David Kleinekottman aka Present Paradox is back with his fifth release entitled A Cave In The Inside. The prolific songwriter who makes atmospheric experimental rock only seems to be getting better with his vocal work and production. That being said the influence from Radiohead is undeniably strong this time around and in fact seems to be almost an homage to A Moon Shaped Pool on specific songs. Moody, dark synths, dissonance, pads and reverb laced vocals with impressive percussion elements make up a good portion of this album.
One of the standouts was the first track entitled “Nightwalk” which revolves around a simple yet haunting piano melody. Other dark elements shimmer in the background as the vocals slip into the mix. He is able to grow the intensity of the song through atmospheric elements in a very similar way that you hear on “Daydreaming” by Radiohead. Up next is “Magical Twist” which is more groove-oriented than “Nightwalk” which I felt were the most original sounding compositions. It’s a delightfully dark piece with some similarities to Portishead and even Nick Cave when it came to the vocals. The hooks don't shout at you and the song’s strength was in the production of the layers of sounds. “Masquerade” is another enjoyable track largely due in part to the advanced production techniques and solid songwriting. He plays with the reverb on certain vocal sections and is able to create a sense of tension with the sound design during the verse. “Good Wind” had perhaps the most notable vocals. I have to admit another Radiohead song entitled “Ful Stop” did come to mind. The way the drums fade in along with the vocal melody and distant sounding synth seem to strike a similar vibe. The title track comes very close to duplicating the guitar and drum work on “Present Tense” by Radiohead yet the vocals deviate completely. “Black Coats” has some inspired moments especially towards the middle of the song where he lets loose with the vocals. Although I was sometimes struggling with the overt influence on this release I really do love this artist and appreciated all of his past work as well as this release. There is immense talent here and I encourage you to take a listen.
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Creative people sometimes find their way into different mediums by accident. I think rarely does anyone in a creative field just happen to decide this is what I want to be and then they do it. They have to be called to it in one way or another. I gather this was the case for New York singer/songwriter Virginia Marcs, who started performing off Broadway before she began writing and playing songs of her own. It was a guitar from her sister that Marcs says was the catalyst for her songwriting career.
Marc’s debut record, Climbing the Wall sounds a lot like what I’ve come to expect from a debut record by a singer songwriter. The lyrics are fragile and a bit vague at times. There is a want for everything to mean something more than it really does. I think for the most part that first time singer/songwriters are just tracing and imitating those who they look up to in hopes of maybe sounding vaguely like them. I have played this imitation game before myself. But after a long time and many years of doing it wrong I finally realized that I couldn’t try to sound or be like anyone else. That was just a ruse, a cover to keep me from becoming myself. I don’t mean to confuse influence here, for influence is a huge part of growing an artist. But so is taking risks and that is something that Marc’s hasn’t really done on Climbing the Wall. The opening track “Wild” takes a steady build of acoustic guitar and some ethereal background noise which was rather run of the mill. However what sticks out, and in my opinion is most important, are Marcs’ vocals, which are as beautiful as the first birds of morning. This is where her talent lies, as she shows she can hit notes both low and high with a relative ease. She belts out operatic styled vocals on the relatively shoulder shrugging heartbreak protest song “Poison.” Later on “You Were Right” her vocals sound as good if not better than anything you’re gonna hear someone on the radio whose getting paid a lot more. To me Climbing the Wall is the quintessential first album. I think with the right band, or perhaps less effects, that Marcs’ next record could be something much rounder and even more authentic. Marcs has talent, that’s not the problem, but surrounding yourself with other talented people whose talents are different than yours never hurt anyone’s chances of getting better. Musical history is full of famous partnerships.
Karl Mitchell aka Mountainista is a solo act from Atlanta who recently released Fan Fiction. Fan Fiction revolves around guitar and a good amount of vocal harmonies, The first name that came to mind was Brian Wilson. The guitar is often slightly distorted and in most case revolves around major and minor chords.
Fan Fiction is about a specific story. According to Mitchell, “the four songs of Fan Fiction are named after terminology from Joseph Campbell's model of the hero's journey. The songs follow the story arc of a guy falling in love with a woman from the movies. It isn't specified whether the guy is in love with an actress or a character because I don't think he would be able to discern that himself. It's a story of a celebrity crush that gets out of hand. Up first is “Call To Action” which starts with a softly strummed, guitar and vocals that reciprocate the soft playing on the guitar. The first transition before the one-minute mark is where the Beach Boys-esque vocal harmonies come into play. As the song progress there are a number of well done vocal harmonies. The same could be said of “Belly of the Whale.” There are some memorable parts in the song. The one that really stuck out was when Mitchell implemented baritone vocal melodies. The recording quality takes a dip on “Refusal to Return” which was also accompanied by some screaming. “Of Two Worlds” was the centerpiece. The song has a lot of transitions, is dynamic and has some interesting crescendos. The lo-fi quality was a little hard to get past at times. These types of vocal harmonies usually sound best with some more clarity and sheen. There were times when the guitar felt like it was overtaking the vocals. Overall, there are some solid ideas here and I think there is a good amount of potential as well. I would love to hear a little more instrumentation and a little boost in the engineering department next time around.
Action at a Distance is a pop-rock band from southern California. Formed in 2016, Molecular Collisions is the band’s first release. The band draws influences from alt-rock and pop punk of the late ‘90s and early ‘00s, naming bands like Foo Fighters, Blink-182 and Green Day. Recording the record themselves, the group managed to accentuate their tight rock arrangements with a surprising pop sheen.
“Chemistry” is an apt title for the first track, corresponding to the band’s name—a reference to an Einstein quote—and their album title. Opening the record with a quick-moving pattern full of bass fills and chugging guitar, the verse immediately shifts into a throwback to early rock n’ roll songwriting. The vocal harmonies in the chorus, along with solid and busy instrumental parts, offer a classic power-pop vibe with a peppy punk edge. “Chemistry” sets the standard for the record of Fountains of Wayne-like compositional energy with modern alt-rock radio stylistic cues. While “Keys in the Dark” once again follows the pattern of an angsty opening with a punchy, melodic chorus, “The Night” is the first sign of something different with a lilting acoustic guitar and cavernous ambience. Reminiscent of that particular style of post-grunge power ballads, the 3/4 time and Goo Goo Dolls-evoking string parts make for a polished slice of acoustic pop, but the arrangement doesn’t offer much variety. Still, the effect is intact even after the track’s near six-minute runtime. “Shake Your Ass, Girl!” seems somewhat parodical, given its name and breakneck, significantly electronic arrangement. The heavily auto-tuned vocals call electro-pop acts like Hellogoodbye to mind, but the songwriting is more punk than anything EDM-based. Ultimately the track comes off as quite similar to Metro Station’s breakout hit “Shake It”, though perhaps with a bit more of a wink and a nod. “Up Against the Wall” carries over some of the previous track’s frenetic energy, but returns to a more punk atmosphere. The bass has some great serpentine lines, while the drums even get in a touch of double-bass-drum blasting. The distorted effect on the vocals things out the part a little, but ultimately this is a straightforward rager. “California” has some folksy flair, with woody acoustic and a twangy lead guitar. There’s certainly a mood whiplash here from the previous track, and the drum part still has more of a kick-heavy punk attitude than the breezier guitar and vocal arrangement. That said, it’s an impressively fresh pivot on a record with so many styles and textures at play. “You’re Breaking My Heart” returns to the same sonic territory covered by “The Night” with a deep tremolo guitar accentuating an acoustic-led instrumental. The vocals here have more of the shallowness heard elsewhere, but the harmonies are right on. Though the track may seem somewhat sentimental, it switches to a heavier pop-punk style just when things start to get a bit staid, injecting a different emotional note right on cue. The last original track on the record, “Six Years of Summer” seems like an earlier cut; not only is the songwriting more firmly in a pop-punk style, but the recording quality sounds rougher, more like a proof of concept for much of the rest of the record. Despite this, the song has the perfect balance of punk furor, pop sweetness and instrumental heroics. The drumming is at its most manic, partly metal and partly a zippy disco stomp, and the simple synth pad hits just the right spot for maximum emotional impact. The record concludes with a stripped-down acoustic performance of the dusty track “California.” Though it’s nice to hear a slightly different and more “live” texture, this cut seems largely unnecessary for two reasons; not only is the full arrangement still acoustic-heavy, but it also robs “Six Years of Summer” of its moment as a take-no-prisoners conclusion. That said, it’s still pleasant and well-put-together, certainly ending the record on one of its best notes. Though occasionally repeating their moves, Action at a Distance has delivered a solid, artful set of songs with Molecular Collisions. Mashing together aspects of vital punk and aggressive alt with the harmony of power-pop and indelible classic rock moments, the record shows the band is beyond mere imitation. Hopefully their craft will only continue to improve.
Sad, melancholy ambient music is music made for the lonely souls to contemplate the cosmos and the love or lack of it in between. This type of sound which has been more or less perfected by artists like Stars of The Lid, Windy and Carl, Auburn Lull, Max Richter, Keith Fullerton Whitman, Fennesz and Ben Lukas Boysen is perfect for quiet walks by the lake and on Sunday mornings. A time to wait is a solo artist who recently released Intrusive Thoughts and he tries to capture the lonely, contemplative feelings with texture and tones that reflect the same feeling.
intrusive Thoughts seems to be the initial groundwork for future work that will hopefully be a little more nuanced and competitive with the aforementioned artists. The ideas are simple and usually form around a couple of notes that repeat. Ambient music is all about the details. It’s the subtle changes in a resonance filter, the change in a reverb tail and the intricacy that makes it really captivating. It's dedicated headphone music. The artist behind these songs has some good ideas and there was some tweaking in the details but I often wanted more experimentation within the soundscapes. Up first is “i really miss taking naps after school with you” which revolves around a steady, somber guitar riff. There are samples of people talking which reminded me of conversations I would have in college as an undergrad after smoking some pot. The melody deepens the emotional impact, however the music doesn’t intensify or change much at all. I have to admit I feel like Godspeed You! Black Emperor perfected this idea. Up next is “i wish i had a swimming pool so i could drown in it” which revolves around a filtered beat, pads and reverb laced guitars. There is a sort of climax and I thought this was one of the highlights. The idea was good even if the implementation could use a little tweaking. As much as I love this style of music “a ballad for the hollow soul” was testing my patience. The melody is very subtle and is a fog of dismal sounds. As the album progresses it’s built upon very little movement. The songs attempt to combine a zen like stillness with the depression and pain from the artist so the listener can empathize with their own internal sadness. The lyrics on “i can't be anything” reflect the mood he paints the entire time. He sings, “i hate myself every night I’m drowning in apathy and ecstasy of all of these pills that i take every night.” As the lyrics progress I was honestly getting a little worried for the artist’s safety. There is no ambiguity here and the words made Elliott Smith lyrics seem jovial. I know what the artist is going for. There are a couple of pieces I suggest that display where this type of music could go. “Glide” by Fennesz, “Fac 21” by Stars of the Lid and “Immunity” by Jon Hopkins. I think there is potential here and encourage the artist to dig a little deeper into where these soundscapes can go. The thing about this music is that people without an empty chasm of pain in their hearts don’t understand that these types of sounds aren’t depressing to the depressed, sad and lonely - they provide solace.
I was immediately intrigued by the Toronto based four-piece band Mango Reinhardt based on their name. I am a massive Django Reinhardt fan, and while the music in no real way resembles his, I would say this music is on par in terms of cool vibes. Mango Reinhardt is a sultry mix of surfy pop rock and a little ’60s psych thrown in. The music is moody, crafty and even a little mysterious. You'll get the sense that the three songs in their self-titled album Mango Reinhardt could be plucked from a Tarantino flick.
"Smoke and Fire" is the first track on the album and it sets the bar high. You're immediately introduced to the cool and trippy bass from Lisa Liskovoi and poppy drums from Katelyn Plant. Then comes Emily Copeland with her dangerously chic deadpan vocal style. She oozes sensuality and mischief as she winds her words around the surfy guitar riffs from guitarist Will Boire. The best way to describe this song is that it sounds like a ’60s surf movie combined with a murder mystery. Up next is "008," which happens to be a lovely tale about a crappy man, and leave it to Copeland to do it with panache. The narrative is so rich in this song that whoever it's about will have no problem being aware this is a song about him, and I LOVE that. The lyrics in this song are no doubt my favorite, because they are blunt and unapologetic about the savagery. This one is a little slower in pace and really leans into the psych elements of the group's abilities. The last track is "Paulie" and once again, we get another savage tale about a crappy human being, which is fine by me. This has a little bit more of a tragic and ominous vibe. The lyrics aren't as pointed as they are more melancholy. This is a great track for being in a self-pitying mood, and in today's landscape, there's nothing wrong with having a song for that. I would've liked to have had three completely different moods for each track and that might be my only complaint. The fact is I love all these songs. The audio treatment of the music is spot on. The album was recorded and mixed by Matthew James Rideout, the mastering by Guillermo Subauste at A&B Studios in Toronto. The aesthetic of this album is unmistakable and they committed fully to making this album sound like a period piece. While you get that vintage sound, it's still has a modern crispness to it which I think keeps the album sounding relevant and it also gave every contributor their due. For me, this album is too cool to pass up. I had to buy it. This band is incredibly cool but at the same time is accessible to anyone. You don't have to struggle to "get it.” It's a pretty smooth drink of vintage musical fun.
Ethereal Blanket, the first release from Roy Daly, the singer/songwriter from across the Atlantic in Cork, Ireland has indeed a light, spiritual feel throughout the four-song EP. Playing a refreshingly clean and crisp guitar, Daly has a gorgeous and beautifully controlled tenor that is both timid and sensual. And with 12 years of writing and performing under his belt, Roy Daly has the chops to prove it on his debut. If you like the sounds of the acoustic accompanied by voice, then sit back and enjoy.
According to Daly, Ethereal Blanket is inspired by the change in seasons between autumn and winter and the short collection of songs combine elements of folk, rock and jazz. “Measure of My Feet” has a sensual feel to it with provocative lyrics – “calling out for me to move” invokes the restless mover to hit the road. “Holding You Close” has a slower pace and the feeling behind the harmony is just as romantic as the title suggests. The phenomenal guitar picking and mesmerizing vocals reminds me of Lennon’s softer guitar work when he wrote songs for his wife, Yoko. In “When Night Wears a Smile,” Daly tapped into his imagination and the spiritual energy that surrounded ancient Ireland. He also had Halloween in mind when he wrote this number the morning the song came to him. He stated that he felt like he was channeling ancient spirits. The song does indeed have this “old world” feel to it – kind of creepy as well, but a good creepy. According to Daly “It Glistens” is about eliminating negative energy, saying goodbye to old habits and welcoming a new way of being. There is faster strumming featured here and this one reminded me of George Harrison’s work, post-Beatles, meaning the way in which he would hypnotically sing his songs. Daly has definitely captured an ethereal sound on his first release. Each tune is well executed and beautifully performed. May the wisdom of the ancients keep him moving in the years to come.
Maria Agostini and Nathan Bryant are The Border Lane. The band hasn’t been around very long but they are off to a great start with Beacons of Nowhere which contains three songs. They make a mention to Neil Young and The Shins as influences to their sound. That makes a lot of sense when listening to the songs. The similarities to The Shins was certainly there once I started to think about it.
Up first is “The Vibrant Pass” which is a very well written song with great vocal melodies and lush, warm instrumentation. The instrumentation revolves around acoustic guitar, lead guitar and subtle percussion. It's a simple song but really well done with memorable hooks. Bryant sings, “Call it what I want, it's what I do / Lost my voice two miles back beneath the law and the vibrant pass.” Up next is “Greenhouse” which is another success. The song structure is really well done and the vocal melodies are again top notch. It's very catchy and instantly infectious. “Patina” is the closer and I think it reminded me most of that alt-country vibe The Shins sometimes take on. As far as the melodies and songs go they don’t disappoint. They go three for three due to sharp songwriting and well delivered vocal melody. The duo did a good job in the engineering department. They recorded it and mixed it themselves and then sent it to get professionally mastered. I’d say it sounds far better than the average DIY project but still is a little shy from the audio fidelity of a bigger album from a group like The Shins. The duo are really talented. There is a little more digging I’d like to see in terms of finding a distinct sound but this is a great start. Recommended.
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The latest effort from the young, up and coming band known as Thames is The Fear – a four- song exploration in what the members describe as their fear of the “current social order and how that affects the way we interact with one another.” Formed at the end of 2016, this St. Louis, Missouri quartet sounds seasoned and well beyond their age. This second release came out no later than a few months after In Limbo and this EP and its review can be found on the Divide and Conquer Music website. The Fear was engineered and produced at Sawhorse Studios and recorded live in just one day with the vocals added during the second recording session. Thames’ influences include Radiohead, Wilco, Queens of the Stone Age and Coldplay, and on this release the listener will hear these powerhouse bands bleed through brilliantly. The opening number, “The Fear of Losing the Ones You Love” sounds like the title may suggest: melancholy, bittersweet and sadly beautiful. It’s the kind of number that makes one reflect on life and where it has led them to thus far. The English band Elbow comes to mind as well after listening a few more times. “Alta Delta” is a few minutes longer compared to the rest of the album but no less dynamic and confident. It does indeed have a Queens of the Stone Age slant, complete with a catchy guitar lick, a little soul and some darkness – like a back alley drug deal gone bad. The vocals are professional and the change in tempo with a jazzy/funk beat interlude keeps this songs moving wonderfully. A crazy good bass solo from Connor Fiehler changes things up and the song morphs into this rock opera explosion that’s fantastic! “Living Things” has more of a Ben Harper and Radiohead sound, filled with great harmonies, gorgeous piano and a slow, steady acoustic rock beat. “Ecology” continues on with a more gentle flow like the last tune but with a faster beat. The piano part makes me picture falling snow and the influence heard here is reminiscent of earlier Coldplay. There is a sense of urgency in this song, suggesting we’re running out of time – from what, I don’t know, but the feeling the song invokes makes me believe that all will be well in the end. The Fear is an impressive second effort from this mid-western band. It seems like they’ve been doing this music thing for years. So perhaps they will grace our ears for years to come.
Gavin McNicholl is a singer/songwriter who recently released Sounds of Time. The EP contains six songs of vocals and guitar. I’ve said before that a release containing only these two elements take a lot to hold my attention. There are of course some exceptions that come to mind. Artists like The Tallest Man on Earth, Jeff Buckley and Iron and Wine come to mind. Based on this EP I can’t say McNicholl has the technical chops or unique vocal characteristics as any of these artists but there are really well written songs here and a great deal of potential.
His finest moments are when he focuses on guitar picking. Take for instance “For Mom” which is a clear highlight. The vocals work well and he has a bit of Fiona Apple type delivery going on here. The strumming of mostly minor and major chords reminded me a little too much of an open mic session on a college campus. “I Don’t Care” is one of those songs which embraces the bohemian folk archetype. Don’t get me wrong; there is a lot to appreciate here but it also sounded like a folk song that I have heard countless times before. The other highlight was “Broken Bridges” where I think the mix of hope, melancholy and nostalgia rides a fine line that works. It's just as familiar sounding as the other songs but the delivery and lyrics are exceptional here. McNicholl is a singer/songwriter going down a musical path that many other have attempted before which is trying to capture the essence of the traveling artist with nothing but his guitar in hand. It’s a romanticized concept in thought and the appeal is still strong for younger generations. There's nothing wrong with trying to evoke the spirit of ’60s folk singers as long as you’re walking down your own path. For McNicholl it seems as if his path has just started and only time will tell if others are willing to follow. |
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