Travis William Tuer aka TUER has been making music for most of his life. At the ripe age of seven he was playing piano and by eleven he was playing the trombone. When he grew up he became headband director and in 2012 created Jazz Trombone Workshop.
Tuer also happened to release an album called Journey Back. He wanted to create a Christian album that is far different from what is normally heard. After spending some time with Journey Back I’d say he definitely succeeded when it comes to the music and was less successful when it comes to the lyrics. Let’s start wit the lyrics. Simply stated if you aren’t into the whole Jesus thing and a devout Christian then it is harder to get behind what is being sung about. Almost all of the lyrics deal with either Jesus’s love for you, forgiveness, how he died on the cross for you, guidance, etc. Topically the album treads on the same subject most Christian albums deal with. The music is at its best when it's upbeat and lively. Take for instance the opener “You Are” which is funky, fun and light. It’s a catchy tune and the horns are integral to the song. The horns end up being a very important part to many of these songs. The Bossa Nova and Satana vibe on “Come Unto Me” also works quite well. It’s certainly isn’t a style you associate with Christian albums. The slower more melancholy songs don’t work as well and can come off as saccharine. “Lamentation” is one of the shorter songs on the album but it feels like it lasts a long time. The horns are a big plus on this song. “Jesus Loves” has some more fantastic horns and actually has a bit of a jam band feel. Journey Back will resonate with most people who already have faith in Jesus and are sick of the typical grandiose rock schtick. If you happen to fall into this camp this album is a no brainer.
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I think it's safe to say that, at this point in the game, we're living in a post-genre world. And, unlike the problems presented by pretending to be post-racism or post-feminism, a post-genre world makes a lot more sense for the world we're living in.
That's not to suggest, however, that those signifiers don't have meaning or weight any longer. The words shoegaze or post-punk or new wave likely conjure some sort of sound, image, feeling or memory in your psyche. Rather than being a hard science, genres are subjective, constantly blurring and blending into one another. This is truer to how most of us actually listen to music in our daily lives. When you're feeling bleak, throw on a little post-punk or goth. Wanna get happy? Pop's the thing. In this way music is the ultimate postmodern patchwork quilt, providing an unusually clear depiction of the world, and the people in it, in a way that no other medium can. And while it's likely different for a lot of people, particularly those who've discovered new wave and post-punk in the 2000s, romantic ‘80s gothy new wave rock n’ roll seems to carry with a sense of distance and remoteness, even while being passionate, romantic and full of heat. Frankly, this is music for losing yourself on a foggy dance floor, perhaps watching yourself move in a mirrored wall beneath flickering blue and red party lights. It's not that it's un-emotional (notice "cold" is one of the most common descriptors of this style of music); it's just that emotions are backed up, held in to be expressed at the right moment. This may strike some as being too pent up and restrained, but frankly, I'm tired of that crap. Sure, the world needs the hot-blooded Latino lovers; the fiery, tempestuous arguments; the windswept abandon of being swept off of your feet, or resistance. Frankly, I don't much care for extroverts. If I want to hear what you're thinking or feeling, I'll ask. The music of Olympia, WA's Blonde Lip is a great support of this argument, as I want to lean in through the echoes and reverb of the chiming, psychedelic, garage-infused new wave and really listen to what lead singer/frontman Myles Redd has to say. Clouds the debut full-length from Blonde Lip is Myles Redd's love letter to the year of our lord 1989. Maybe just because it's fresh in our minds, you can't help but think of Taylor Swift's ode to that end of that decade. Taylor Swift, however, was born that year, so her document is the bold, confident soundtrack of one of the most influential young women in the world. Clouds flips the script, however. It's the sound of someone who isn't one of the most powerful people in the world. A lot of us don't get to be bold and forward with our feelings (even when we should). Playing Clouds back-to-back with Taylor Swift's 1989 could potentially sonically illustrate the many layers of that dense postmodern tapestry we mentioned earlier. That's what music is for, after all, and why it's important to hear as many different voices as viewpoints. What we need is an anthem for everybody, for the awkward and romantic as well as the powerful and bold. Personally, my experience is much closer to Myles Redd's than Ms. Swift's (although I plan on releasing a high-powered fashion and fragrance line any day now). As a part-time new wave goth, I can tell you that Blonde Lip's heart beats as fiercely as any Beyonce video, but differently. Next time you're planning a foggy dance party, throw this one on. I almost guarantee you someone will ask what it is.
Are you a fan post-rock? If so you may have realized that the genre if suffocating from bands that sound like spin offs of band like Godspeed You! Black Emperor and Explosions In The Sky. Unfortunately wordless instrumental pieces that are as predictable as a ‘90s sitcom are becoming all too common.
When I noticed the label of post-rock on Let Your Grace Guide Me Home by The Withered Heart I hoped I wasn’t going to get another rehashed attempt at post-rock 101. Upon listening to “Stepping Stones” I was reminded of bands like The Dismemberment Plan and Pinback while still noticing some of their proclivities towards post-rock. In a lot of ways Let Your Grace Guide Me Home feels like the post-rock in its embryonic period. The vocals are the focal center but some of the instrumentals parts are comparable to what the genre is known for. In a lot of ways I would recommend people not familiar with post-rock to start with Let Your Grace Guide Me Home. I feel like it's a great record to get your feet wet before jumping into depth of the genre. Seth Scott (guitar/vocals), Jonathan Fitch (drums) and Isaac Wilson (bass) are the three members of the band. Scott does not have a voice that will be winning American Idol competitions but it is just about perfect for this style. He has a nonchalant delivery that works with the music with just enough melancholy. You kind of just have to listen and will know what I’m talking about. The music is great or exceptional throughout the album. I was consistently impressed by the transitions and dynamic of the band. They kick things off with “Stepping Stones” which is about an old man giving some life advice to young man. The lyrics are engaging but the music and vocal melody is really what kept my attention. There are a number of transitions that had me digging the song from beginning to end. As much as I liked “Stepping Stones” I enjoyed the title track even more. The juxtaposition between the pretty guitar melody and the fast paced vocal melody is pure ear candy. On top of that the drums work is on point. Listen to that hi-hat. “Wedding Ring” has a guest vocalist. Her vocals are soulful and she's obviously a great singer but it didn't really fit the song. She would have sounded great on an R&B song but something felt off. It was a good attempt to combine styles but it fell a bit short. There were a number of other highlights on the album. “Steadfast” is an instrumental piece that worked very well while “Rise Of The Mourning Son” is a softer acoustic song that was a nice change of pace. Let Your Grace Guide Me Home is a great album. It isn't perfect but it certainly does a good job establishing a foundation and sound for the band. The band is posed for better things if that keep at this trajectory.
My Desert Time brought to us by Kirstin Crowe is a melodic acoustic album. It is bright and crisp. Her voice is soft and uplifting - almost as if it is a salve for the soul. Authentically raw guitar plucking with woody resonance guided by Kirstin’s soulful folky voice is nothing short of a treat.
The song “ Sea Salt” brings a deep emotion forth. She pairs her own voice with another creating an uncannily beautiful chorus. The overly simplistic guitar fingerings are plenty because her voice is so rich. There is a moodiness and beauty that can be felt in each moment. In this day and age, with everything moving so fast such as technology and the Internet, it can be sometimes difficult to be mindful within moments and notice the beauty and simple things that surround us. This album really brings to light those moments. The song “Cold Air in Morning” speaks “ Cold air in the morning, cold air at the dawning, cold breath when you’re talking, cold eyes when they sink in.” You can feel the moments of the cold air hitting your face through her lyrics. They are soft, yet strike you in a deep sullen way. There is something about her words that just feel like you are living the moment she is with her. The song “Direct Poet” utilizes one of my personal favorite instruments - the kazoo. Something about that .99-cent instrument that you can find at most dollar stores that brings a goofiness and lightness to most any topic or moment. This song is very fun. Here is a formula - one amazing voice, one kazoo and one guitar = a deeply moving and connected album. Crowe’s voice is so uplifting you can almost picture birds fluttering out from underneath the cloth of her buttery vocal chords. It has a springtime magic to it that cannot be found easily. She often reminds of me Jolie Holland. The final track on the album “ Live Underwater” is so vivid in her poetry /lyrics that you can feel the water moving around your skin. There is some intermittent piano in this one, which is nice. Again, quite simplistic but beautiful. Overall, I think this is a gorgeous album especially for springtime. It is flowery and gentle. Great for mending the soul or infiltrating a softness into your life that is necessary. A good reminder to slow down and notice the small things around you.
The Scalpel and the Soul is a one-man indie rock/classical project by Armen Sarrafian from Tucson, AZ. His release My Oxygen is a very serious album dealing with adversity and problems that are bigger than yourself. According to Sarrafian, “From the Syrian refugee crisis, to past/ modern Genocide, and struggles of personal nature, the album is an uncompromising account of one's limits and courage in the face of adversity.”
The delivery on My Oxygen is so serious and overly melodramatic at times it comes off as comedic. It’s thematic and he sings as if he is in a play. Take for instance the track “Electricity And I Love You” which revolves around distorted guitars, drums and a spirited vocal performance. He is sort of singing yet kind of talking. I’m not completely sure what was going on here. The song isn’t very catchy and really has no hooks but is still enjoyable in an off-kilter way. “Must You Starve?” starts off with heavy guitars and drums before it drips into vocals and synths. It feels like it's out of a play. Sarrafian’s delivery is hyperbolic; it’s really hard to take seriously. Then there is “Polygraph” which I’m not even sure how to describe. The theatrics and his delivery is if nothing else heartfelt. He utilizes a couple of patches from his keyboard that you have surely heard before if you owned a key. Do you remember the “orchestral strike” patch? Then we come to “Memorial Skies” which is an atmospheric song, which revolves around a couple of pads and Sarrafian speaking with utter reverence. It was hard to make out what he was actually talking about. Lots of poetic ambiguity. “Lately Love” is overloaded with so much percussion I couldn't concentrate on anything else while “Every Drop of Ecstasy” is perhaps the most over the top song on the album At the very least Sarrafian is obviously doing what he wants. You have to respect that. I don’t expect to hear his songs on mainstream radio anytime soon but they could possibly end up in some indie play with a shoestring budget.
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Sydney Australia’s Mev Stuart began his project Suit & Tie way back in 2007. His only intention for the band was to make Creep Season, the band’s debut record. If you are unfamiliar with Suit & Tie you’ll have to take that statement with a grain of salt. At least that’s the conclusion I came to after listening to Creep Season’s grossly hilarious “Infected.”
Set to a jazzy reggae beat the song begins to some of the less appealing sides, and sided effects if you will of conjugal life among people. To put it bluntly it’s a song about a man who chronicles his and others’ sexually transmitted diseases. Bandleader Mev Stuart along with seriously professional sounding though rather hilarious backup singers Donné Restom, Charlie Craib, Monica Brooks and Brian Campeau, who sing “shit! You’re infected” and then ooh and ah, make “Infected” a song you won’t soon forgot, whether you like it or not. The creepiness continues on the album’s title track, which has a bit of a Talking Heads electronic meld to it. But lyrically “Creep Season” is written from the perspective of a pervert. It is again done, or in perhaps so overdone that it’s hard to tell if one should be laughing or cringing. By this time let it be known that Creep Season is not an album for everyone. Next up is the funky and soulful “Two Faced Betty” which is about a woman who goes out on the street and kills men. “Betty put your face on/before you dirty up your hands.” But the lyrics are such that they don’t impose grossly on how wonderful composed the music is. Many of the songs open with comic interludes of conversation, or in the case of “Brothers Role” opens with what one soon realizes is two people making out and ends with the ripping open of a zipper before jumping into the Earth Wind & Fire like number. Again the lyrics don’t take away too much from the great musical arrangements, and is at times pretty funny. As I listened to Creep Season I couldn’t help but think how hilarious it would be to slip this album into the rotation at a party or at a bar. The music is super good, jazzy and infectious, as is Mev Stuart’s voice and that of his backing singers. But I would wait to watch the looks on people’s faces when they started realizing what Stuart was actually saying. For hilarious as Creep Season is the subject matter may be a turnoff for some people; but for all you creepers out there, you finally have an album to call your own.
It is always interesting to hear about the ways in which musicians come to want to devote their lives to playing music. For some it’s their parents record collection or their parents themselves are musicians, some people seem just to fall into it and for others like Olivia Mainville, they discover it while they are young and it soon becomes a vocation which to deviate from would be unthinkable. Fast forward from the fifth where the young Mainville learned to play standup bass and viola to a festival gig after which she realized her great urge to perform live music, which then led to the release of her first gypsy folk inspired EP Full Steam Ahead.
On her debut full length Maybe The Saddest Thing along with her band The Aquatic Troupe comprised of Andy Fettig, Bleu Quick, Libby DeCamp and Ian Burke, Mainville has set out to build on that folk and gypsy sound, something which she does, taking the folky instruments and using them to show their use in the more poppier realms of music, something which artists have been doing with varying amounts of success for some time over the past two decades, think Joanna Newsmen, etc. Between Mainville and her four band mates they play collectively eleven different instruments ranging from guitar and violin to the trumpet, accordion, and the omnichord. From the get go on Maybe the Saddest Thing beginning with the infectious brass blown and banjo plucked melody on “Qualities” one pictures this song running in the background of a GAP commercial. Much of this is also due to Mainville’s cutely distinct vocals which depending on how she drawls out her words can sound playful at times and at other times seductive. The playfulness comes out in “Qualities” and we are introduced to the more seductive side on “Only So Young.” Maybe the Saddest Thing is best when it sticks to the folky upbeat pop songs like “Some Other Day” with its ragtime piano and scuffling drum beat, and the equally eclectic and charming “Suitable Fellow,” the second of which deals with a darker subject matter yet pulls it off. However when Mainville and company try to approach this darker territory without bustle and brass, like on “I Need Time” and “Commercial Art” they show their weaknesses (although not as strongly) as they had shown their strengths on their more upbeat offerings. The irony here is of course the title. On Maybe the Saddest Thing, the saddest thing I found was that the band stopped doing what they do best, which is to write infectiously eclectic pop songs which were made to be played on the stage. The idea of this sweet dream interrupted by ballads is a sad thing. That being said Maybe the Saddest Thing is certainly worth more then a moment of your time. Recommended
tGarret Murdock (vocals/guitar/bass guitar/drums/percussion/keyboard/piano) and Matt Wargin (guitar/drum/keyboard/piano/bass guitar/percussion/backing vocals) are Earth Spun Occupants.
Apparently they currently dabble around with several art forms such as music, video, graphic design and more. I haven’t seen or been able to find anything else besides their music. At any rate their ambition for multi-projects is admirable. Who knows? Maybe they will be the next Flaming Lips. Their release Sun Songs & Moon Rhythms is a thirteen-song album which experiments with off-kilter rock and pop. It’s a bright album that feels exuberant and bursts with optimism and positive vibes. The band gets going with one of the tracks that is extremely accessible and falls into a category of indie rock. After a sparse beginning the song locks into a groove that doesn't let go. The vocal line is catchy and the chorus just pops. On top of that the vocal harmonies are just money. ”Eight Moon” is the next track, which is a solid song. It’s percussive heavy and at times reminded me of Rusted Root. I’m not a huge fan of short filler tracks but “Mellotron String Interlude” worked surprisingly well. Next up is a highlight entitled “Lost in The Light” which has plenty of unique sounds. It ultimately pops but the experimental tones and textures are what really make it stand out. “Sustinence” has a Ween-esque vibe. The jam band vibe during the verse transitions into a chorus that feels more aligned with grunge. It wasn't the strongest song out of the batch but still enjoyable. The band also can pull off acoustic and melancholy. “Nightbloomer” is a testament to that while “The Grip” has a ridiculously catchy chorus. As the album progresses “Attraction (Can’t You See?) and the “City Speaks” were certainly really well crafted songs. Sun Songs & Moon Rhythms is a good album which is accessible yet experimental. It in my opinion the best of two worlds and is a recipe that is most likely to attract an audience.
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The reggae/ska/rock group Skinny White Boys started off as one skinny white boy named Gregory Grre Gstalder. His self-titled release Skinny White Boys certainly sounds like more than just one person. Reggae isn't the type of genre that most people venture into by themselves. There are plenty of singer/songwriters out there armed with an acoustic guitar and years of sadness and EDM artists who stare at their laptops in their bedrooms but not many people doing what Gstalder does.
The results are a lot better than expected to be honest. On paper it doesn’t sound that appealing for one person to combining these like-minded genres but the execution works. There are a couple reasons for this. The production and recording quality is a bit shy from what you would expect from a professional studio but holds up; the singing style is aesthetically pleasing and the songs are well written. Up first is the upbeat “Spring Time” which is a highlight on the album. It comes out of the gate with good vibes that give you a sense of warm weather and good times. In fact the lyrics are actually about springtime coming. The guitar parts are fun and spaced out between the bass and drums. Great song. As the album progresses a lot of the songs have a similar vibe but there were a couple which certainly stuck out to me. “Made it count” is a relaxed, chill song that not only has some impressive lead guitar but also makes you want to sip on a margarita. “Molly” veers towards more ska than reggae while “Green of your eyes” has one of the most memorable vocal melodies. “No Matter” is a danceable, upbeat song that is a damn near party. Do you need a little serotonin boost? Play this song. Skinny White Boys is a fluid, seamless album that displays talent from Gstalder. The good news is he recruited a couple more skinny white boys to fill out the band so there may be better things to come.
Kelley Karas is a singer/songwriter from Nevada who recently released Shoes! It is pretty easy to label her music as indie rock. She has been told her songs bear some resemblance to Sleater-Kinney and yes I can definitely hear that on a number of songs.
Shoes! is a fairly eclectic album where Karas displays plenty of talent. That being said there are two relatively minor issues I noticed. Some of the songs with more instrumentation such as drums were slightly underwhelming regarding the recording quality. The other thing was timing issues here and there. I don't think anything was glaring but just noticeable. Other than that Shoes! is a great album. “Venice Vidi Vici” is a punk/indie rock style song. The instrumentation was good but it was her vocals that really were the focal point. When she sings, “There is no mercy in you heart your eyes like knives straight into mine I know that this is the last time we'll meet before your tear me apart,” I was impressed. “Notice!” sounds really good from the recording quality to the delivery. The song revolves around her acoustic guitar and vocals. When I heard the overlapping harmonies I thought of PJ Harvey. “I Always Win” has some very inventive guitar sounds while “Perfect Torture” has a distinct ‘90s indie rock vibe. As the album progresses it goes back and forth between indie rock tunes and acoustic songs. Karas does a good job on both styles, which makes it easy to listen to all the way through. Karas has the goods to deliver. With a little bit of tweaking here and there I think she could be competitive with some of the more notable indie rock bands out there. |
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