">Stargazer
</i>that underlines the band’s diversity while reaffirming their core
strengths. It, likewise, points the way towards a future for the band where obviously
all things are possible. Yam Haus possess all the tools to stick around for
years to come and the ride will undoubtedly be entertaining. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-51462272619001980912018-07-23T11:58:00.000-07:002018-07-23T11:58:33.211-07:00Astronomique - Sharp Divide (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWd_0kqjY7I261kuAjb_WRPP196xBAaELLUT0xFHSIB3bChliwmDz3ovmiPPtwECyhJopqA1lAjUoSBn3ifCPa3Hqcvaymu-93O9RX-H3MXn9UnWwoUJc6QoPI-XauhQ-yynYIICuF2pYc/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/AVvXsEiWd_0kqjY7I261kuAjb_WRPP196xBAaELLUT0xFHSIB3bChliwmDz3ovmiPPtwECyhJopqA1lAjUoSBn3ifCPa3Hqcvaymu-93O9RX-H3MXn9UnWwoUJc6QoPI-XauhQ-yynYIICuF2pYc/s320/astro.png" width="320" /></a></div>
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<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>
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<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>
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<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>
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<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 Daniel Boyer, 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";">The ten track, nearly forty minute
full length release Sharp Divide from Minneapolis’ Astronomique is as rich and
varied of a studio album as you can hope for in 2018. This isn’t slight; the
depth on display from this four piece band is completely modern while still
recalling iconic acts and halcyon eras in music history. Logan Andra Fongemie’s
vocals and synthesizer playing are keys to the success of this collection, but
her main musical partner guitarist and backing vocalist Sean Hogan contributes
much to the band’s vivid tapestry of sound. Their music has been labeled as
space-age electro psych-pop and it’s as good of a description as you’ll find
for what is, essentially, a potpourri of musical creativity. Sharp Divide gains
a lot, as well, from the contributions of bassist/backing singer Preston Saari
and drummer Mitch Billings. Their fluid, slightly funky spice added to the
band’s mix gives these songs an added idiosyncratic quality that makes them
stand out from the pack. </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";">Much of Sharp Divide is
distinguished by the rhythm section performance without Billings and Saari
obscuring the other musical elements. Their contributions to album opener “Forefathers”
helps give this track the sort of necessary ballast that a first song deserves.
It’s impressive how artfully Fongemie and Hogan integrate vocals, synths, and
guitar over the firm rhythm section work – their touch is light, but
unmistakably stamped with energy and great timing. Sharp Divide’s third track, “We
Disappear”, is one of the best expressions of a dominant theme on the album and
has a steady mid-tempo push that rarely relents. The upper register synthesizer
contributions to the track bring a little extra flair to the performance and
the lyrical material is among the finest heard on Sharp Divide. </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";">“Losing Our Control” is another
album highlighted by a tight, lively melody line and enormously sympathetic
performances from each of the band’s four musicians. One of the most impressive
factors making Sharp Divide such a success is the consistent unity of the band’s
performances and rarely do they sound so completely on the same page as they do
with this track. Hogan’s guitar work, in lesser hands, would serve an
ornamental purpose, but his additions to “Losing Our Control” are colorful and
nuanced, never overwrought. The title song has similar merits to recommend it. “Sharp
Divide” is the strong musical statement we’d expect from an album title track
and elicits one of Fongemie’s best vocals. The lyric, as well, expands the band’s
established range with some particularly evocative imagery that always remains accessible
to listeners. </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";">“Smoke” is cut from a slightly
different cloth than other songs on Sharp Divide. The band clearly focuses more
on invoking a mood with this number without ever sacrificing their approach to
crafting durable, coherent songs. The same penchant for evocative imagery
explored in the title song recurs here with similarly strong results. “Bleed Me”
definitely has a dark tone, but the musical mood never bogs listeners down in
despair and, instead, tempers the mood. The melancholy atmosphere of this song
embodies the album as a whole and stands among its strongest tracks. Sharp
Divide is a work of vital musical creativity that Astronomique will work hard
to surpass. </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-83334987639004079932018-06-27T15:03:00.000-07:002018-06-28T15:25:36.198-07:00Sky Orchid - Oculus (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://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 David Shouse, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
duo of Sky Orchid has built a pretty sturdy reputation in just 10 years’
time.<span style="mso-spacerun: yes;"> </span>They haven’t always been Sky
Orchid either as the core members of this group (brothers Gabriel and Daniel
Traknyak<a href="https://www.blogger.com/null" name="_GoBack"></a>) spent some of the earlier era kicking around
with other members.<span style="mso-spacerun: yes;"> </span>Now they are the
sole composers and players on all of the outfit’s studio music.<span style="mso-spacerun: yes;"> </span>With live jaunts extending across their
native Kansas, into Texas and even a recording trip to Nashville, Tennessee,
they’re at that precious area of where they are just a step below of breaking
into the mainstream.<span style="mso-spacerun: yes;"> </span>Their debut <i style="mso-bidi-font-style: normal;">Oculus</i> features 10 pensive tracks with a
lot of dynamic mood shifts and sea changes in volume.<span style="mso-spacerun: yes;"> </span>It very well could be the album that will
break them into a household name.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Crunching,
crumbling open “The River” is centered on Daniel’s steady tom/kick march and
ambient percussion while vocalist/guitarist/keyboardist Gabriel paints the
picture with thick hues of piano-synthesizer, vibrato twisted soul vocals and
later slashes of dizzying electric guitar.<span style="mso-spacerun: yes;">
</span>No singular motif or idea is explored and the song is in debt to its own
variety.<span style="mso-spacerun: yes;"> </span>There’s a theatrical quality to
the tension and release offered here which becomes unifying theme of the record
itself.<span style="mso-spacerun: yes;"> </span>“Sneakers” bridges Cure-like
ambience with a 90s industrial/rock crunch that goes from sweeping, cleanly
chorded patterns and trip-hop drum thumps to full on digitally altered
alternative rock as it breaches the midpoint segment with a fierce stab of
electricity.<span style="mso-spacerun: yes;"> </span>Gabriel’s vocals rise and
fall appropriately crafting careful melodies throughout for one of the
release’s many standout tracks.<span style="mso-spacerun: yes;"> </span>The
vivid “In the Fire (Part 1)” radiates and glows in an array of gorgeous,
sparkling indie guitar licks and a boiling tribal drum attack that spirals out
into a chorus that ensnares your attention span with a metal-weaved net.<span style="mso-spacerun: yes;"> </span>It’s one of the record’s prettiest pieces but
it rewards all eardrums with a tough, densely layered sonic attack.<span style="mso-spacerun: yes;"> </span>The reverse is true of the stripped-down,
bare bones “Wildfire” that encompasses only spare percussive taps, acoustic
guitar work and gutsy vocals.<span style="mso-spacerun: yes;"> </span>There’s a
payoff of well-orchestrated rock dynamics but largely this is a mood-piece with
a lot of simplistic textures on offer.<span style="mso-spacerun: yes;"> </span>Sky
Orchid changes things up again on the surging industrial-tinged, pop-rock
charge of “I’ll Stop the World (Part 2)” with its fervent drumming, fuzzy
guitars, heightened tempos and powerful vocal bravado leaving a lot to stick to
the ribs.<span style="mso-spacerun: yes;"> </span></span></div>
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<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
album’s second half shows no quality drops.<span style="mso-spacerun: yes;">
</span>“Lex” again toys with overcast indie guitar melodies that turn to
drama-rich rock later on, “Breathe Easy” incorporates funky keyboard bass and
ska-inflected guitars for a real upbeat romp (with its companion piece “Take it
all” using some of the same elements), “Yesterday” dials down the mood into a
night-black percussive, piano driven hymnal and album ender “Fortify” remains
on the darker side of life.<span style="mso-spacerun: yes;"> </span>All-in-all,
Oculus is a smash that should put Sky Orchid on the map for a long time to
come.<span style="mso-spacerun: yes;"> </span>Hopefully a major label will take
notice and give these guys the push that they so very much deserve.<span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-62502321508852770412018-06-25T15:15:00.001-07:002018-06-28T12:35:22.907-07:00Rhett Repko - Thnx For The Ride (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQCrauv6q0zvklVcAkYhFVQF3IgYfC6B21UBS8gWch7whX4fxX703QFhHXlx6qpVsMXHRI7hwy_gq2lf8p-nnQSvTdal5EGu7D4CzeORRS4j-mnxmF16ACtOx8cT3tavXepzNbBFNLtKdi/s1600/repko.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/AVvXsEjQCrauv6q0zvklVcAkYhFVQF3IgYfC6B21UBS8gWch7whX4fxX703QFhHXlx6qpVsMXHRI7hwy_gq2lf8p-nnQSvTdal5EGu7D4CzeORRS4j-mnxmF16ACtOx8cT3tavXepzNbBFNLtKdi/s320/repko.jpg" width="320" /></a></div>
<div class="MsoNormal">
<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>
<div class="MsoNormal">
<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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<div class="MsoNormal">
<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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<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
new EP release from singer/songwriter and guitarist Rhett Repko, Thnx For The
Ride, strengthens the talented young man’s position as one of the most
promising artists on the indie scene today. He has the chops, musical
discernment, and charisma capable of carrying him far beyond the cozy confines
of independent music and experience mainstream success on a wide scale. The
songwriting has a level of intelligence and emotional strength suggesting such
success would never compromise his musical vision, but there’s little question,
as well, that Repko is a first class musical entertainer. His band mates on
Thnx For The Ride are a major reason why the EP succeeds in a way we ordinarily
associate with full length albums. Repko has undoubtedly fine tuned these songs
before recording them, but he’s successful at sustaining an off the cuff
quality with the snap of an inspired first take. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Repko
comes thundering out of your speakers for the opener. The EP’s title song is,
largely, unfettered pop rock, but the band changes gears into a loping tempo at
well chosen points in the performance. Lead guitarist Stefan Heuer’s playing
has an effects laden texture, but it nevertheless reinforces the tight grasp of
fundamentals behind his work. “Please Don’t Laugh” is a strong follow up with a
similar slant, but the composition is much leaner than we hear with the title
song and Repko restrains his predilection for changing things up and keeping
listeners off balance. It’s much more cut to form than the first track, but still
stands out as something uniquely his own. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“It
Ain’t Coming From You” will rank as the EP’s pinnacle for many listeners. This
is a passionate, inspired rocker with each band member responding to the track’s
obvious potential. Repko sounds like he’s drawing from personal experience for
these songs, but it never means they come off as obscure or too intimate for
listeners. Instead, he shows a talent for making the personal universal in a
way any adult listener will connect with. Heuer’s guitar playing places a bold exclamation
point on the song as well. “Maybe I’m Weak” brings acoustic guitar into the mix
and those sections of the song gallop and pulse with the same urgency we hear
in the rockier sections. There’s some nice vocal harmonies on this song making
it a little more commercial than earlier songs. </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“And
I Told Her So” immediately seizes the moment with Dan Gallagher’s hook-y bass
line and drummer Tom Bryant brings extra muscle to the song’s bottom end. The
lyrical mood harkens back, in some respects, to the earlier “It Ain’t Coming
From You” without ever risking imitation and it’s a certain contender for the
EP’s best track. “Make Me Right” has sparse guitar lines snapping from the
first and Bryant’s drumming lays down a pace Repko clearly relishes. He slows
things down a little for the song’s chorus, but remainder romps with
rambunctious paunchiness. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Rhett
Repko’s Thnx For The Ride is a seven song EP without a single filler cut and a
laser focus on winning its audience over. The enthusiasm for the material
matches up nicely with its quality and Repko’s recruited some top notch playing
talent to help him realize his artistic ambitions. EP’s can often seem like
holding actions between full length releases, but not Repko’s,. His second
studio release of 2017 will win over many and sounds like far more than just a
distraction. <span style="mso-spacerun: yes;"> </span></span></div>
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6162620865075714106.post-15071597358007648482018-06-19T06:21:00.001-07:002018-06-19T06:24:12.217-07:00Joshua Ketchmark - Under Plastic Stars (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXofm_glfTzCI7MwBnMmZEkXU6eBBUsXk9YjOo33QRXibOE21vFXJsXWd00vm47CGISWoPvyfMDkBXH6ceVdbYmRloj__jd4R9zaB1Kp6ACNAJjaar7DbKbYjBuO9TVpxIq04OA7rv8Orw/s1600/ketch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXofm_glfTzCI7MwBnMmZEkXU6eBBUsXk9YjOo33QRXibOE21vFXJsXWd00vm47CGISWoPvyfMDkBXH6ceVdbYmRloj__jd4R9zaB1Kp6ACNAJjaar7DbKbYjBuO9TVpxIq04OA7rv8Orw/s320/ketch.jpg" width="320" /></a></div>
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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 Frank McClure, 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; line-height: 115%;">It all started with the debut of MTV for
singer/songwriter Joshua Ketchmark.<span style="mso-spacerun: yes;">
</span>Being turned onto the channel during its birth, the volley of new music
videos emerging for the first time sent Ketchmark in a search for his mother’s
old acoustic guitar.<span style="mso-spacerun: yes;"> </span>Soon he was writing
riffs, then he was writing songs and finally he started jamming with his
friends at rehearsals at his own house and around the neighborhood.<span style="mso-spacerun: yes;"> </span>That boyhood dream is now 12 albums strong
with a firm foothold in the music world that has introduced him personally to
Melissa Etheridge, 90s rockers fuel, megastar producer Michael Beinhorn and
even the members of KISS!<span style="mso-spacerun: yes;"> </span>You can’t
write a much better rags to rocking story than Ketchmark’s and his is even
better because the whole thing is based in reality.<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; line-height: 115%;">Under
Plastic Stars</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> is the culmination of a decade plus
long music career that just keeps getting better and better.<span style="mso-spacerun: yes;"> </span>Across the dozen tunes heard on this
recording, there are many different moods, textures and instrumental variances
to be found.<span style="mso-spacerun: yes;"> </span>The traditional rock band
format is used on certain tracks, while others play out as vintage
singer/songwriter affairs fronted by nothing more than vocals and an acoustic
yet other songs bring in harmony vocalists, organs and keyboards to complement
Ketchmark’s shifting compositional style.<span style="mso-spacerun: yes;">
</span>These are all original cuts and Joshua has really proven himself at this
juncture to be a more than capable songwriter.<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; line-height: 115%;">Pieces such as the lucid opener “We Were Everything”
and its combination of acoustic folk and light rhythmic groove, the gorgeous
Nashville style vocal duets and American gothic organ of “Lucky at Leavin’,”
and “17” along with the Dylan-esque “Harm’s Way” all operate mostly on slinking
moods, soft instrumentation and huge melodic vocal hooks that paint vivid,
storytelling pictures of love, loss and life from Joshua’s introspective point
of view.<span style="mso-spacerun: yes;"> </span>Sometimes it’s the beauty of
the soft back-up vocals and the way Ketchmark harmonizes or the glistening
gleam of an old rustic organ playing a haunting passage that gives each of
these compositions their robust flavor.<span style="mso-spacerun: yes;">
</span>There’s an organic development and unfolding to each track with just the
right amount of tricks added to the musical foundations to make their memory
last a lifetime.<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; line-height: 115%;">There are no weak links to be discussed when viewing
this album as a whole and it’s as a whole that it is best experience with the
songs forming an arc that only gets stronger with repeated listening.<span style="mso-spacerun: yes;"> </span>The riff-y and rockin’ “Get Out Alive” even
electrifies the guitars for another change of pace while its sister track
“Saturday Night” manages to retain the rock attitude while digging into the
meat of the track with solely acoustic instrumentation.<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; line-height: 115%;">You never know what each new track will bring on <i style="mso-bidi-font-style: normal;">Under Plastic Stars</i> and that’s part of
the allure.<span style="mso-spacerun: yes;"> </span>In a sea of cookie-cutter
artists Joshua Ketchmark stands as a true original making his mark on the
musical landscape at large.<span style="mso-spacerun: yes;"> </span>With superb
songwriting and fantastic instrumental work, there is no reason that Ketchmark
shouldn’t be a household name in just a few more years of time.<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>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-11688028210118698142018-06-15T02:40:00.000-07:002018-06-15T02:40:08.360-07:00Black Bluebirds - Like Blood for Music (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs69qhCIFxEm9GqbrC4ECANjHbpDF_2dzq_ksddce37QPR0sv8IQf06aZx68wkeo_hMFWR2yDUktKFaV8PhfXO3Sh-QaSLihW0sSDyzWwl_J4bIP0hX9Dfe8LqoKjcEtrY-CeiQ4DknqQF/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/AVvXsEgs69qhCIFxEm9GqbrC4ECANjHbpDF_2dzq_ksddce37QPR0sv8IQf06aZx68wkeo_hMFWR2yDUktKFaV8PhfXO3Sh-QaSLihW0sSDyzWwl_J4bIP0hX9Dfe8LqoKjcEtrY-CeiQ4DknqQF/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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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Drew East, posted by blog admin</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif";">Black
Bluebirds opens Like Blood for Music with the track “Love Kills Slowly” and it
sets an early tone that the following nine songs underline without ever
repeating itself. The unique confluence of keyboard color and guitar on this
song and album as a whole throws a vivid veneer over essentially straight
forward rock song structures and gives Like Blood for Music a fresh sparkle we
don’t hear from many young bands today. Despite the relative youth of the outfit,
keyboardist and vocalist Daniel Fiskum, guitarist and vocalist Simon Husbands,
and drummer Chad Helmonds play with enormous confidence from the outset and it
never lets up over the course of Like Blood for Music. “Strange Attractor”
shifts things up a little, but still keeps up a straight rock approach, albeit
stylized, that deserves to snare a significant audience. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif";">“Life in
White” is the album’s most memorable shot at that point for evoking what they
refer to in their press materials as a distinctly cinematic vision for music
that will impress all but the most cynical. It’s the best example yet too of Daniel
Fiskum’s unique writing talents; his themes aren’t particularly cheerful, but
anyone looking for some rose-colored vision of human nature is advised to
pursue their listening pleasures elsewhere. Despite the sometimes thorny
emotional tone of the material, “House of No More Dreams” gives, I think, an
ideal example of how the band surrounds those messages with musical landscapes
that, nonetheless, appeal to the imagination. The song is an intelligently orchestrated
rock track organized musically around Helmonds’ drumming with Husbands’ guitar
and Fiskum’s keyboards flashing over the surface. </span></div>
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<span style="font-family: "Times New Roman","serif";">“Hole in
the Day” is a sharp contrast to the earlier tunes, probably closest to the
earlier “Life in White”, and the change in singers gives Like Blood for Music a
very different flavor than we’ve heard with many of the earlier songs. It
serves, as well, as a perfect track for showing off how completely the band’s
songwriting understand the fundamentals necessary to making a great song. “Soul
of Wood” is one of the most incendiary blasts of rock the band serves up on
Like Blood for Music and drummer Helmonds makes a mighty impact with his
thunderous, yet fluid, performance. Fiskum and Jessica Rasche are particularly
effective singing together on the song “Don’t Fall in Love” and the patient
tempo has undeniable urgency. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif";">For me, “My
Eyes Were Closed” builds on the earlier “House of No More Dreams” with an even
more gripping arrangement. Simon Husbands’ guitar is a centerpiece of the song,
but the vocals are equally effective at conveying a near epic quality for this
track. “Legendary” feels like a coda of sorts for what has come before, but
that’s not to run the song down – instead, it’s one more indication of the
great construction defining Like Blood for Music. Minneapolis’ Black Bluebirds’
album is a powerful reminder of what the style is capable of in our modern era.
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-13412663007559835732018-03-07T03:43:00.000-08:002018-03-07T03:43:17.777-08:00Rejectionist Front - Evolve (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://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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<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/RejectionistFront/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/RejectionistFront/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Alonzo Evans, 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;">Rejectionist
Front are chasing their rock dream down one of the few avenues where roaring
hard rock guitar still seems to have some popularity – lodging, musically, some
form of protest about injustice in the modern world. The twelve songs on
Rejectionist Front’s second release Evolve aren’t overtly political, but there
are definitely humanist in the sense that they loudly and proudly campaign for
the rights of an individual in a world seeking to strip us of that individuality.
The fact that performers and writers with the iconic status of David Crosby,
Patti Smith, Joan Baez, and George Clinton have chosen to associate themselves
with this act is an indication of the growing respect they command thanks to
their commitment and talent. Their second album Evolve picks up the first album’s
mantle and carries it even further than before while still maintaining fidelity
to the band’s gripping base sound.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Ride”
is representative of a side to the band’s musical character, but never all
encompassing. Michael Perlman’s vocal will definitely garner your attention,
but the band’s full performance is very formidable, particularly from guitarist
Lincoln Prout. Songs like this are comparatively rare; there’s a definite storm
the ramparts, call to arms quality surrounding the first song and later track “Reclaim”
and album single “Flush”. The bulk of the album’s material, however, can be a
little more neatly divided between chorus-focused and hard charging rock songs
like “All I Am”, “Savior”, “Sign”, and “Innocent” compared to more nuanced,
layered efforts like “All Is The Same”, “Hold Or Break”, “One Life”, and the
album closer “Inside of Me”. The straight forward rock on Evolve is always
underpinned by intelligent lyrical content and a multi-faceted vocal approach
that never fails the audience or band. The rhythm section of drummer Dave
Dawson and bass player Tony Tino demonstrates unexpected but entertaining flair
on those rock tracks and Prout’s varied guitar attack keep things fiery
throughout. Perlman works in a lot of nuance into his full throated rock bray
and the backing vocals from Prout and Tino come in at crucial moments.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
more thoughtful moments on Evolve are largely driven by Lincoln Prout’s guitar
work that, instead of bulldozing listeners like he does on the predominantly rock
material, achieves its effects through accumulation and manifests a variety of
voices. “All Is The Same”, “One Life”, and “Inside of Me” are especially
notable – the atmospherics invoked by three instrumentalists are quite
impressive, particularly on the first and last of those tunes. “One Life”
conjures some of the anthemic qualities we hear in the first track, “Reclaim”,
and “Flush”, but the lyrics are rife with a level of imagery we don’t hear from
that trio of tunes. Rejectionist Front’s Evolve is a wicked smart and musically
astute journey with the track listing finessed in just the right way. </span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-15439749270589531782018-02-06T09:31:00.000-08:002018-02-06T09:31:06.129-08:00Chris Murphy - Water Under the Bridge (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg8y5fUHJJLfwSAsP5cIPr6UV6hDk1pLEbUBmnbF6UUf_LNnYTBJFhqabP0IIHZL7KDAxY1zCN6aydvMRvUtxBP1yPuT7TDmB-N7MoJ0pB8Kyn6MEwcsP8cjVRSX1MZUSS4oxo3OaeMVM2/s1600/chris.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg8y5fUHJJLfwSAsP5cIPr6UV6hDk1pLEbUBmnbF6UUf_LNnYTBJFhqabP0IIHZL7KDAxY1zCN6aydvMRvUtxBP1yPuT7TDmB-N7MoJ0pB8Kyn6MEwcsP8cjVRSX1MZUSS4oxo3OaeMVM2/s320/chris.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://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;"> <a href="https://www.facebook.com/chrismurphymusic1/">https://www.facebook.com/chrismurphymusic1/</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://www.facebook.com/chrismurphymusic1/">https://www.facebook.com/chrismurphymusic1/</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by William Elgin, 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;">Chris
Murphy’s longstanding career as one of America’s most respected traditional
multi-instrumentalists and songwriters has long flown under the mainstream
radar, for the most part, but he’s been able to build on what is amounting, at
this point, to a real legacy as one of his generation’s brightest songwriting
talents. His latest studio release Water Under the Bridge is another expansive
fourteen song collection with a wide ranging songwriting sensibility that doesn’t
aim for the lowest common folk denominator. Instead, there’s depth and range to
Murphy’s sound far outstripping the efforts of similar, perhaps more staid,
contemporaries. Water Under the Bridge, likewise, highlights Murphy’s
increasing flair for powerful lyrical content as many of these songs make use
of the same traditional language without ever imitating it too broadly. Chris
Murphy’s recent run has been quite impressive indeed and Water Under the Bridge
is another stellar entry in his catalog. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">His
literary bent shows with the opener “Moveable Feast” and the quasi-ragtime gait
of the instrumental is a pleasing, unassuming way of opening things up. The
jazz flavor continues with the wonderfully entitled “Joan Crawford Dances the
Charleston” and Murphy guides his accompanying players through a relaxed,
eminently tasteful jaunt through a variety of light jazz tropes they fire up
just a little with the force of their own personalities. “Table for Two”, the
album’s first lyric, benefits from a wryly deadpan Murphy vocal and some
restrained yet effective humor in the lyrics. Murphy definitely has great skill
with language, but his greatest skill is in crafting intelligent yet accessible
lyrics for his songs. We’re back into instrumental territory with “Riverboat
Blues” and this extended blues work out strikes just the right chord without
ever lapsing into purple clichés and the guitar work is especially exemplary.
The beautifully titled “I Swear I’m Going to Learn This Time” is a gentle
lament with ample style and some real pathos in the lyrics. It’s one of the
album’s finest songs.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
track “Benzedrine Shuffle” doesn’t ever reach the manic highs implied by its
title, thankfully, and proves one of the more stylish musical performances on
Water Under the Bridge. One of the earthier groovers to come along is
definitely “Tomcat Blues”, a near Tom Waits tribute with Murphy giving us his
best growl and obviously relishing every second of the song’s theatricality.
The title song begins with a classic count-in from the drummer and then it’s
off to the races with some breezy jazz that affords each instrument in the mix
a chance to shine. Water Under the Bridge ends with another powerful
instrumental, “Cheer Up Mickey”, that’s just Murphy’s violin and a stomp box
making a resounding final musical statement for an album that’s difficult to
forget. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-40417633314183690442018-02-06T08:07:00.002-08:002018-02-06T08:07:58.860-08:00Alpha Mule - Peripheral Vision (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhtXWWStz1ImgjrR82whPUtUrtyxGyfv2kLlhQn_toYfTwfRFn8Gdv1kbq9-bBvA502wckAwVBpjutZ7wNSf-iaH1VYW48tRuR5FuyfrA0HLqcx0u77uxVolvpoEFKifjESY1-RzWFkxCI/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/AVvXsEjhtXWWStz1ImgjrR82whPUtUrtyxGyfv2kLlhQn_toYfTwfRFn8Gdv1kbq9-bBvA502wckAwVBpjutZ7wNSf-iaH1VYW48tRuR5FuyfrA0HLqcx0u77uxVolvpoEFKifjESY1-RzWFkxCI/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 Raymond Burris, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Alpha
Mule’s ten song debut Peripheral Vision reminds us that traditional music doesn’t
need to be considered the purview of aging folkies and museum studies. The
forms they utilize over the course of the album’s ten songs remain vital
vehicles for self expression and they bring a number of modern touches to bear
along the way that enriches the already exceptional songwriting. There are no
covers to be found on this release; a pleasant enough surprise. Instead, Joe
Forkan and Eric Stoner navigate listeners through an exceptional musical ride
that never sounds stilted or imitative. They do a superb job crafting tunes
that are reminiscent of longstanding classics in their respective genres yet
stand alone as individual works. Peripheral Vision is a wonder in 2017/2018 – a
traditionally minded album that, nonetheless, speaks vividly about the creative
hearts behind its composition and rife with the sort of kinetic chemistry
between players that’s long been a staple of the art.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Corpus
Christi” is the album’s first tune and, far and away, its most self-consciously
evocative moment. This is a near ideal example of how the musicians bring
modern music making techniques into the traditional music picture and it
remains, by album’s end, one of its best tunes. The second track “On the Moon”
throws off some low-heat jazzy sparks without ever getting too fancy about it
while still culling its sound from the duo’s customary array of influences.
There’s a sense of humor with this tune that shows the songwriting’s thorough
understanding of traditional country and blues songwriting ethos while never
entirely aping them. Some modern touches come through on the track “The
Distance” as well – namely the keyboards adding color at critical points in the
track. Outside of that, however, there’s still another sturdy traditional spine
that makes the song stand straight up for listeners. “Pavlov” moves the album
in a clearer blues direction with great success and boasts, arguably, the album’s
best lyric.</span></div>
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<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;">The move into the blues continues with the song “Mule
in the Mine”. Forkan and Stoner draw from a wealth of traditional blues and
classic country imagery for this one, but it’s vividly drawn regardless and
they bring their own idiosyncratic brand of humor to the piece that enhances
its pathos. “The Ballad of Huell Howser” promises, on title alone, something
longer, but this sparkling musical workout never overstays its welcome and
stands as a model of musical concision quite unlike anything else on Peripheral
Vision. The album’s final song “Empire” shows off some larger concerns than the
typical micro we hear in the early tunes and the traditional form proves more
than capable of sustaining these big thoughts without sounding like it lacks
something. Alpha Mule’s Peripheral Vision is a winner from first </span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-45507139334551273922018-02-05T14:01:00.000-08:002018-02-05T14:01:06.350-08:00Shofar - s/t (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-X8HidjiHxuRxdjSKaovro0l7pqtKW1aXUI6jSsfY8LivXSrskkg8JGdecGdHmLkOt1yHEsewnHI8LbdgRqu-R-xG7FVivEdUptpz7OlcU8yFX4t43Q1euTwnD5FpX8nOIyaubqn1OgTU/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/AVvXsEh-X8HidjiHxuRxdjSKaovro0l7pqtKW1aXUI6jSsfY8LivXSrskkg8JGdecGdHmLkOt1yHEsewnHI8LbdgRqu-R-xG7FVivEdUptpz7OlcU8yFX4t43Q1euTwnD5FpX8nOIyaubqn1OgTU/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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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Lance Wright, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Shofar
made some waves in the indie scene with their initial two studio outings in the
early 2000’s but fell silent as a recording outfit for a number of years. Their
return to the fray finds the music world obviously forever changed, but Shofar
has evolved as well and there’s a deeper maturity to these new recordings than
we heard on their admittedly fine older material. Songwriter and lead singer
Larry Hagner inhabits these songs with a strong presence, but he’s backed with
some equally fine secondary vocals that help enhance both the accessibility and
appeal of the songwriting and performances. They carry on in the fine rock
tradition that’s part of the Minneapolis area’s history with a great mix of the
classic and modern marking their warm sound. Melody plays an underrated role,
as well, in their winning presentation, but repeated listens to this
self-titled EP emphasizes how important it is to satisfying the band’s
ambitions.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Passion
is never in short supply. The desperation and claustrophobia coloring much of “Running”
alternates with moments of uneasy calm, but there’s a sense pervading the music
that the singer is a survivor. It’s a brave number, as well, thanks to its
potential to overwhelm, but Hagner and his band mates orchestrate the changes
with full knowledge of the song’s power and play it accordingly. “Powerman” is
a tune where the power dynamics of the opener are radically de-emphasized, but the
restless jangle and forward motion of the tune makes a big impact on listeners.
Hagner’s voice is joined by his band mates at key points to round off a truly
winning number. The third track “Shades of Grey” is cut from a similar musical
mold with some extra guitar punch and has the sort of songwriting intelligence
longtime fans of Shofar will be used to and newcomers will find so appealing
about the band’s music.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Hands
Down” is another high point on the EP bringing our a more rambunctious facet of
the band’s character while still sounding recognizably like Shofar. Hagner’s
particularly memorable on this tune with a singing performance completely
dominating the track. There’s a sharp shift in subject matter and delivery with
the EP’s last two songs. The first, “Countdown”, has a rather dire outlook that
the musical arrangement makes a little more palatable while the concluding
number on the EP, “The Coming”, isn’t far removed from the band’s material from
the first go around in the century’s dawning decade. Shofar stands apart for a
number of reasons – the sheer creativity and exuberance coming through on every
performance, the sharply tuned lyrical content, and the obvious attention to
vocal excellence separate them from the pack and make them one of the more
memorable acts working in the indie scene today. <span style="mso-spacerun: yes;"> </span></span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-66354646360537220542018-01-22T08:51:00.000-08:002018-01-22T08:51:39.210-08:00Blue Apollo - Light Footed Hours + Circles (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMgvdbZzM5GO5E5u75yFJPZAgaJ2YuK3JfMld5b7-ExqYfDB974W_YviYjZyjusJkqX4c4Pl74wKVcrlm3kFaT00a6tA3sy5FeVWVYD8flh6N8uocnNWttJZWOOqm8nvuTDXktn00xNQJd/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/AVvXsEhMgvdbZzM5GO5E5u75yFJPZAgaJ2YuK3JfMld5b7-ExqYfDB974W_YviYjZyjusJkqX4c4Pl74wKVcrlm3kFaT00a6tA3sy5FeVWVYD8flh6N8uocnNWttJZWOOqm8nvuTDXktn00xNQJd/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;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/blueapollomusic/">https://www.facebook.com/blueapollomusic/</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/BlueApolloMusic">https://twitter.com/BlueApolloMusic</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;">Utilizing
multiple musical elements and components, Texan indie-rockers Blue Apollo
create an alchemical stylistic experiment on their brief introduction statement
the <i style="mso-bidi-font-style: normal;">Light-Footed Hours</i> EP.<span style="mso-spacerun: yes;"> </span>While perhaps not reinventing the songwriting
wheel altogether, this power trio has a firm grasp on light/shade dynamics,
tuneful songwriting and textured composition with plenty of layers provided by
the stellar production/mixing job as well as by the musicians in the band.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Walls”
sets the EP aflame with a bone-crunching, rollicking drum beat played with
plenty of thump by drummer Jeremiah Jensen.<span style="mso-spacerun: yes;">
</span>Asphyxiating yet melodically dense shimmer guitars delve into the
winding melodies of 90s greats like Polvo and Shiner (more specifically Shiner
main man Allen Epley’s follow-up project The Life and Times) as Rodman Steele
drives hard into a slinking bass hook.<span style="mso-spacerun: yes;">
</span>All throughout guitarist/vocalist Luke Nassar croons with a trembling
gusto that’s perfectly suited to the knife-edged but melodic sound that the
band employs as a whole.<span style="mso-spacerun: yes;"> </span>There’s a
twitching, nervous math-rock twitch to the constant tempo switches but more
harmonic indie cadences lend the music a pop sensibility.<span style="mso-spacerun: yes;"> </span>A section where the music pulls back entirely
allows Luke’s voice to shine brightly before the entire band comes crashing in
with a resounding BANG!<span style="mso-spacerun: yes;"> </span>Winding, noisy
guitar riffs send the song off into the sunset atop a saddle of punk-laden drum
slaps that keeps this jam constantly moving forward and never regressing.<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
“Feeling Right” toys with a bit of the same template it’s much more uplifting
and upbeat.<span style="mso-spacerun: yes;"> </span>Trading the opener’s faster
rushes for a swirling, cosmic mid-tempo juxtaposes soulful r & b bass
rhythms with a jazzy Texas shuffle-styled beat that provides a unique contrast
to the rocked-out guitar lines filtered through a reggae tonality.<span style="mso-spacerun: yes;"> </span>Harmony vocals yield further richness to the
track and Nassar absolutely sets this number off with a fiery little guitar
solo in the second half while the rhythms entrench themselves deep in the
pocket and a Hammond organ provides an emotional hymnal quality.<span style="mso-spacerun: yes;"> </span>“Therapy” thrives on a hypnotic
pop-structuring that benefits from an oft-repeated, melodic riff pattern kept
well-fortified by Steele’s growly bass licks and Jensen’s half-tempo pop punk
romper stomping.<span style="mso-spacerun: yes;"> </span>Restrained breaks with
blinking, diamond-sharp guitar melodies duet with the vocals before the song
shoots directly back into its intoxicating main idea.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Avalanche’s”
bread and butter is the glory-bound, pinpoint vocal melodies and center stage
piano concerto which leisurely takes the tune to its near midpoint.<span style="mso-spacerun: yes;"> </span>It’s such a beautiful arrangement that you
want it to go on forever but Blue Apollo smartly interject nuance and multiple
aural change-ups before the track comes to a dewy-eyed close.<span style="mso-spacerun: yes;"> </span>Cello, minimalist drum beats, quick swipes of
guitar and bass enter the fray halfway through, leading up to a dazzling,
riffed-up band jam.<span style="mso-spacerun: yes;"> </span>A particular
highlight is Nassar’s vintage blues guitar leading and powerhouse riffs while
his band delivers the bombastic goods in tandem.<span style="mso-spacerun: yes;"> </span>“Meant to Be” is a brilliant
singer/songwriter composition mainly featuring Nassar’s glistening vocal
melodies and his tender, plucky acoustic guitar work but again looks can be
deceiving and the song ends on a completely opposite note from whence it began;
leaving “Circles” to close the EP off in a jam gifted with many varied musical
accoutrements.<span style="mso-spacerun: yes;"> </span></span></div>
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<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;">All-in-all <i style="mso-bidi-font-style: normal;">Light-Footed
Hours</i> is a diverse EP that excels on every front.<span style="mso-spacerun: yes;"> </span>The instrumentation is dazzling, the
production airtight, the writing memorable and the performances exploding with
emotion.<span style="mso-spacerun: yes;"> </span>I could see this release
appealing to fans of blues rock, pop punk and experimental indie music which is
a testament to the number of different styles that it chooses to tackle</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-82463648059107215572018-01-17T00:54:00.000-08:002018-01-17T00:54:25.869-08:00Man Called Noon - Everybody Move (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnCL3ZIxdYIPQLnfgWXFbzDltrrhY-XpIMxDFJHVI6yXm_E8fUxcd4cQbXhaX2UHQ528ovdtJV4K7yaNj_wP_9M0gDZ37rpVyfRMDOBPWbF_8abAuV_1Y-LXLq1w0CuD92ME6r3cwjhPJR/s1600/man.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/AVvXsEjnCL3ZIxdYIPQLnfgWXFbzDltrrhY-XpIMxDFJHVI6yXm_E8fUxcd4cQbXhaX2UHQ528ovdtJV4K7yaNj_wP_9M0gDZ37rpVyfRMDOBPWbF_8abAuV_1Y-LXLq1w0CuD92ME6r3cwjhPJR/s320/man.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://mancallednoon.com/">http://mancallednoon.com/</a></span></div>
<div class="MsoNormal">
<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/mancallednoon/">https://www.facebook.com/mancallednoon/</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/ManCalledNoon">https://twitter.com/ManCalledNoon</a></span></div>
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<br /></div>
<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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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Chicago
is a well-known city for all types of art, especially music.<span style="mso-spacerun: yes;"> </span>There’s been a slew of interesting,
innovative bands and artists that have called the Windy City home.<span style="mso-spacerun: yes;"> </span>The list is so long at this point that I
could easily dedicate an entire article to naming them all and still fall
short.<span style="mso-spacerun: yes;"> </span>Making waves over the last few
years, Man Called Noon already have two full-length albums under their belt as
well as several singles and other various releases.<span style="mso-spacerun: yes;"> </span>They’re very prolific for a relatively new
band and the three-track EP <i style="mso-bidi-font-style: normal;">Everybody
Move</i> is the latest stage of their musical evolution.<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;">Man
Called Noon is a tough lot to pin down, musically.<span style="mso-spacerun: yes;"> </span>On <i style="mso-bidi-font-style: normal;">Everybody
Move</i> you will hear traditional rock, pop punk, straight pop, new wave,
dance, funk, rhythm and blues and art-house soundscapes converging into a
singular, cohesive sound that immediately sells you to their musical
cause.<span style="mso-spacerun: yes;"> </span>Everybody Move starts off with
its namesake track and it’s a real doozy, sweeping the listener right up with
its many appealing charms.<span style="mso-spacerun: yes;"> </span>Jangly guitar
riffs swim with both pop punk and first wave emo influences (think Saves the
Day and Jimmy Eat World), although it’s a real aural victory that lead singer
Anthony Giamichael’s vocals fall into a more hearty soulful range than the
whiny musings of something like say Dashboard Confessional.<span style="mso-spacerun: yes;"> </span>The music of some of those emo bands had a
lot of good appeal but the vocals were always hit or miss.<span style="mso-spacerun: yes;"> </span>Here the from the gut yet overtly melodic
nuance of Anthony’s leads paint a formidable catchiness that’s rounded out by
co-vocalis<a href="https://www.blogger.com/null" name="_GoBack"></a>t Erin Piortrowski’s gentle harmonization.<span style="mso-spacerun: yes;"> </span>Josh Fontenot laces a jazzy pocket beat into
the thick threads of Dave Aitken’s floating bass lines; their double-dipped
congruence falling in line seamlessly with the high-end guitar modulations.<span style="mso-spacerun: yes;"> </span>Everything moves along at a pretty steady
clip with no parts of the song falling into tedium or syrupy balladry that
drags more than it nails the dramatics.<span style="mso-spacerun: yes;">
</span>A scorching guitar lead in the track’s second half along with
keyboardist Nathan Crone’s saloon shaking piano twinkles fully fleshes this
tune into a melodic monster worth its weight in gold.<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;">Following
up on the title track’s speedy surges “Kiss Kiss Bang Bang” employs a similar
set of swinging tempos, stinging guitar licks and bewitching dual vocals that
dance in and out of each other’s melodic qualities.<span style="mso-spacerun: yes;"> </span>Piortrowski especially gussies up the
choruses while additionally sprucing the verses with an attentive feminine
touch.<span style="mso-spacerun: yes;"> </span>Driving percussion and tightly
coiled bass riffs are given added potency when Crone’s quaking, autumnal
keyboards inject an earthy grumble to the song’s scenic peaks and valleys (of
which there are many).<span style="mso-spacerun: yes;"> </span>The EP fades out
on the grungy, dirty punk rockin’ of “One Last Ride” which features the
meanest, most snarly aggression on the recording.<span style="mso-spacerun: yes;"> </span>Full of distorted, dissonance riffs and
rumbling rhythms this baby goes straight for full force while still retaining
the unit’s admirable melodic qualities.<span style="mso-spacerun: yes;"> </span></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">You’ll
get a lot of mileage out <i style="mso-bidi-font-style: normal;">Everybody Move’s</i>
many hooks and anthem-ready musical monuments.<span style="mso-spacerun: yes;">
</span>The worst part of this EP is that it’s so short; you’ll certainly want
more when it’s all said and done with.<span style="mso-spacerun: yes;">
</span>In reality this EP was perhaps kept short out of necessity as it
introduces a lot more experimentation into the band’s sound, a new member
(Nathan Crone), an increased focus on harmony vocals, a keener eye for melodic
songwriting and a large sonic palette that pushes the keyboards to the
foreground of the music.<span style="mso-spacerun: yes;"> </span>All in all, <i style="mso-bidi-font-style: normal;">Everybody Move</i> is a flawless collection
that only makes me more intrigued to hear Man Called Noon’s next release.</span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6162620865075714106.post-25029267032957144362018-01-04T11:37:00.000-08:002018-01-04T11:37:15.576-08:00Michael Askin - Road by the River (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDK5kl-yUIgkFd-0bS9M8-Yb7_bJfFjFx4g9SVvf09uSub6KilfryMsrtjOt8EH1mnioDRdw7YjRlyrtkmjzCJTDxgqq4EOsR5yrquZ4uMmqNKm9V2EOo68722vaLT_dQy4kIP4efzFhv8/s1600/askin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDK5kl-yUIgkFd-0bS9M8-Yb7_bJfFjFx4g9SVvf09uSub6KilfryMsrtjOt8EH1mnioDRdw7YjRlyrtkmjzCJTDxgqq4EOsR5yrquZ4uMmqNKm9V2EOo68722vaLT_dQy4kIP4efzFhv8/s320/askin.jpg" width="320" /></a></div>
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<div class="MsoNormal">
<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 David Shouse, 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;">Michael
Askin was once known as strictly a guitar player.<span style="mso-spacerun: yes;"> </span>Laying down 6-string work in the bands Divine
Sign and My State of Attraction, Askin had a singer/songwriter bug biting him
and began composing a big batch of solo tunes.<span style="mso-spacerun: yes;">
</span>He finally dropped the first barrage of songs on his 2013 debut <i style="mso-bidi-font-style: normal;">Single Step</i>.<span style="mso-spacerun: yes;"> </span>Flash forward four years later to 2017 and
Michael is three releases deep into a respectable solo career with his newest
album <i style="mso-bidi-font-style: normal;">Road by the River</i>.<span style="mso-spacerun: yes;"> </span>Here he has reached the summit of his vision;
a sky-high mountain where folk, country, rock, blues, pop and film soundscapes
coalesce into a sonic brew that packs as much melody as it does a gravelly
bite.<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
lead-in cut “Road by the River” is the title track and it does a great job of
setting the stage for the rest of the EP.<span style="mso-spacerun: yes;">
</span>Its nimble country gallop draws some of its blissful, uplifting acoustic
boogie from not just country but also bluegrass. <span style="mso-spacerun: yes;"> </span>Brush-tapped drumming and roots-rich bass
bends are coupled to multifaceted acoustics and just enough electric buzz to
give your house foundation a subtle shake while Askin wrings honey from every
inch of his vocal chords for the sake of powerful, melodic song construction.<span style="mso-spacerun: yes;"> </span>This piece is the literal launch point for
every stylistic mash-up to foll<a href="https://www.blogger.com/null" name="_GoBack"></a>ow over the course of this
extended-play’s five glory-bound jams.<span style="mso-spacerun: yes;">
</span>What “Nashville” holds back in tempo it makes up for in the sheer number
of guitar flourishes present throughout.<span style="mso-spacerun: yes;">
</span>Surges of heavy electric walk hand-in-hand with ripping country twangs
and suave steel guitars as the vocals and rhythms bat eyes at the blues.<span style="mso-spacerun: yes;"> </span>This song could have been beamed in directly
from the country rock, heartland Nashville and blues heavies of the early
70s.<span style="mso-spacerun: yes;"> </span>It has that same sweat n’ swagger
to spare; topped off by Askin’s original, mad scientist crossbreeding of these
several different yet musically congruent genres.<span style="mso-spacerun: yes;"> </span>Offering up an even crunchier, crispy take on
slamming hard country rock, “Sun Going Down” is a storm of impactful power
chord riffing, acoustic lamentations, pulsing rhythmic tremors and Michael’s
sweat-drenched vocal soul.<span style="mso-spacerun: yes;"> </span>It’s hard
grooving, atmospheric back break runs off like rainwater into the likeminded swelter
of “Hard to Make a Living” and it’s penchant for the same type of
multi-instrumentalism.<span style="mso-spacerun: yes;"> </span>Hammond organ and
prominent synthesizer (especially felt on finale “Last Train”) raise the stakes
on the EP’s downright award-winning trio of songs.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Askin
is truly an old soul when it comes to his music and his implementation of ideas
that started fading out during the end of the progressive rock era when having
an organ player in your band or playing one yourself became a thing of the past
as the 80s came into view.<span style="mso-spacerun: yes;"> </span>Michael knows
how to take his music back to a bygone time without sounding cheesy, no matter
how he incorporates these things into his sound.<span style="mso-spacerun: yes;"> </span>It’s for these reasons that <i style="mso-bidi-font-style: normal;">Road by the River</i> stands out in a
crowded 2010s pack where a lot of stuff is starting to sound the same.<span style="mso-spacerun: yes;"> </span>Thankfully, Askin’s grand work across his
three EPs doesn’t suffer from that problem and his music is well-worth your
listening time.</span></div>
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<![endif]--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-57844653482618705312018-01-04T10:59:00.000-08:002018-01-04T10:59:35.131-08:00Sarah Morris - Hearts in Need of Repair (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgpt9jQw2JXZ8QpG8P28YXBXiLYO10aZNGMC1ePAIpgAvGsYore5ST0Pj4g54SyQbL1s_hqddj-vX0OY4AoeldcKkNxj-N6Va2h7eLG3RFjNY1KazFeBlPVt2pJ6W_grjqJ4u_TOkizmd/s1600/morris.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/AVvXsEimgpt9jQw2JXZ8QpG8P28YXBXiLYO10aZNGMC1ePAIpgAvGsYore5ST0Pj4g54SyQbL1s_hqddj-vX0OY4AoeldcKkNxj-N6Va2h7eLG3RFjNY1KazFeBlPVt2pJ6W_grjqJ4u_TOkizmd/s320/morris.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.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 Frank McClure, posted by blog admin</span></strong></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sarah
Morris’ 3<sup>rd</sup> and most recent LP, <i style="mso-bidi-font-style: normal;">Hearts
in Need of Repair</i> succeeds because it thrives with soul, pulls no punches
when it comes to songwriting and has a daring arsenal of instrumentation that
mixes the traditional with the exotic and eclectic.<span style="mso-spacerun: yes;"> </span>Morris’ lead vocals are the icing on the
cake; highly melodic, raw when needed and possessing an excellent range from
dirty blues vocalizations to near falsetto.<span style="mso-spacerun: yes;">
</span>With a well-oiled band at her side providing guitars, drums, bass,
piano, dobro, lap steel and pedal steel, there’s nothing off limits when it
comes to the music on display.<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
title track leads the album off and it’s an acoustic-drenched, mid-tempo
masterpiece with blue-eyed soul singing, a deep rhythmic foundation and at
least three acoustic guitar tracks going.<span style="mso-spacerun: yes;">
</span>There’s space around every instrument to make each individual melody
stick-out and the nuanced, textured production job by Eric Blomquist, Morris
and the band couldn’t have done a better job.<span style="mso-spacerun: yes;">
</span>Things aren’t overproduced to the point that there isn’t any edge but everything
is refined enough to make a great harmonic impression.<span style="mso-spacerun: yes;"> </span>The careening, rollicking “Good at Goodbye”
benefits from a flurry of tapping, driving snare drums and some stellar pedal
steel playing that whips up a western dust storm when it comes to atmosphere.<span style="mso-spacerun: yes;"> </span>A weary, burden-baring blues vibe marks
“Cheap Perfume’s” forlorn intro.<span style="mso-spacerun: yes;"> </span>Dark
electric bass stamps a heavy imprint beneath the shimmering acoustic guitars as
the pacing kicks into high gear for the perky country swing that enters at the
50 seconds mark.<span style="mso-spacerun: yes;"> </span>All throughout Morris’
lush, organic vocal melodies sending the song into the stratosphere and taking
the harmonic component of the band’s music to the next level.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Helium”
is a dreamy, acoustic folk number that employs tranquil harmony vocals behind
Sarah’s commanding lead presence.<span style="mso-spacerun: yes;"> </span>Its
softness is in direct contrast to “Falling Over” and “Course Correction’s”
increasing reliance on powerhouse electric guitar grooves and hard-hitting
rhythms.<span style="mso-spacerun: yes;"> </span>Shane Akers’ dobro and pedal
steel enrich the former track with overload of melody and tranquility,
providing why it was chosen as the lead single to promote the record.<span style="mso-spacerun: yes;"> </span>“Empty Seat” returns to acoustic folk but is
much darker than the similarly constructed pieces that appeared before it
earlier on in the album’s trajectory.<span style="mso-spacerun: yes;">
</span>The heavy, gluey electric guitar and bass riffs make for some warts n’
all blues on “Shelter or the Storm.”<span style="mso-spacerun: yes;">
</span>Vicky Emerson adds harmony vocals to Morris’ lead and t<a href="https://www.blogger.com/null" name="_GoBack"></a>he
result is nothing short of pure magic.<span style="mso-spacerun: yes;">
</span>More lap steel accoutrements and a 3<sup>rd</sup> acoustic guitar played
by producer Eric Blomquist brushes shoulders and conjures musical catharsis
alongside the heavier riffing.<span style="mso-spacerun: yes;"> </span>“Nothing
Compares” is another beautiful folk piece while the closing couplet of “On a
Stone” and “Confetti” delve deep into acoustic/electric blues unfolded at a
slow, forceful tempo.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">All
in all, <i style="mso-bidi-font-style: normal;">Hearts in Need of Repair</i> is a
fantastic aural romp that’s an old soul at heart.<span style="mso-spacerun: yes;"> </span>Stellar songwriting, vocals and
instrumentation combine into a true force of nature that astounds and amazes at
every bend.<span style="mso-spacerun: yes;"> </span>Any fan of acoustic and
electric blues, country, soul, rock and folk will find one monumental
achievement after another in the album’s 11 rich tracks.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-38836278652431119592018-01-03T10:44:00.000-08:002018-01-03T10:44:12.566-08:00Joe Olnick Band - Downtown (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdwnA3LO7NzrdZvYrqmRV1HpamYwjOTaK_0ZglxSUtI3Nn9TkQzUmm1feyXwrKr63FpXUT5e9ihiRKAhjKpI5mkGOL7z9TbhzkvtB9zfNXPo2gCHnvQKLFP5qUmhBvxbnNoH0iRddaHUfe/s1600/olnick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdwnA3LO7NzrdZvYrqmRV1HpamYwjOTaK_0ZglxSUtI3Nn9TkQzUmm1feyXwrKr63FpXUT5e9ihiRKAhjKpI5mkGOL7z9TbhzkvtB9zfNXPo2gCHnvQKLFP5qUmhBvxbnNoH0iRddaHUfe/s320/olnick.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.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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<br /></div>
<div class="MsoNormal">
<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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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
Joe Olnick Band adds to its vast discography with their 6<sup>th</sup> LP to
date, <i style="mso-bidi-font-style: normal;">Downtown</i>, the follow-up to
their prior collection <i style="mso-bidi-font-style: normal;">Defiant Grooves</i>.
<span style="mso-spacerun: yes;"> </span>Downtown truly lives up to its name by
sporting a city after midnight motif that makes itself known through the band’s
uplifting dark shuffles and shimmies.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Basking
in the twilight hour of the evening, album opener “Downtown” ignites the jazz
club just around the corner with funky guitar pyrotechnics while a walking bass
line dances all over a churchy keyboard hum and a beat that could get a dead
man to move.<span style="mso-spacerun: yes;"> </span>From this point onward the
album goes from strength to strength, displaying the magical chemistry between
the band members.<span style="mso-spacerun: yes;"> </span>Joe Olnick (guitars),
Jamie Aston (bass) and Jamie Smucker (drums) have obviously spent time honing
their craft on the stage, jam room floor and in the studio which renders each
of these songs into a tight, well-oiled machine. <span style="mso-spacerun: yes;"> </span>Second cut “Philadelphia Moonlight (Part One)”
places the mood under a full moon shimmer as a snappy, filling and rolling drum
groove expands ever onward amongst the swirl of cosmic bass boosts and funky,
psychedelic luau guitar licks.<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
low slung, darker still mid-tempo funkadelia of “Food Truck” feels like it’s up
to a really fun no good from the very first note.<span style="mso-spacerun: yes;"> </span>Somehow the band manages to show superb
restraint and dedication to sticking with a groove, waiting for perfect moments
to throw in jammy, rocked-out lead guitar bits, slamming bass lines that will
step out and around Olnick’s flowing melodies and settle in the pocket that
Jamie Smucker’s kickin’ percussion provides.<span style="mso-spacerun: yes;">
</span>Impressive, extensive soloing from Joe smooths this composition out to
perfection.<span style="mso-spacerun: yes;"> </span>“Parkside” reckons of a
crazy, outsider era Beach Boys fugue with its odd keyboard flourishes and
unusually psychedelic, slightly acerbic FX screeches.<span style="mso-spacerun: yes;"> </span>Despite this free-form jazz/noise weirdness,
the entire song is built around a rock solid rhythmic shakedown and
mesmerizing, fuzzed-out guitar work. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">If
the first “Philadelphia Moonlight” was a tranquil shimmer, “Part Two’ is
transmitted from the heart of the witching hour.<span style="mso-spacerun: yes;"> </span>It’s even more akin to a Beach Boys’
freak-out in terms of its instrumental texturing and distinct studio production
that highlights each players’ every bewitching note.<span style="mso-spacerun: yes;"> </span>“Rush Hour” releases the built up tension of
the previous track for a shag-shaking funk rock rumble with a soaring bass line
and bluesy<a href="https://www.blogger.com/null" name="_GoBack"></a>, psychedelic guitar leads n’ trip-out keys
vying for control of your soul…<span style="mso-spacerun: yes;"> </span>If
that’s not enough the final track “Sports Complex” takes of all that
psychedelic weirdness and buries it beneath insane distortion for a fast-paced
take on going completely, instrumentally mad (forgot to mention that there are
no vocals on this unique album).<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;">Joe
Olnick and the boys whip up a really quirky frenzy on album number 6.<span style="mso-spacerun: yes;"> </span>The songs are varied and the playing tight,
making it impossible to guess which direction the music will turn in next.<span style="mso-spacerun: yes;"> </span>They’re not afraid to take risks with their
sound and because of that <i style="mso-bidi-font-style: normal;">Downtown</i> is
a 7 track ride that’s absolutely worth taking.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-60505056675660116542017-12-22T10:54:00.000-08:002017-12-22T10:54:32.597-08:00Slow Burning Car - Defection (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Qk-kMj5cnX3tlR1DPtngdA-tWLoEhEVVogPwxCO-s_YNsz1XLa7_nLeE1Oj-UR8IwCWfhUN0IAPZpJtLe6Nv7BVQKmIOWFzy0ieTWQslFxJX7UoB9SmeALnJVVfIdhJJuL-lFR1VZ9-q/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/AVvXsEg5Qk-kMj5cnX3tlR1DPtngdA-tWLoEhEVVogPwxCO-s_YNsz1XLa7_nLeE1Oj-UR8IwCWfhUN0IAPZpJtLe6Nv7BVQKmIOWFzy0ieTWQslFxJX7UoB9SmeALnJVVfIdhJJuL-lFR1VZ9-q/s320/burning.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://www.slowburningcar.com/">http://www.slowburningcar.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/SlowBurningCar/">https://www.facebook.com/SlowBurningCar/</a></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Jay Snyder, 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;">Los
Angeles’ based hard rockers Slow Burning Car are back with their 4<sup>th</sup>
release, <i style="mso-bidi-font-style: normal;">Defection</i>.<span style="mso-spacerun: yes;"> </span>Featuring a thick, chunky sound with an
emphasis on riffs and infectious choruses, the group draw influences from 90s
guitar rock, pop punk and as a result end up with a tough grooving attack
that’s somewhere in the ballpark of Nirvana, Chevelle, the Foo Fighters,
Incubus and even a little bit of Helmet’s staccato crunch.<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;">Opener
“Alpha Duplicor” strikes fast and fierce with locked-on snare fills, throbbing
bass lines and the twin guitar assault of Jesse Damon and Tommy Marcel.<span style="mso-spacerun: yes;"> </span>The explosive, granite thick riffs present
driving grooves that whip into frenetic leads, harmonic counterpoints and
wraparound solos that keep the hooky, fleet-footed aggression always in your
face with little let up.<span style="mso-spacerun: yes;"> </span>Lead
vocalist/bassist Troy Spiropoulos has a voice that delicately balances anger
with melody, resulting in a well-tempered delivery that’s a perfect match for
the music.<span style="mso-spacerun: yes;"> </span>Up-tempo and relishing a
catchy 3-chord rush, “Soul Crimes” hovers between a pop-punk/grunge with huge
melodic choruses and simplistic yet punchy and aggressive lead guitar
trade-offs as both Damon and Marcel are credited with lead and rhythm
guitar.<span style="mso-spacerun: yes;"> </span>Adam Idell’s thudding, heavily
syncopated tom/snare transitions lends “The Orb” a bruising intro that give way
to a varied vocal performance meshing gruff, Mike Patton-esque stream of
consciousness, glistening high-register melody and quirky, auto-tuned back up
harmonies.<span style="mso-spacerun: yes;"> </span>Influences can be felt from
Faith no More, Incubus, Queens of the Stone Age’s robo-stoner rock and even Bad
Religion as the wall of riffs launch into wailing punk rock solos.<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;">“Devil
in the Room” turns its namesake into an instantly memorable chorus with the
dueling vocal styles again making use of alien vocoder support vocals while
incendiary power chord riffs and pulsing rhythms refuse to lay off the
throttle.<span style="mso-spacerun: yes;"> </span>Troy unleashes a buoyant,
walking bass groove in “The Sunday Derby’s” brazen build-up that sees Idell
laying into his kit with sheer reckless abandon.<span style="mso-spacerun: yes;"> </span>Thanks to spitfire vocals (with a rousing
segment of megaphone enhanced, auctioneer styled spoken word), a ferociously
high-octane polyrhythmic percussive stomp and psychedelically-kissed hard rock
guitar work this composition is an easy album standout that presents a
metallic, unpredictable twist to traditional pop-punk structuring.<span style="mso-spacerun: yes;"> </span>Grungy punk with big, bright uplifting guitar
riff/lead shakedowns played out atop palm-muted rhythmic churns is the order of
the day on the single-worthy “You Can’t Stay Here” gives early 90s Offspring a
run for their money in the hook department.<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;">Taking
the record for a left-turn “Bedtime” is a gorgeous acoustic strummer that nary
rises above a whisper, flowing directly into the folky, similarly aligned
“Chrysanthemum.”<span style="mso-spacerun: yes;"> </span>An even stranger
composition, the oddly titled “Polar Warden” is a psychedelic drone piece
brimming with sampled dialogue, opaque bass grooves, decaying noise guitar,
instrumental feedback and all sorts of warped keyboards and guitar pedal
effects.<span style="mso-spacerun: yes;"> </span>It’s unlike anything else on
the album and is a deep, lushly constructed piece that touches on Pink Floyd’s
oddball experiments.<span style="mso-spacerun: yes;"> </span>Closer “Clouds”
couldn’t have been a better choice for a finale; employing a progressive
structure that alternates between gargantuan Sabbath riffs and tom-tom heavy,
noodle-y guitar freakouts with heavy reverb laid over the vocals casting off
some serious 70s prog-rock atmosphere.<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;">Defection</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> is an excellent
album with fine songwriting and some superb instrumental bits.<span style="mso-spacerun: yes;"> </span>It’s the work of a well-seasoned band that
knows the strength and value of each individual member’s contribution.<span style="mso-spacerun: yes;"> </span>Slow Burning Car is <a href="https://www.blogger.com/null" name="_GoBack"></a>simply
a fantastic modern rock group that delivers the good all across their 4<sup>th</sup>
impressive release.<span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-66322609933510043622017-12-19T10:16:00.000-08:002017-12-19T10:16:02.088-08:00J.Briozo - Deep in the Waves (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifrow7buVY2-o8BCIatTHlifItjqYcs6w2oz3Eaa0Wz0GS5DlfCXpr77kQsVvRXHJw2cOY0ByvrPCcxBH9amAwC1lWx2fSZcHPPjdU9BQfdGDoZd8CG3LUFB4adv6P2HoSD3TuIItCA_g4/s1600/briozo.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/AVvXsEifrow7buVY2-o8BCIatTHlifItjqYcs6w2oz3Eaa0Wz0GS5DlfCXpr77kQsVvRXHJw2cOY0ByvrPCcxBH9amAwC1lWx2fSZcHPPjdU9BQfdGDoZd8CG3LUFB4adv6P2HoSD3TuIItCA_g4/s320/briozo.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://www.jbriozo.com/">http://www.jbriozo.com/</a></span></div>
<div class="MsoNormal">
<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/jbriozo/">https://www.facebook.com/jbriozo/</a></span></div>
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<br /></div>
<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>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Hailing
from Minneapolis, Minnesota, J. Briozo is the singer/songwriter introductory
album from Jeff Crandall; vocalist/songwriter for Swallows.<span style="mso-spacerun: yes;"> </span>At the time of this recording, Swallows was
in-between their 2<sup>nd</sup> and 3<sup>rd</sup> albums, preparing to enter
the studio in order to do some tracking for the next record.<span style="mso-spacerun: yes;"> </span>A series of song ideas besieged Crandall and
deciding not to waste any time (and with the help of some of his Swallows band mates),
Jeff was able to complete his own LP entitled, <i style="mso-bidi-font-style: normal;">Deep in the Waves</i>.<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;">This
13-track record moves from strength to strength as each song reveals different
amalgamations of Crandall’s songwriting prowess.<span style="mso-spacerun: yes;"> </span>Opening couplet, “Blind” and the title track
go for loose structuring and a sort of free-form experimentation that center on
acoustic and clean guitar melodies with cinematic accompaniment in the form of
keys and warped guitar FX on the former and an assortment of varying stringed
instrumentation during the latter.<span style="mso-spacerun: yes;">
</span>Crandall’s voice is soothing with the requisite grit that both push the
material forward while allowing it to seep and sink softly into your
brain.<span style="mso-spacerun: yes;"> </span>“Beautiful Mess” streamlines the
song-composition for a verse/chorus/verse thematic that brings some soulful
acoustic guitars and vocals to the table and an especially introspective (and
catchy) chorus.<span style="mso-spacerun: yes;"> </span>Keeping the structure
while turning the music into a rough n’ tumble, bluesy rock firestorm,
“Spinning Out” intertwines grooving acoustic rhythm guitar with fret-burning
electrics as the drum n’ bass combo chips away at a craggy, mountainous 4/4
swing.<span style="mso-spacerun: yes;"> </span>The implementation of Hammond
organ applies some dazzling texture to the song though it’s mixed in the
background to leave the traditional rock band format to dish out most of the
damage. <span style="mso-spacerun: yes;"> </span>All throughout Crandall sings
his heart out in a more grizzled, gruff tone than he utilizes on some of the
other material.<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;">“Rain
Song” dials down the mood to crystalline clean guitars, economical work on the
bass and myriad of strings and ambient sounds.<span style="mso-spacerun: yes;">
</span>Something about the song rings of Pink Floyd influence and he even
manages to sound slightly like Waters or Gilmour in the process.<span style="mso-spacerun: yes;"> </span>A sonic tornado of heavy riffs punctuates “The
Big Parade’s” all go, no show attitude and segment featuring a horn section
inflects even more tongue tingling spices into Crandall’s recipe.<span style="mso-spacerun: yes;"> </span>The stripped down triplet of “Catatonia,” “Las
Cruces” and “Blue” are rife with Americana and are akin to the influential folk
music from a bygone era.<span style="mso-spacerun: yes;"> </span>Meanwhile, the
uplifting trip-out of “Firefly” and the dark, rippling beauty contained in
“Camera Obscura” are soundtrack piece that layer multiple strings atop the
acoustic guitar and world music electronica bedding.<span style="mso-spacerun: yes;"> </span>“Santa Cruz” also walks a parallel path, as
closer “Sun Sun True” returns to a hot and heavy blues rock crunch that
differentiates itself from similar tracks on the album by subtracting the
rougher blues vocals for more harmonies than you can shake a stick at.<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;">Simply
put, Jeff Crandall can do no wrong on <i style="mso-bidi-font-style: normal;">Deep
in the Waves</i>.<span style="mso-spacerun: yes;"> </span>J. Briozo is
officially on my radar for projects to watch because if Crandall can produce a
debut this well-defined, then the sky’s the limit for future releases.<span style="mso-spacerun: yes;"> </span>If you like your blues, folk and rock to
proudly raise the middle finger to the rulebook, this is exactly the release
you’re looking for.<span style="mso-spacerun: yes;"> </span><a href="https://www.blogger.com/null" name="_GoBack"></a><span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-44351873118815514252017-12-11T06:51:00.001-08:002017-12-11T06:51:35.044-08:00Ben 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/AVvXsEgQSIhJD59s5DB4OTgVVb1msyPOluK5WsgtH3LMWs4u6PNTHvFG9jTj0bZH4jm8ZonKFM7Z_FHXDKVR_OeQJfOBYxNKsQH77x-jDYy322mMr_WLph8p5xIaiVHax8Jx61WcZJ3XfXhqohcB/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/AVvXsEgQSIhJD59s5DB4OTgVVb1msyPOluK5WsgtH3LMWs4u6PNTHvFG9jTj0bZH4jm8ZonKFM7Z_FHXDKVR_OeQJfOBYxNKsQH77x-jDYy322mMr_WLph8p5xIaiVHax8Jx61WcZJ3XfXhqohcB/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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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, 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;">Ben
Brookes, Portsmouth native, brings a distinctive sense of Englishness to his
debut release The Motor Car & The Weather Balloon that we haven’t encountered
for some time. He manages, however, to incorporate a bevy of American
influences into what he does and the effortless fusion of his influences is
crowned by a sense of self that comes through on every song. It’s a rather
bracing feat from someone so young, but the artist that emerges from this
studio release’s ten tracks is nothing less than fully developed and possessed
with musical certainty reaching far beyond his years. His choice to record the
album in the Midwestern United States rather than in England reflects his
desire for a cosmopolitan sound and he embodies the various strands running through
his music with singular and sincere charisma that makes it a highly enjoyable
and satisfying experience. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He’s
likable in every performance. The longing at the heart of “I Wanna Go Home”
comes, as well, a playful edge and few musical artists possess the talent to
juggle these disparate elements. Brookes does, however, and never appears to
break a sweat while doing so. It has a melody some might find a little
childish, but that’s part of its charm and its undeniably catchy. “Asleep in
Galilee” is, flat out, one of the finest moments on the release and has some
strong imagery distinguishing its lyric and playing out quite nicely against
the musical backing. There’s little question after listening to these two
tracks alone that Brookes is working with the best possible musical partners,
but he obliterates any lingering doubt with the track “Before Sunrise” and the
wonderful melody at the heart of the song will please anyone, even the most
demanding of cynics. The melody seems to further inspire an already fine vocal
and, at risk of cliché, Brookes makes you feel every word of this one. He sings
it like he means it. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Look
Through My Eyes” and “Somewhere Around Eight” are the album’s finest rockers.
Rockers, in the context of this album, means a much more “visible” presence of
electric guitar, but it doesn’t mean long, winding guitar solos or crunchy
riffs. Instead, the lead guitar work spikes the songs with added emotional heft
and Brookes raises his emotive game as a singer to match the rougher texture.
The album’s last song “Shackles” is a great curtain closer for the album and
mixes a little of the approach discussed in the rockers with the customary
acoustic guitar base defining much of The Motor Car & The Weather Balloon.
Ben Brookes’ much more experience collaborators clearly hear the same thing in
his songwriting and performances and it’s a testament to his astonishing
development that seasoned professionals of such caliber want to join in with
this effort. It’s one hell of a ride. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-87388458895802241272017-12-08T11:39:00.000-08:002017-12-08T11:39:18.335-08:00Cyborg Asylum - Never Finished, Only Abandoned (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM2SHl28SwwBl4OaTX78yRvyYj5WATfkvyRVTQ-sBxJoKsMryrnoMA35dTcOXdLJ-m6MIgkZ4y2J2mk5ydfcdDhO2-niP4Z4TuBmfVIBS6xbmUbW7NG8WwvJVA7caMmKBdEO_5-QqnaGEG/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/AVvXsEiM2SHl28SwwBl4OaTX78yRvyYj5WATfkvyRVTQ-sBxJoKsMryrnoMA35dTcOXdLJ-m6MIgkZ4y2J2mk5ydfcdDhO2-niP4Z4TuBmfVIBS6xbmUbW7NG8WwvJVA7caMmKBdEO_5-QqnaGEG/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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<br /></div>
<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>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Musical
projects conceived over computers and not face-to-face can go a lot of
different ways.<span style="mso-spacerun: yes;"> </span>Frequently the way these
types of collaborations go is that the ideas and even the music might be good
but there can be quite a large disconnect to the point of distraction.<span style="mso-spacerun: yes;"> </span>Such is not the case with Cyborg Asylum.<span style="mso-spacerun: yes;"> </span>New York’s David Varga is responsible for the
music composition, instrumentation and electronic backdrops while London-based
John Tumminia is in charge of the lyrics, vocals and melodies.<span style="mso-spacerun: yes;"> </span>Their resulting album <i style="mso-bidi-font-style: normal;">Never Finished, Only Abandoned</i> feels like a very complete piece of
work composed by two individuals that did the work in the very same room.<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;">A
teetering balance between atmospheric, soundtrack-esque instrumentals,
industrial rockers, ballads and utter weirdness; the twelve tracks on the album
seamlessly jump from strength to strength.<span style="mso-spacerun: yes;">
</span>The police state madness of instrumental intro “Blitz” samples a
panicked crowd’s screaming, bomb blasts, machine guns and sirens before diving
into a lockstep bass beat with shrill synths, noisy wails and thundering
low-end filling out the mix.<span style="mso-spacerun: yes;"> </span>It acts as
a polar opposite foil to “Synergy” and its poppy verse/chorus structure.<span style="mso-spacerun: yes;"> </span>There’s still enough pure white-washed noise
to maintain the opening vibe as scraggly guitar riffs, thick beats and a
headstrong industrial synth melody wraparound the alternately clean/distorted
vocals that carve out unusual rapping verses and sweet natured pop choruses.<span style="mso-spacerun: yes;"> </span>“My Metallic Dream” compresses these
components with a mid-paced, staccato beat ushering a heavily syncopated guitar
riff and a breathless vocal from Tumminia into pure perpetual motion.<span style="mso-spacerun: yes;"> </span>A little underrated industrial band from the
90’s called Course of Empire (former TVT alumni with Trent and NIN) strived and
achieved a parallel greatness to Cyborg Asylum by building a place where
tougher industrial sounds got swept up by huge pop rushes.</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
album seems to have a theme or concept; a flow that’s established and
maintained by interspersing dramatic instrumentals amongst the more
straightforward songs.<span style="mso-spacerun: yes;"> </span>Take for example
“War Machine” which is almost a blast of crazed 70s progressive rock gone
industrial.<span style="mso-spacerun: yes;"> </span>Multiple loops stack
clattering percussion, forward/backward synths, robotic voices run through
distortion and raging heavy guitar riffs one on atop of another turning the
“song” into a frantic collage that’s heavy along the lines of Skinny Puppy and
Frontline Assembly.<span style="mso-spacerun: yes;"> </span>In a complete audio
180, “Weightless” is a killer pop tune with fantastic melodic singing coasts
dreamily over a bottom heavy bass/drum grind that’s a nightmarish opposite from
the skyward vocal croons.<span style="mso-spacerun: yes;"> </span>A climactic
run of heavy, dirty 6-string power chords make for a passionate final where,
musically speaking, everything and anything goes.<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;">Another
instrumental “Angel of Incidence” experiments with classical strings and 80s
metal for a real quirky meeting of minds, “Steampunk Highway” adheres to
traditional industrial gear-grind values and “Fragments as Illusion” winds its
way through Eastern themed guitar leads, flamenco drum programming and rumbling
guitar surgery…<span style="mso-spacerun: yes;"> </span>Cyborg Asylum is unafraid
of wild-eyed experimentation in their music and the result is magical.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-15584855978866229302017-12-08T07:07:00.000-08:002017-12-11T08:46:06.222-08:00Thomas Abban - A Sheik's Legacy (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikz2kXn6LyywRKmeg_E2CcPUCY6OFYYSOXrzYNgqiGQiBt6GqXPoUXm16Ov2xk7pgU-ZGEx8dJ-h0f9MK4MYPOV3U5TMT7XWGaAN0GC8tTROYnmvTokDkL6RIBiAAiS8BvLktkZyjxjIdB/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/AVvXsEikz2kXn6LyywRKmeg_E2CcPUCY6OFYYSOXrzYNgqiGQiBt6GqXPoUXm16Ov2xk7pgU-ZGEx8dJ-h0f9MK4MYPOV3U5TMT7XWGaAN0GC8tTROYnmvTokDkL6RIBiAAiS8BvLktkZyjxjIdB/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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<br /></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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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Coming
on like a bat out of hell from Minneapolis, Thomas Abban has written and
recorded a debut album masterwork that’s nothing but pure genius.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">A
Sheik’s Legacy</i> contains that “lightning in a bottle” feel of a great studio
work that leads to major career opportunities, dedicated fans and a streak of
stellar albums to come.<span style="mso-spacerun: yes;"> </span>Not only can
Abban play the pants off of any instrument that comes his way, his songwriting
skills are dangerously fully formed at this early stage of his career.<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;">There’s
no “formula” to be found on A Sheik’s Legacy.<span style="mso-spacerun: yes;">
</span>Abban simply plays what he enjoys and puts no shackles on his
songwriting.<span style="mso-spacerun: yes;"> </span>This freedom to abstain
from a genre choice makes for an exciting rock record, the likes of which
aren’t made very often anymore.<span style="mso-spacerun: yes;">
</span>Lyrically speaking, the subject matter is equally heavy as Abban starts
off with an examination of his own mortally on intro cut “Death Song,” a lively
piece which hops trains from pastoral folk to quaint singer/songwriter work to
heavy, incendiary heavy rock in its near 6 minutes of run-time.<span style="mso-spacerun: yes;"> </span>That’s just the tip of the iceberg on this
album.<span style="mso-spacerun: yes;"> </span>Second tune “Symmetry in Black
Tar” goes through as many mood changes as a Kansas song; sporting an authentic
progressive rock vibe with oddball time changes, acoustic guitars, near Latin
scales and all kinds of otherworldly compositional strangeness.<span style="mso-spacerun: yes;"> </span>Riffs rule the day on the muscular “Fear”
which is the kind of tune that 70s guitar rock giants like Mountain or Blue
Cheer would have scorched the airwaves with.<span style="mso-spacerun: yes;">
</span>Abban keeps the riffs at the forefront of “Aladdin” as well but ventures
into a quirky midsection with banshee chanting while the verse/chorus vocals
have a lot of pop flavor thanks to plenty of “Oohs” and “Aahs.”<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
album is reduced to a gorgeous, heartfelt simmer throughout its middle portion;
acoustic guitars weighing heavy o<a href="https://www.blogger.com/null" name="_GoBack"></a>n the minds of tracks
such as “Time to Think,” “Horizons,” “Sinner,” “Don’t You Stay the Same,” “Let
Me Tell You Something,” “Irene” and “Lord.”<span style="mso-spacerun: yes;">
</span>These tunes are not without their swells of bombastic volume but mostly
practice cautious restraint.<span style="mso-spacerun: yes;"> </span>What keeps
them from being “Acoustic Song A,” “Acoustic Song B,” etc. is the fact that
each one flirts with a different style from blues to country to pop to folk to
rock.<span style="mso-spacerun: yes;"> </span>Several veer into stretches of
almost world music with the selections traversing from Old West Americana to
the Holy Mountain Sinai in a single journey.<span style="mso-spacerun: yes;">
</span>Reckless guitar riff abandon returns on “Uh” and curtain call cut “Born
of Fire,” the latter of which focuses more on serpentine leads than basic four
on the floor blues grooves.<span style="mso-spacerun: yes;"> </span>The dynamic
“Black Water” is another late album highlight with its utilization of electric
organ and a slow, desperate climb from acoustic ebbing to road-burning guitar
rock thunder.<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;">A Sheik’s Legacy</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> lives up to its
name crafting an early legacy and career highpoint for its author Thomas
Abban.<span style="mso-spacerun: yes;"> </span>This is rock n’ roll with soul,
passion and purpose that refuses to play to standards, tropes or
stereotypes.<span style="mso-spacerun: yes;"> </span>It’s rare to find this type
of music in the modern guitar-centered pantheon where genre seems to be the key
selling point.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">A Sheik’s Legacy</i> has nothing to do with genre, it’s just an
old-fashioned rock album that meets and exceeds its epic intentions.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-15980120403646475282017-12-07T00:19:00.000-08:002017-12-07T00:19:11.280-08:00Josh Birdsong - Where the Light Bends (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAdii2GgLeDrIylZQlugh2KVSOEVbGMN1NngHTxyVRuHhPNBlQB-4i21V7SBLTqDD1HP4tN49p7MS_VoReJVRPu0uIs9fHAv9ObJao6Z-ooq5NYTzLzWB5li-BmJf6dIxRltuhSUduGY3w/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/AVvXsEjAdii2GgLeDrIylZQlugh2KVSOEVbGMN1NngHTxyVRuHhPNBlQB-4i21V7SBLTqDD1HP4tN49p7MS_VoReJVRPu0uIs9fHAv9ObJao6Z-ooq5NYTzLzWB5li-BmJf6dIxRltuhSUduGY3w/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>
<div class="MsoNormal">
<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>
<div class="MsoNormal">
<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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<br /></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>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Where
the Light Bends, EP number two from Detroit-to-Nashville
singer/multi-instrumentalist Josh Birdsong is a colorful display of
interlocking and interwoven guitar melodies ala David Gilmour, pulsing
electronica undercurrents and gripping, higher register vocals that avoid
falsetto cheese for something earthier and more relatable…<span style="mso-spacerun: yes;"> </span>All things considered it’s a very complete
piece of work.<span style="mso-spacerun: yes;"> </span>If it has any flaw it’s
that only a few songs truly standout but strangely enough this is also one the
recording’s strengths as well.<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;">This
EP exercises its charm more and more with every subsequent listen.<span style="mso-spacerun: yes;"> </span>If you’re looking for a release where you can
simply skip around to your favorite tracks, you’ll find that Where the Light
Bends doesn’t cater to finicky listeners.<span style="mso-spacerun: yes;">
</span>Instead, Josh Birdsong treats the EP like one lengthy 6-part magnum opus
with many soft change-ups in terms of dynamics and a thematic mood that is
completely coherent if you play the songs in order.<span style="mso-spacerun: yes;"> </span>Slight yet pleasingly melodic phrasing and
structure adjustments become apparent once you get to know the songs.<span style="mso-spacerun: yes;"> </span>For example, opener “Complex Contrast”
unfolds new guitar licks (both backmasked and straightforward) each time you
hear it.<span style="mso-spacerun: yes;"> </span>The slow, deliberate first half
is alive with guitars that constantly morph and shapeshift beneath a camouflage
of synths and hymnal electronic drones.<span style="mso-spacerun: yes;">
</span>Once the groovy percussion kicks in midway through, again the music
becomes something else entirely.<span style="mso-spacerun: yes;"> </span>At the
center of this psychedelic tempest’s eye stands Birdsong’s unwavering voice; an
expressive, emotional skyward timbre that crafts gargantuan hooks while never
stepping on the music’s toes… and it’s without a doubt that the music itself is
a larger focal point than the superb melody-intensive vocals.<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;">As
“Complex Contrast” ends it spills over into the shoegazing, angularly bent
guitar melodies of “The Sound Beneath the Static” which is like a
crosspollination of My Bloody Valentine’s white-washed audio collages if
filtered through the poppy indie rock of Sub Pop’s sadly forgotten maestros
Pond and their tripped-out ballads.<span style="mso-spacerun: yes;"> </span>“Cloud
8” is a tight mesh of push/pull guitars and keyboards that go from a pretty,
sanguine mid-tempo to some late game bombast in the post-midsection where the
riffs swell like tidal waves while still retaining their clean tones.<span style="mso-spacerun: yes;"> </span>“Too Much to Hold,” while a nice song in its
own right with a bluesy bent and more tangible rock n’ roll structuring, feels
somewhat against the grain as it sticks out like a sore thumb when measured up
against the rest of the album.<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;">Returning
to the EP’s main progression, “Arctic Desert” is a sprawling, epic composition
where western-tinged guitars collide into galactic, psychedelic melodies as
Birdsong’s vocals reach for a bit gruffer registers.<span style="mso-spacerun: yes;"> </span>It’s a powerful piece that should have been
placed as the album’s finale instead of the stripped-down, cosmic pop of the
title track which relies heavily on vocals and tangible guitar melodies.<span style="mso-spacerun: yes;"> </span>Where the Light Bends is an stellar second
outing from Josh Birdsong.<span style="mso-spacerun: yes;"> </span>There aren’t
any bad tracks and the EP could only be improved by tweaking the track listing.<span style="mso-spacerun: yes;"> </span>“Arctic Desert” should certainly be at the
end and you could move the title track to the position right after “Too Much to
Hold.”<span style="mso-spacerun: yes;"> </span>Still, minor nitpicks aside, this
is easily one of the finest EP releases this year.<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></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-55645933736774191862017-11-30T11:57:00.000-08:002017-11-30T11:57:50.576-08:00EZLA - 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; line-height: 115%;">INSTAGRAM:</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> </span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><a href="https://www.instagram.com/ezlaofficial/">https://www.instagram.com/ezlaofficial/</a><br />
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<b style="mso-bidi-font-weight: normal;"><u>TWITTER: </u></b><a href="https://twitter.com/ezlaofficial">https://twitter.com/ezlaofficial</a><br />
<br />
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; line-height: 115%;">Firmly lost in the weird, oft-forgotten electronica
underbelly that populated movie soundtracks during the 90s or even the stranger
side of the late 80s enters EZLA and her brand new disc, <i style="mso-bidi-font-style: normal;">Outcasts</i>.<span style="mso-spacerun: yes;"> </span>The
singer/songwriter’s alchemical mixture of pop, indie, trance, dub, noise,
drone, Top 40 and house music doesn’t sound like anything that’s come barreling
onto the scene lately.<span style="mso-spacerun: yes;"> </span>You might be able
to make some correlation to EZLA’s music and the solo work of Irish wild woman
Leslie Rankine, as both Ruby and under her own name.<span style="mso-spacerun: yes;"> </span>You may even find that touchstones as varied
as Blondie, Tricky and even Bjork apply to the music heard on <i style="mso-bidi-font-style: normal;">Outcasts</i>, but the fact remains that this
EP is very much its own thing and plays by its own rules.<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; line-height: 115%;">The EP seems best relatable for discussion when the
tracks are dissected as pairs.<span style="mso-spacerun: yes;"> </span>“Outcasts”
is a brisk open with dysfunctional beats congealing into a mid-tempo, shuck n’
jive chorus while the themes zero in on the pulse of living forever and a
certain degree of urgent profanity that punctuates much of EZLA’s work all
across the 5 tracks on display.<span style="mso-spacerun: yes;"> </span>Laid out
beside track #2 “Skeletons” where its equally soft to loud dynamics and
acerbic, dysfunctional verse beats simultaneously shake things down only to
shake them up again, later opening up into an arid, sing-a-long pop chorus. The
two compositions are very, VERY much alike.<span style="mso-spacerun: yes;">
</span>The vivid, poignant beauty and crystalline hypnotics of “Satellites” and
“Hangman” explore deeper themes of love and the damage it does to a person,
while the percussive backgrounds and gliding chorus synths provide numerous
parallel points that ensure these tracks are the perfect companions for one
another.<span style="mso-spacerun: yes;"> </span>Whereas the opening pair of
songs feel like they could break apart at any moment until the listener reaches
the chorus destinations, it seems as if the next pair feels as if they are much
more ordered, arranged and designed to follow a more tuneful, song-oriented
trip down a dark New York City alleyway.<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%;">This leaves the somewhat crazed and psychologically
unstable “Psycho Killers” to occupy a space all by itself.<span style="mso-spacerun: yes;"> </span>Proudly belting out the EP’s most harrowing
set of lyrics, EZLA’s voice goes from a wispy croon to nearly satanic vocal
back-masking atop a pounding, urgent beat and caterwauling synths; a proof
positive snapshot that the singer operates from a darker frame of mind than
anybody peddling pop songs in modern times.<span style="mso-spacerun: yes;">
</span>Quite frankly, the extremes covered on <i style="mso-bidi-font-style: normal;">Outcasts</i> will be too intense for the casual listener, delegating
the EP to record collections that favor honest, frantic electronica that’s not
afraid to bombard the audience with curveballs.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Outcasts</i> is an excellent piece
of work from front to back cover and it makes clear the point that EZLA is an
artist to keep an eye on as she progresses from release to release.<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></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-18833161949166418372017-11-13T11:55:00.000-08:002017-11-13T11:55:15.431-08:00Nick Black - Summer + Spring (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDn19vmsaZdSqXnvWQ_27CQe-ENk5A6DGBa7KTZR_VU24czeMiZxJV5KNB4q9TL5e6fgJUMgo5brnS6pa63g4qCKbp9Yg-QO4ntxIY7BaKzkIRqHWcSWap-1n6YgiHXB2xSX8rqqmdtkgK/s1600/Summer%252B%252B%252BSpring%252BDigital%252BBooklet-07.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDn19vmsaZdSqXnvWQ_27CQe-ENk5A6DGBa7KTZR_VU24czeMiZxJV5KNB4q9TL5e6fgJUMgo5brnS6pa63g4qCKbp9Yg-QO4ntxIY7BaKzkIRqHWcSWap-1n6YgiHXB2xSX8rqqmdtkgK/s320/Summer%252B%252B%252BSpring%252BDigital%252BBooklet-07.png" 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://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 Laura Dodero, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
third release from twenty eight year old Nick Black, Summer + Spring, is easily
the most complete recording yet from a young musician and singer that has
amassed more and more of a reputation as one of R&B, soul, and funk’s
foremost practitioners working today. These aren’t songs devoted solely to just
having a good time, but they do have an upbeat sound even at their most serious
and largely concern themselves, subject-wise, with self reflection and
interpersonal relationships. He’s grown enough as a performer and songwriter
that he’s comfortable incorporating comedic tracks alongside the more serious
numbers, but he never loses sight of musical excellence even when his point of
view is less than serious. He’s logged a lot of miles and sparked audiences
across the country since his 2012 debut and the passion he brings to bear for
what he does distinguishes him from the pack. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
comes leaping out of his corner swinging with the first song “Joy to the Girl”.
The not so subtle play on a popular phrase works wonders for this charming and
very funky track and Black spices it up even more with a supple vocal and
flashes of the guitar brilliance he brings to every project. His guitar playing
is held in check on the album’s title song “Summer & Spring”, but it has a noticeable
effect thanks to the crackling fills it drops into the mix and how much
chemistry it strikes up with the rhythm and brass sections. While some songs
are obviously better than others, I never hear anything else than full on
chemistry stamped on each of the album’s thirteen tracks and few songs
illustrate that better than the laugher “Nick at Night”. Once again, Black
plays off a phrase common in the culture and makes it his own, but there are
layers to this comedic romp as a close listen to the lyric gives listeners a
chance to form more than one interpretation. “Runaway Heart” is, arguably, the
closest that Summer + Spring comes to an outright blues, but there’s a
commercial side to this song as well that primes it for radio play. Despite his
allegiance to styles that have long fallen out of commercial favor, Black’s
songs are crafted with an obvious desire to appeal to a much wider audience
than genre buffs and he’s successful in this regard.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Neighbor”
is likely the nearest that Black comes to manifesting an outright rock sound
and pairs up quite powerfully with its funked out follow up “When the Morning
Comes”. Black cuts loose on the latter song with stinging lead work and an
unerring sense of rhythm that gives the song some added internal propulsion. “Dance
in the Light” has some of the same funk influences, but they are tempered some
and much more stylized than on the aforementioned cut. Summer and Spring ends
with the one two punch of “Outside of You” and “The River” – two tunes that
could scarcely be more different. The former is a confidently striding soul
rave up with just the right amount of force employed to make an impression
while the closer concludes things on an acoustic blues note and contains Black’s
most soulful vocal on the release. It’s quite an album for this young performer
and undoubtedly his best yet. </span></div>
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<![endif]--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-70482493146226027382017-11-05T01:02:00.000-07:002017-11-06T10:22:49.783-08:00YYY - A Tribute to the Beach Boys' Pet Sounds (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;">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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<div class="MsoNormal">
<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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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">YYY’s
A Tribute to the Beach Boys’ Pet Sounds revisits a seminal album release that,
by 2017, should be considered every bit as canonical to our culture as
Christmas classics and other iconic works from the first and second generation
of modern musical and rock performers. The powerful imaginative hold exerted by
this classic crosses generations – young Minneapolis musician Austin Carson,
aka YYY, has set the bar high for himself with this audacious musical endeavor
and the bevy of local performers he drafts as guest stars makes the case,
however inadvertently, that the Minneapolis area remains a key hub for original
American music in 2017. These covers are far from slavish imitation; instead,
YYY aims at nothing less than fully re-envisioning Brian Wilson’s classic
compositions for a modern audience. It sounds like hubris. The thrilling part
is that it turns out to be anything but hubris because YYY pulls it off so
compellingly. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">He
begins the album with “Wouldn’t It Be Nice” featuring the guest talents of deM
atla S and we are confronted with an approach that’s equally faithful to key
elements of the original while offering a deconstructionist take on the
remainder. There’s a couple of crucial drum sounds in the song – he adopts a
highly-charged, live sound during portions of the track while relying on more
electronic percussion during the song’s second half. There’s an appealingly
raw, emotive sound to the vocals that will hit home with many. Electronic music
is a big part of what makes this such an idiosyncratic release, but it’s always
placed within a larger context that contains nods to the traditional as well. “You
Still Believe In Me” has a guest star as well, City Counselor, and her
ethereally tinted voice is highly appropriate for the track. It achieves a
surprising and entertaining near-orchestral grandeur despite the electronic
backing and has a beautifully pensive vibe. “That’s Not Me” finds YYY going at
it alone for the first time on the album and his love for the Beach Boys vocal
arrangements shines through once again. When Carson errs on the side of
following Wilson’s examples, it’s invariably expressed through fidelity to the
vocal arrangements and melodies. He finds inventive new vehicles for these
elements without ever betraying the song’s original spirit and infusing it with
something of his own. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Another
turn from YYY on his own is the song “Let’s Go Away For a While” and he
structures this piece as a sultry, moody instrumental with a dollop of voice
over attesting to her love for The Beach Boys buried in the mix. It’s built
around electronic instruments, for the most part, but keeps a warm and alluring
sound up throughout the song’s duration. Al Church provides a particularly
affecting vocal on the eternally vulnerable “Sloop John B” and sings with such
open-hearted feel that it spins a dreamy, dramatic web for the song. Echoes of
the original version underpin this, like they do so many songs on this album,
but they provide the same basis for YYY to stamp the song with his own
individual brand of magic. His take on the original album’s crowning achievement,
“Good Vibrations”, utilizes the guest talents of Fort Wilson Riot and the
dueling male and female voices in this song make for a nice contrast. The song
remains remarkably faithful to the original version while providing its own
finish to the number. One of the most distinguishing parts of this release is
how YYY resolutely avoids self-indulgence throughout the entire album and that artistry
reaches its zenith with the final track. As tributes go, there’s nothing quite
like this, but one listen to it will convince you that it’s far more than mere
tribute. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6162620865075714106.post-81981559681942607662017-11-05T00:03:00.001-07:002017-11-05T00:03:52.314-07:00Elliot Schneider - Don't Put All Your Eggs in One Basketcase (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4IJGJNPhSwXpFyO1bre90yla57fDwax2uZ_F1zXg9zKeFNs_aJjiFFRdQybOxP20Klnp8Tei_mw7fE4SOHptNI-rYD0uKLQy8jgFy0BArT4bBfW7bn6mN0E12QPkM-XA4aLt0zPIDSKG/s1600/sch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="495" data-original-width="500" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4IJGJNPhSwXpFyO1bre90yla57fDwax2uZ_F1zXg9zKeFNs_aJjiFFRdQybOxP20Klnp8Tei_mw7fE4SOHptNI-rYD0uKLQy8jgFy0BArT4bBfW7bn6mN0E12QPkM-XA4aLt0zPIDSKG/s320/sch.jpg" width="320" /></a></div>
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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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<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;">Elliot
Schneider’s eleven song studio release Don’t Put All Your Eggs in One
Basketcase comes appended with some bonus material, namely demos, rehearsals,
and live performances from across his long life in music, and the combination
of these seemingly disparate sources makes for an even meatier release. This is
his fourth solo release since returning to the fray of a focused music career;
Schneider, after his pursuing his dreams as a young man, chose to walk away
during the Eighties and, instead, pursued a career as an educator. Only when he
retired as a teacher did Schneider return to writing and recording music in
full and the results attest to a talent that never laid dormant during those
“lost years” but, instead, deepened and widened in all the right ways. There’s
a nice musical mix here as well – some of the tunes are definitely throwbacks,
but Schneider shows a willingness and ability to sound completely modern as
well.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There’s
nothing about this album to suggest that Elliot Schneider isn’t a spirit in
full flight and writing at an inspired level few songwriters reach. “The Moon
Has Flown Away” relies on some elegant imagery and a warm, inviting vocal tone
from Schneider. He sounds like an eminently likeable performer and, if the
listener is a newcomer to Schneider’s talents, there’s scarcely a better way to
introduce him. The guitar sound, album wide, is a stre”Diehardngth and that’s
no exception here. “Diehard Killjoy” lives and dies with the guitar,
particularly the rave-ups punctuating the track, and has a hard-nosed charging
quality that will work for many listeners. The weave of guitar notes propelling
“Captain Argent” forward has a delicate, melodic touch dancing fleet-footed
over a lean drumming attack. It’s has the air of an acoustic track given some
light electrification, but there’s just the right amount of rock muscle thanks
to the rhythm section. There are few songs on the album close to being any kind
of ballad, but “In a Sense Innocence” comes close and has the same
aforementioned folky elements, but they are accentuated much more strongly here
than they are on “Captain Argent”. The harmony vocals employed on this track
sweeten it more and further develop its melodic excellence.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Overruling
Neo-Fascists” is a heavily stylized piece, but it beats with a real heart and
never feels overly plotted out. It’s a curious marriage of music and lyric, but
convincing and amounts to a sort of stylistic hybrid and chimes in with some social
commentary without any real finger pointing to speak of. “Surreal Survivor” has
a raucous edge and real swing that gritty guitar work latches deep into, but
Schneider feels like he’s straining to match the rough and ready texture with
his vocal. It isn’t a grievous flaw, but it feels like it hampers the song’s
potential a little. The album’s six bonus tracks are a mix of previously
unreleased recordings from live performances and rehearsals alike and are
likely included to lend some sort of over-arching view of Schneider’s life
writing and performing music. They are an effective addition, but the real meat
of the album lies in the first eleven songs and Don’t Put All Your Eggs in One
Basketcase deserves mention as one of 2017’s most worthwhile albums. </span></div>
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