Rachel Decker, Craig Roy, George Dimitrov and Tom Pearce are the Oak Hill Drifters. The band formed in 2014 and last year they released The Iris Sessions. It’s a five-song EP that lasts around twenty minutes.
The inaugural strides are orchestrated by the evocative "Carpe Dame." Here, the auditory curtain rises to reveal a soundscape that pays homage to the spaghetti western ethos. The listener is immediately ensnared in the mystique, akin to Tarantino's cinematic mastery. Rachel Decker's vocal prowess is the vanguard, an indomitable force that effortlessly guides the listener through the dusty, sun-soaked expanse. "Rusty," emerges as a finely-wrought synthesis of rock and country, a testament to precision in musical craftsmanship. Within its rich tapestry, there's a whisper of surf rock, subtly woven into the fabric of the lead guitar melody. Catchy vocal harmonies dance through the airwaves, inviting listeners to let loose and succumb to the vivacity of a live performance. "Fair Game" is a solid song, evoking echoes of Tom Waits while conjuring a vivid mental tableau reminiscent of Eastern European traveling circuses. The Oak Hill Drifters infuse their unique essence into this song, seamlessly blending elements. A tantalizing oboe flits through the composition, and towards the song's denouement, an exquisite solo unfurls, leaving listeners rapt and enchanted. Beneath the canopy of the most Americana-infused offering, “Believe Me, Iris,”beats the heart of a potential hit single. Infused with an unbridled forward momentum, it exudes an aura of mass appeal, a siren's call to music aficionados far and wide. The Oak Hill Drifters hit their stride here, crafting a song that promises to etch itself into the collective consciousness. "Shindig," as the name implies, bursts forth as a jubilant celebration. This exuberant composition is a sonic fiesta, marked by the delightful inclusion of the accordion—a veritable cherry on top of the auditory cake. The Oak Hill Drifters, once again, showcase their knack for creating sonic landscapes that are as festive as they are jubilant. I thoroughly enjoyed this EP and look forward to hearing more in the not too distant future.
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Clear The Benches is the new, self-titled EP by Nashville singer-songwriter Todd Joseph, recording under the band name Clear The Benches. Joseph is not looking for his music to be defined by genres but hopes to “reflect and give back to all the influences I’ve obtained over the years.” His sounds stretch from “anthemic alternative rock” all the way to Home Production in the Box, and are meant for “people who appreciate music in all its forms.”
Having heard the album through, I can confirm Joseph’s lack of fidelity to “genres.” I was treated to hard rock, hip hop, dreampop with rap, outlaw country, and folk rock, pretty much in that order. Though I have no album credits to work from, the other members of Clear The Benches are Matt Carter, Clark Singleton, and Solomon Behn. “Baby Doll” leads the pack with sharp, bluesy guitars beneath mysterioso Dr. John-style vocals. It morphs into a slamming blues rocker with big keyboards and drums and a radio-friendly chorus. “I thought I would charm you, I guess I did not,” Joseph sings, and he couldn’t be more wrong! Talk about skipping across genres: “So I Don’t” totally surprises with a hip hop arrangement and a heavy funk vibe. Joseph’s rap and chorus vocals are clever, amusing, and filtered through several effects. “Found a drug and abused it / because I liked the way it felt with the music.” The choruses are even better, sounding both like pure funk and wild, experimental rock. The interplay with the staccato guitars and retro keyboards is something to behold, and took me way back to high school (though I won’t say when that was!). “Rock The Boat” continues somewhat in the rap vein but with dreampop backing and gorgeous full-vocal choruses. Joseph’s harmonies are unique in that they’re mostly in the lower range, with different levels of bass and tenor without throwing in a high vocal “just because.” “A Yankee In A Rebel Town” takes an unexpected turn into outlaw folk-country (the title is a clue, plus: “I wear a bullseye like a rodeo clown”). You got your sparkling clean acoustic leads and slides, paramilitary snare drum rolls, and Allmans-Little Feat influences. A good track that feels short! “It Happens All The Time” feels even more traditionally folky, with strummed acoustic guitars and tasteful keyboard backing. Joseph’s harmony vocals now reach from low to high (sounds like he has a female co-soloist too), and are recorded so intimately you feel he’s sitting on a stool just across from you. “In The Revelry” ends the album on an uncertain note, as the track itself sounds like a distant signal from a shortwave radio. Stylistically, it continues the closeup, honest folks arrangement from the previous track. The little keyboard grace notes between verse and chorus have a magical, otherworldly quality. Lyrically, the song proudly embraces those times we all imbibe too much (partying, music, what have you), because we must. A very interesting mixture of styles for a relatively short EP, all worth checking out!
Kevin DeHart on drums, Steve Dicks handling guitar and bass duties, Roger Hughes on guitar and vocals, and Michael Starks lending his vocals and keyboard skills, reunite fresh from the release of "Lite Bright Sky" to present their latest offering, "Loaded." From the opening moments, it's evident that this track is a sonic tapestry.
Clocking in at around 90 BPM, "Loaded" unveils a lush soundscape adorned with clean guitars, delicately played drum beats, and a robust bass foundation. Despite its brevity, spanning a mere two and a half minutes, the song maintains a consistent dynamic, a choice that seamlessly aligns with the weighty subject matter at hand. As Michael Starks delivers poignant lyrics, singing, "So many guns are loaded, do they point at you? We'll give you thoughts and prayers, maybe a tear or two. Just another news flash, same as yesterday. Hard to believe what's out there, such a price to pay." The lyrical content delves into the pressing issue of mass shootings in the United States, capturing the essence of a societal problem that demands attention. "Loaded" not only boasts aesthetic appeal but also serves as a thought-provoking piece of art, successfully engaging listeners in reflection on the challenging realities of our time. In a world grappling with the gravity of such issues, this track hits the bullseye, showcasing the band's ability to fuse musical craftsmanship with social commentary. "Loaded" is a testament to the power of art to prompt contemplation and discussion.
Justin John Scheck makes a triumphant return with the latest installment in his ambitious series, "The Blue Collar Diaries," marking the Third of Four Concept Albums. This album dives headfirst into the realms of Grunge, Industrial Music, Blues Rock, and Trip-Hop, sculpting a sonic landscape that echoes the eclectic influences of a bygone era. Scheck paints a vivid picture, describing it as "As if Tom Waits and Kurt Cobain went back to the 19th Century and taught Pirates about music and music production.”
In his conceptual exploration, Scheck candidly delves into the depths of his own struggles with mental illness and addiction, shaping the thematic core of the album. "The Sparrows Dreams (Remix) Explicit" kicks off the experience with an industrial beat reminiscent of NIN's "The Fragile," yet Scheck's distinctive voice asserts itself, creating a maximalist atmosphere that commands attention. "Rebirth (But You) (Remix)" erupts with intensity, featuring blaring guitar and a monolithic bass drum. The cinematic quality feels poised to soar off the speakers, with Scheck's vocals reaching a peak as if shouting from a mountaintop to the gods. "The Sea Is Red (Remix)" merges genres in a captivating way, evoking shades of Neutral Milk Hotel in the vocal melodies while presenting an entirely different musical palette. The fusion of mysterious instruments, be they horns or synths, culminates in a catchy and intriguing hook. "Of Us From Us (Remix)" stands out with its slick glitch beat, creating a haunting and ghostly ambiance that showcases originality in sound. "It's A Cryin' Shame (Remix)" introduces a bluesy rock hybrid, uniquely crafted to enhance the essence of Scheck's sonic identity. "Beneath The Waves (Remix)" exhibits exceptional production and sound design, featuring a mesmerizing combination of deep baritone vocals and a lead instrument resembling a sliding wind instrument. Scheck's exploration of inventive territory continues with "Out Of Sorts (Remix)" and "She Said (Remix)," culminating in the accessible and emotionally charged "My Soul (Remix)"—a beautiful testament to Scheck's vocal prowess. Once again, Scheck proves his mettle, delivering an inspirational blend of production and sound design that pushes boundaries. "The Blue Collar Diaries" stands as a testament to his artistry, inviting listeners to immerse themselves in this album. Don't miss out—take a listen and experience the brilliance for yourself.
The artist known as Mjoy states the song "Watermelon Nights" initially started out as an idea for processing feelings around people I knew, during the pandemic, being turned on more to right-wing propaganda. It eventually turned into a song about the conflict in the Middle East.
I think this topic is very contentious and I have a lot of friends from Israel and that region who have been affected by the war. Suffice it to say this is very complicated and unless you are from the region I think it’s extremely difficult to understand the cascading narratives that have been framed by the media. Sonically, "Watermelon Nights" opens with a delicate, velvety beat, complemented by Mjoy's well-crafted vocals that deliver the narrative with finesse. The infectious hook and the song's overall structure prove to be compelling, with ethereal undertones provided by additional vocal harmonies, electronic beats, and subtle background elements. Lyrically, Mjoy is unabashedly clear in expressing her thoughts, acknowledging the likelihood of dissenting opinions. Yet, amidst the potential for discord, there's an unmistakable sense of compassion driving the artist's perspective. In the intricate web of "Watermelon Nights," Mjoy artfully balances personal reflection with a musical tapestry that captivates and challenges in equal measure. Gary Sohmers is well-known as “the King of Pop Culture” for his many appearances on the PBS series “Antiques Roadshow” where his knowledge of pop culture collectibles and toys comes quite handy. However, Sohmers has had a parallel career in music, having produced over 1000 concerts including artists like Mike Bloomfield, Ted Nugent, Bob Seger, The Siegel-Schwall Band, Styx, The Sons of Champlin, Richie Havens and Genesis with Peter Gabriel. His most recent project is Beasties: A Sci-Fi Rock Opera, currently available on streamers. This album is not just a rock opera, but a “cast concept album” that Sohmers plans to turn into a roadshow event with a Broadway run down the line. Sohmers describes it as “a pop culture work of art aimed at saving the planet and humanity from climate destruction and societal corporate corruption.” Tom Majesky plays guitar. Bill Holloman (Chic, Nile Rodgers) co-wrote, arranged and orchestrated the album, with mixing by Paul David Hagar (Miley Cyrus, Katie Perry, Jonas Brothers). Mastering was by Emily Lazar and Chris Allgood at The Lodge, New York. There are 17 songs over two albums (almost two hours!), so I’ll mention some of the highlights. The curtain rises, so to speak, with the “Beasties Overture.” You can imagine sitting in a darkened theater as phased clouds of sound slowly rise around you. At the exact one minute mark, a solo electric rhythm guitar blasts forth with a chunky, engaging rock instrumental. “Good Old Friend” features the full band for the first time, and it’s clear the music will owe much to bands like Rush, Boston and even Sohmers’ early discovery, Styx. Lead singer David Bickler appears as Grā, an impulse from the cosmic universe, along with soul singer Barrence Whitfield as the “star” of the concert, appropriately named Voice. The music is classic rock with a prog edge, backed up with chorus singers, horns and wailing leads. All the previous cast members are then joined by Liz Proteau in “Forever Girl” as the female lead Terra. The verses have some of Bowie’s majesty (“Sons of the Silent Age”) while the chorus has a Monkees-like accessibility. Even more surprising is a duet of Allmans-like slide guitars in the middle section. “Knock It All Down” is an amusing, engaging reggae detour featuring LaVon Fisher-Wilson. “Even the Cool Succumb” introduces actual British rock star Chris Farlowe (he worked with the Stones, Jimmy Page, Van Morrison and more) as the villain Dick Traitor. Great voice, with some of the jolly menace of Tim Curry and the power of Roger Daltrey. “Beasties” is sort of the title track, introducing the stars of the saga with spirited vocals from the whole gang. Terrific harmonies and fun rhymes distinguish this song. “Dinosaur Rock” has a similar arrangement but has lots of fun with the tropes of classic rock, with the chorus sung like cavemen. Some very cool percussion in the final third. “Stand Up and Be Counted” is the most Broadway-sounding track thus far, stretching all the way back to “The Music Man” (you may not get that reference, but Sohmers certainly does!). Imagine a marching band playing a new, original song and you’re halfway there. “Empathy” is another stage-ready extravaganza, with an interesting twist on McCartney’s “Mother Natures’s Son.” “Love and Let Love” features a welcome solo moment for Liz Proteau, whose voice compares favorably with Disney heroines like The Little Mermaid. The other voices are quite amusing, and also reminiscent of outlandish Disney characters. “Dive” is one of the hardest rockers, with blistering riffs, growling vocals along and spooky blues-infected background soloing. Just to make sure all genres are represented, “Why” is jumpin’ funk fest with a full horn section, Dr. John-style piano and amazing percussion. “The Price of a Kiss” is a fully produced folk-country detour from the Jimmy Webb-Warren Zevon school. You can see both the pedal steel and the big performance stage in your mind’s eye. Great vocals from Bickler and Proteau. Jumping ahead to the big 7-minute conclusion, the whole cast assembles for an Off Broadway extravaganza, starting out playing rock but quickly morphing into the ultimate showtune. I’m feeling a lot of late-60’s influence here, as well I should. “Be kind to all / kindness is the currency / spend freely!” There’s lots to experience here, as you’d expect for an audio show hoping to hit the footlights to packed houses. Get in early and have a great time!
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Terror Garden is an American metal, hard rock & groove metal band from Long Island, New York. Still retaining two original members from their founding in 2010, the band has just released a new album titled Psychotic Disorderly Magick.
The band’s players are Paul Terror (lead vocals), Gina “Gee” Llasi (drums), Mike de Gruchy (guitar), Ed Pallotta (guitar) and Wild Bill Sherman (bass). The group says it’s influences range from “1970’s classic hard rock to today’s modern, metal scene.” “The Party’s Over” is a fun title to start with, as the party is clearly just getting started. This is one of those songs where it feels like the big ending has been cut and pasted back to the front! There’s wheedley lead guitar and tumbling toms galore. The vocals are from the classic hard rock and metal school, halfway between Axl and Geddy. It’s thick and anthemic and there won’t be anyone in the room who ain’t rocking. “Should Have Seen It Coming” ups the YEAH! vocal quotient considerably. It’s a sinewy, driving, bass-heavy track that gives Paul Terror plenty of chances to wail, as the lead guitar screams into the night like a wolf in a trap. The second half of the track resets with full attention on the grumbling bass, then slowly brings everyone back for the killer finale, which even includes an amusing spoken coda. “Up All Night” is a hyperspeed funk fest, like the Chili Peppers or “D’yer Mak’r” by Led Zeppelin. Amazingly tight even at triple speed. “Hangin’ by a Thread” would be a hard rocker by any other measure, but after the opening tracks it’s actually a bit reserved, with a bit more air in the room to appreciate the band’s dexterity. It also features an incredible guitar solo that I’m still not certain wasn’t performed on a keyboard! Guitar freaks, look no further! The extremes of soft and hard rock in this track are very Zeppelin-esque. Continuing the trend toward less monstrous tracks, “Back in the Day” starts on acoustic guitar and adds electric guitars pretty much set to “clean” until the anthemic choruses: “There was so much energy / BACK IN THE DAY! / Everything was different then / BACK IN THE DAY! / No computers or internet / Leather skirts, fish nets, those are things I’ll never forget.” “Cyclone” starts with a bass vamp, leading into - yes - another Zep-like blues-funk excursion. Vocalist Terror sounds less like Robert Plant but more like the classic Chicago blues belters. The chorus is “Gone but not forgotten!” which could be an alternate title. “Life Don’t Matter” is a deliberately-paced hard rocker bathed in molten waves of fuzz. I noticed the bass has a cool, trebly Rickenbaker tone. Extremely cool, unexpected middle section too. “Desperate for Attention” brings us home with an angry rant aimed at someone who’s better off going away because “He’s just so DESPERATE!!” Can’t help but wonder if this isn’t aimed at an unhinged fan (“travel a thousand miles for a hundred dollar show!”) because I doubt any woman would put up with being described this way. But oh yeah: it’s a great tune with killer vocals, amazing guitars and many exciting changes including a guitar solo that was probably paid for with human souls. By now you’ll know if you need to hear this, and I think you just might. Recommended!
In the realm of transatlantic musical ambassadors, Len Hansen stands as a distinguished figure, adept at building bridges between North America and Norway throughout his extensive career. Renowned for his captivating vocals and diverse song variations, Hansen enjoys widespread respect among his peers in both Scandinavia and North America. Hailing from the heart of Canada's "The Folk Music Movement" during the 60s and 70s, he seamlessly incorporates the stylistic nuances of that era into his musical repertoire.
A graduate of the Ontario College of Art and Design in Toronto, Hansen is not just a musical virtuoso but also a visual artist, leaving an indelible mark on both fronts. With a performance history that spans countless concerts in Europe and North America, as well as notable appearances on national television and major stages, Hansen's artistic footprint is expansive. Upon delving into his musical catalog, the organic, folk-oriented, and heartfelt nature of Hansen's compositions becomes immediately apparent. The enchanting journey commences with "All I Know," a tender and welcoming love letter characterized by exquisite guitar and piano interplay. The lead vocal, infused with a soft angelic harmony, contributes significantly to the song's emotive resonance without veering into saccharine territory. "Tell Her About Greed" takes a departure into a different sonic landscape, evoking the spirited ambiance of an old-time hoedown. The upbeat composition transports listeners to a bygone era, exuding a timeless charm reminiscent of the 60s or 50s. The acoustic instrumentation creates an intimate atmosphere, as if one were enjoying the performance in a lively dive bar surrounded by a jubilant crowd. The sonic exploration continues with "Row Upon Row," a slow-burning, pensive composition that unfolds with an orchestral grandeur. The beauty of the piece is augmented by its contemplative nature, and attentive ears might catch the ethereal tones of a didgeridoo, adding an unexpected yet captivating layer to the arrangement. In essence, Len Hansen proves himself a versatile artist, successfully navigating the diverse landscapes of his musical endeavors. From the soft and sweet realms of love letters to the lively hoedowns echoing through time, and the contemplative orchestrations, Hansen's artistry shines through. Dive into his musical world and experience the multifaceted brilliance that defines Len Hansen's work.
Rash Panzar is a hard rock group from Geneva, Switzerland, who have just released a 12-track album titled "Liberation."
Rash Panzar was formed in 1979 and released their first single, "Heavy Leaders," in 1984, followed in 1988 by the EP "Rock ’n Roll Street," helmed by famed producer Dennis Weinreich (Jeff Beck, Procol Harum). They continued to release albums over the years until 2023 when they hired producer Serge Morattel to record "Liberation" and are now busy with that same producer on a follow-up. Here are just some of my favorites. When people talk about songs blasting right out of the gate, they're talking about a song like "Easy Lovin’, Easy Livin’," which tears down your backyard fence with chainsaws and jumps on the foot of your bed with hard-living, hard-loving vocals. Rash Panzar basically sound like every hard metal band you ever liked mixed together in a bongwater stew. I could list names forever, but how about Van Halen, Detective, Black Oak Arkansas, and AC/DC to start? The vocalist has total rock swagger, and the lead guitarist shreds without too much neck-tapping lunacy. "Rock On" is a jaunty, jumpy ode to both rock and roll and the ladies one finds haunting the shows (is that sexist? This kind of music gets you thinking that way!). On this track, I became aware of the drummer’s deep pounding tubs and tumbling rolls. "Freewill" takes a lateral move to very heavy metal with wild wah-wah lead guitar skittering around with startling abandon. The lead vocalist goes way beyond James Hetfield cookie-monster menace. For a song like this, my music pals would say: “Here come the Orcs!” "No Way" starts with a double-time jungle beat that reminded me of '50s rock and roll, and as soon as I thought that, the singer burst forth with a very Elvis-like vocal (or Jon Spencer, if you want a reference that’s less than 70 years old!). Not quite as loud and heavy as the previous tracks, so there’s a bit more sonic room to enjoy the musicianship. The steady beat almost reminds me of brushing teeth, highly amplified and backed up with floor toms. Similarly, "Reason" has a very fast piano-based beat that hints at the early rock and roll of Jerry Lee Lewis. You’d expect a track named "Wild Roses" to have an acoustic guitar, and there it is! Without losing any of the power of the whisky-drenched lead vocals (and the cool harmonies), this is a laid-back ballad with heavy choruses and, of course, a sweet concluding guitar solo. "Liberation" is a stomping rocker distinguished by bluesy slide guitars slithering around unrelenting one-chord verses and angry, rollicking choruses. "Shiny Eyes" is the concluding track of your dreams, with a supersonic forward momentum that could power a Mack Truck. For these guys, this is a love song, and I’ll be damned if our swaggering lead singer doesn’t betray a sentimental catch in his powerful pipes. Ear-popping fast-picked solo for the win! I won’t pretend there’s anything new or revolutionary about this music, but if you love this sound and style, these guys have it down to a crazed science! What is Blue Mallee? One answer is that it’s an oil or soap derived from the Eucalyptus plant, commonly known as the blue-leaved mallee, endemic to south-eastern Australia. What is the Blue Mallee group? They’re a folk music duo endemic to Sydney, Australia, who’ve just released an EP titled Questions Of Fear. The members of Blue Mallee are a mystery, even in this total information age. They look like a husband and wife but never say so. Searching all their social media and reviews, I could not find so much as a first name! So, this review will be totally about the music, which they say showcases “music ambience, primal rhythms, soaring vocals, storytelling, and great banter, pushing the boundaries of contemporary indie folk music with traditional influences and dreamlike soundscapes.” The duo has played many venues and festivals in Australia. Based on their Instagram photos, it appears that the man in the group plays guitar and most other instruments, with the woman performing hand drum, percussion, and harmonies. Keeping the anonymous nature of this band consistent, they state that recording took place in two different studios in Sydney, with one track recorded and mixed by “an award-winning producer.” Mastering was done by a Highly Regarded Mastering Technician. Approaching the band as a novice, I saw the word “folk” and was expecting yet another traditional roots-folk album. It is nothing of the kind. In fact, it’s much closer to dreampop than folk, though without the Pop. The band specifically describes this collection of songs as having “melancholy undertones that could only exist in cold climates such as Iceland and Austria.” “Hallstatt” begins very much like a classic folk song, with gorgeously strummed acoustic guitar and sincere, reassuring vocals (“I love the view out my window / I love watching the view change / Especially at the lowest light”). The band explains that the song “was written whilst traveling in Austria and picking up a mysterious virus in Salzburg. Planning to visit Hallstatt situated on the other side of the lake, these words were penned whilst bed-bound in Obertraun and later formed into a song during the 2020 COVID lockdown.” From the beginning, instead of pedal steel or something similar, we start hearing ghostly secondary guitars and synths that grow steadily louder until they fully envelop the vocalist. There is a slide guitar solo in the middle, but it’s more of a feeling instead of a star turn. By the final third, we also have drums and bass and even a faint harmony vocal. I found this song to be a perfect example of Blue Mallee’s unique mixture of folk and space music. This is followed by a very short instrumental track confusingly titled “z3p()73Vn3” that is fully ambient and orchestral and acts as a kind of overture for the next song. “Flush of Hearts” follows the template of the opening track, with the folk-rock tune at its center surrounded by strange ambient effects, including bird-like electric guitar. This song, even within the sound miasma, has a forward energy very similar to Irish traditional. The electric guitars and drum kit drive the song even harder. “GODAFOSS” was an early single from this album, released on all streamers. The band calls it “a saga story about survival and sacrifice entwined with Norse mythology.” As befits an Epic Saga, there are several sections, starting with delicate acoustic guitar and piano along with story-song vocals. There are ominous rumblings of lost fishing boats, a lack of food, and a father “60 years gone.” The music gets even quieter before the big explosion of electric guitars, multiple heroic vocals, and deep, assertive hand drums. There’s dark power in the drone-like driving chords, pushed almost to the breaking point. In the final section, I was amazed to hear what sounded like a string section. “Boat With Wings” is a short acoustic interlude mixed below big, slow waves of keyboards and feedbacked guitar, which leads into the six-minute final track “Bedroom Bride” which was “recorded and mixed by an award-winning producer.” Not dissimilar from the other songs, this one has just a bit more care and gravity, with lots of interesting panned sounds as the vocalist sings with a melancholy, Glenn Hansard energy. It’s a great track with beautifully recorded elements, though I might have preferred just a bit less mixing magic (but that totally depends on your mood!). Honestly, I thought I knew what to expect from these guys, and was almost totally wrong. Fans of folk who don’t mind dreamy, spacey detours should find much to love here. |
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