EyE-C is a collaboration between DJ Fathouse and That Guy from Fort Wayne, Indiana who recently released E. Their music melds elements of hip-hop, ambient, experimental and more. It’s a synth heavy album with not a whole lot of hooks. There are soundscapes and some interesting production techniques but not many memorable melodies that would make for a hit single. It reminded me somewhat of Flying Lotus.
The duo explains it centers around society from the viewpoint of the third EyE...honing in on sociEtal experiences from both That Guy & DJ Fathouse. They tell the stories from the viewpoint of an extraterrestrial outsider 'E.' , experiencing Earthlings and their sociEty in the modern day world. The album has a whopping nineteen tracks. I would strongly argue this album is best listened to sequentially. It really doesn't work nearly as well jumping around tracks. I’d also say this album may have benefited from a little more brevity. Some tracks seemed to go on a little longer than they needed to which often revolved around fairly basic soundscapes. The album starts with “nEw homE” which revolves around an arpeggiated synths, radio frequencies and other indistinct oscillations. Suffice it to say there are some similarities to an album like Music For Airports by Brian Eno. He introduces some vocal elements on “disguisE” which hit upon a bit of a King Krule vibe. “trappEd” has some interesting moments and “synchronizE” is a three-minute soundscape with airy synth and a dystopian feel to it. As the album progresses it is held together by a cohesive glue but it does go through different styles. That's ultimately what made this album work for me. As for the production it is lo-fi but it works for the most part. I do think the artist should bring in a professional mastering engineer especially for albums like this that need to have a similar sonic imprint between all the songs. For example I could tell the volume, frequencies and more were noticeably different on “disguisE” than “trappEd.” Overall, this is solid album. I’m looking forward to more from EyE-C and where he goes from here.
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Michael Askin is a singer/songwriter from New Jersey who just released his third EP entitled Road by The River. Right off the bat I was say Askin has a lot of talent. He has a very pleasant singing voice, the songs are really well written and the instrumentation is also very well done. Road by the River has such a strong sense of familiarity to it that I was having a hard time finding the recognizable foundation that would make his music distinct. There are myriad references I point to but would I able to pick out a new song of his on radio if I hadn't heard it before? Probably not.
The EP opens with the title track which give you a very good idea of what you are in store for. I thought the melodies were strong and immediately enjoyed his vocals. On top of that the production is great. The song has a predictable pop structure with a more upbeat chorus, a second verse that has more energy than the first, etc. Up next is “Nashville” which is a reflective ballad. It hits upon an alt-country vibe that works with his singing style. I was thinking Nashville has to be the most mentioned city in lyrics. It comes up quite often. He has more success with “Sun Going Down” which has a backyard, rustic feel to it while “Hard to Make a Living” combines fuzz from guitar, organ and more memorable melodies. He closes with “Last Train.” There is essentially nothing really wrong with this EP. In fact I have little doubt that most people with enjoy this and recommend you take a listen. I just wanted Askin to poke at the walls of convention a little more and not be afraid to step away from a pop template. Overall, there is a ton to appreciate here despite some of the predictable nature. Askin has a boatload of talent and potential but I can't but help wonder if he can take it to the next level and develop a sound that feels uniquely his own.
Dan Larsen (drums), Jared Bonee (rhythm guitar/backing vocals), Logan Eley (bass), Peyton Floied (vocals) and Phillip Keiffer (lead guitar) are After Apollo. The young band recently released their debut five-song EP entitled Not Proud of My History. When asked about the album the band has said “sort of your typical coming of age pop punk project with our own personal twist.” I think that's really on the nose for the type of sound they have. The lyrical content feels like it will connect with kids starting to become adults - teenagers and people in their early 20’s.
They open with “No Signal” and the first thing I noticed is that the band is really tight and in the pocket. There is no denying that the band can play and I was really impressed by the drum work. On top of that the song is well written and goes through seamless tempo changes and doesn’t have much fat on it. Up next is “Faultline” which is another solid effort with a similar feel to the opener. The song seems to revolve around a breakup. “Abigail” takes a turn and embraces an acoustic guitar and vocals. It’s still pop-punk but a typical pop-punk style ballad. “Memories” really digs into the coming of age, thank god we’re still young for the time being vibe. Floied sings, “There's a party on the town tonight / You can bring your friends / There’s a party on the town tonight / I hope this never ends.” The title of the EP really threw me off. With a title like Not Proud of My History I thought I was in for politically themed songs. That was not the case The pop punk style songs are more or less straight down the middle for the genre. My one critique is that the band should think about how to differentiate themselves a little more from the crowd. The band plays into the tropes of pop-punk and does it justice but I would have a hard time picking out one of their songs from a batch of like-minded bands. On that note this release seems like it would resonate with people who are already fans of the genre but it won’t convert anyone. If you enjoy pop-punk then this is certified listening.
Eli Gardiner is a singer/songwriter based in Richmond, Virginia. He has been writing and recording music since he was a kid and is influenced by artists like Bruce Springsteen, Ryan Adams, Bob Dylan and Neil Young. His debut album Virginia Rose features thirteen original tracks with heartfelt lyrics and folky guitar.
The album started off with “Flatlands” which had me quickly impressed with his guitar playing. It was intricate and delicate with a cool folksy, bluesy style. His voice was soft and simple and blended well with the music while letting the guitar take center stage. Gardiner recorded each track live while singing and playing simultaneously, so there's definitely a raw quality there, but it seems to work well for him most of the time. The second half of “Flatlands” had some rough spots, some off-key notes and offbeat melodies, but I still enjoyed the song. The off-key thing ended up being a repeated issue through many of the tracks. Most of the time it wasn’t a big deal and actually worked well with the feel of the album, but there were a few times where I was cringing. “Sliding Down” was one example of where I found it distracting in a song that I otherwise would have enjoyed. I was repeatedly intrigued by Gardiner’s intimate songwriting. He really does bleed his heart out into these songs, in a way that is entirely admirable. Most of the subject matter is really heavy stuff, yet he has a way of being literal and gentle at the same time with the way he relays tough human experiences. A standout for me was the title track “Virginia Rose” which had gentle harmonies and unique guitar melodies. I liked Gardiner’s voice on this track better than all the others. I’m not sure what he did differently on this one, but I dug it. It was just an overall pretty song. I’m torn on Virginia Rose. I really think Gardiner is a talented guitar player and lyricist, but the vocal melodies and the vocals in general just didn’t stand up to the rest of the parts of each song. The melodies were all very mundane and redundant after awhile and the songs started to run into each other. I do appreciate the way Gardiner wears his heart on his sleeve in his songwriting; that's something to expand on for sure. I think with more evolution and perhaps a little less gloominess, there might be something here.
The apocalypse is always on the horizon. I mean it could happen any day to be honest. There’s not really much that one can do to stop it. If it’s going to happen it’s going to happen. Life isn’t the movies. No handsome heroes are going to risk their lives to save us. It’s everyone for themselves when the shit hits the fan. And so it would probably be that way too after the dust settles. New leaders will emerge and gain followers. That’s the way it works. There are going to have to be people who are in charge of rebuilding, of keeping going and finally of finding some sort of semblance and plane onto which they can stand and begin to get their lives back together. This usually leads to some sort of cult or religion, something higher power in which to believe in order to ease the pain of reality.
This dystopian idea is the premise for Songs of the Vanished by the New Jersey based Liverpudlian, Tim Cameron. Cameron’s eleven songs on this record are together the tales of eleven different religions which pop up after a post apocalypse. It’s a rock opera in scope and in measure. The opening track “Seed Shall Rise” is an orchestral rock undertaking in the vein of stadium filling rock acts like Coldplay. Next on “Receiving Me” he goes for a more direct rock n’ roll approach with a stripped down sound of guitar and war-path drum beats. The theme here is a more mega-phone based religious approach, a man who is trying to be a prophet, but from the sound of his voice we can assume he’s just a con man. Being a rock opera of sorts however there are times of extreme hokiness, which if Hamilton’s success is any indicator, most plebeians won’t be able to get enough. Here Cameron takes the rock opera genre to exactly where it always goes, and to his credit does it very well, as he also does later on the introspective genesis themed “The Apple Tree.” Songs of the Vanished will definitely be found to be great fun for lovers of musicals and for those who like to follow a narrative while listening to music. It’s no Tommy but it’s entertaining and definitely a huge undertaking.
Graham Hall (vocals/guitar), Cameron Spring (drums) and Matthew Garcia (lead guitar/bass) are Hartshorn. The band released a three-song EP entitled Love Things EP. I’ll say right off the bat that I really enjoyed this. They hit upon a familiar vibe that mixes Americana and indie rock vibe. The band is far from reinventing the wheel here but the songwriting and delivery is top notch.
They get going with “A-OK” which has such a classic vibe to it. You hear fairly obvious influences from bands like Wilco and myriad other bands likeTom Petty that Wilco was influenced by. It’s a fun, pleasant, catchy song but not jaw dropping. The song is pretty much perfect for backyard BBQ’s. They have more success with “Love Things” which is another testament to their songwriting abilities. All the tropes are there and I couldn’t do anything but embrace them. “Dumb Luck” was the highlight according to my ears. It’s a bit more melancholy and reflective. Hall sings, “I don't know how this going to end / But it better be same state / Same bed. “ The recording qualitty was somewhere between a demo and a polished recording you would get from a credible, professional recording studio. It was almost frustratingly close to giving the song the proper treatment they deserved but it was missing that extra fifteen percent that would made it more competitive with popular artists. The band has all the basics down and then some. I’d like to hear a little more of a distinct personality on their next release which could really bring them into their own. If they do that with a little sprinkle of studio magic they should be in a very good place. Recommended.
Cíllin McMahon aka Ick is young artist from New York who recently released Woodlawning. It’s a little hard to describe what type of music he plays because it is all over the place. There is experimental ambient music to more traditional indie rock. One thing for certain is how lo-fi it sounds. In all honesty it sounds like typical bedroom quality with a cheap interface and laptop. Although the songs are a little hard to digest from an aesthetic perspective it sometimes works to his advantage.
Up first is “Odie's Dream” which is an atmospheric, dismal sounding piece. It sounds like it could be used as mood music in a film in a nightmare sequence. According to the Bandcamp page he sings “i feel you here but you're not there.” I had a hard time making out the words. The song really doesn't in any way feel connected to much else on the EP besides the last song and is worlds away in particular from “Milkman (He Was A Good Dog Sometimes)” whose sound has more in common with pretty straightforward indie pop song with elements of garage. “Feeler” is a little more upbeat but I can't understand a word between his voice cracking and lo-fi production. He then treats us to what sounds like a bass fuzz art piece that really doesn't go much of anywhere dynamically. ”The Hamster Singer (Spike's Theme)” is aggressive strumming and supposably singing. I think he was singing ironically here. Then he decides to close with “Woodlawning” which is a nine-plus minute art piece that barely moves or does anything at all. The vocal utterances around the four-minute mark sound like it comes from a cheap B-movie where the protagonist is trapped in a time warp. The music moves ever so slowly until eventually ending. The danger in creating a release like this is that I really have no idea what McMahon is trying to accomplish. Is he writing indie rock songs, ambient music or something else entirely? Any way you slice it a release should be cohesive and with textures, tones and aesthetics. I promise you will hear this on almost all popular releases with anything from Kid A by Radiohead to American Dream by LCD Soundsystem. There nothing wrong with wanting to try different styles but they should work together in some way. “Odie's Dream” and “Woodlawning” could have worked on the same EP built with other songs or “Milkman (He Was A Good Dog Sometimes)” and “Feeler” with other like minded songs. Together the songs don’t make a whole lot of sense. There’s a reason Radiohead didn't randomly throw in a reggae jam on Kid A. Even if the reggae song was incredible the difference in mood, feel and vibe would have completely disrupted the remaining songs on the album. At the end of the day there were some decent ideas. I hope McMahon can start to form a foundation for who he is as an artist and build from there.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Echo Lima Twists And Bends EP 3.7 SAWCE SAWCE 3.8 Yankee Longstraw Glad I Don’t Live Here 3.9 Dvanov The space of the fruits of the,,,, 3.9 Mason Summit Summer Cold 3.6 Fat Moth Fat Moth 3.8 Nicholas Buckton Haunt You 3.6 Father Morissette Father Morissette Demo 3.1 krost doldrums 3.4 They Spit Blood Boy Howdy! 3.5
Abraxis is a band from California that released pink.blue.purple.live. This is a release I’m not sure I would call an album. There really aren't any songs. Let me explain. I remember fifteen years ago being in college and grabbing a couple of beers, smoking some grass and jamming with buddies. That’s essentially what this is. Some of these jams are well past the twenty-minute mark. There are some cool jams but nonetheless these are jams.
The songs seem completely improvised starting with “4th.wall.” All I could really concentrate on was the Led Zeppelin-esque beat which was so much more prominent than the other instruments. Up next is “meta.ghost” which is more or less the same thing. They endlessly noodle away on riffs for better or worse and never really completely lock onto a groove. In fact all the songs begin to bleed and are almost impossible to distinguish from each other. Truth be told young dudes for the most have been doing this for as long as guitars, drums and bass have been around. In the case I think they are doing to pretty well. The one thing I got out of this release is that the band has some technical chops and can jam. Can they write a song? I really have no idea. The thing about jamming is it's a lot more fun for the band than the audience and that’s something abraxis needs to be aware of when releasing recorded music. Overall, I felt like I was listening to a really long rehearsal session due to the jams and recording quality without being able to participate. Although I probably could have by picking up a guitar. Abraxis has some talent as musicians who can play off the cuff but I’d like to see if they have any skills as songwriters. They are a case of wait and see. I wish them luck.
J M S Harrison is a singer/songwriter based in Melbourne, Australia. Harrison is also the lead singer for the band Old Etiquettes. Traced Out is his second solo album. His sound is a blend of indie and alternative rock with emotional lyrics and laid-back melodies.
Most of the tracks on this album had very similar formulas - gentle strumming guitar, simple vocal melodies and a lot of melancholy. Even so, there was a couple stand out ones to me, like “Retired” which had a soft haunting staccato piano intro that I really liked and “Build Up Nerve” which started with more of a darker rock edge but quickly fell back into the mellow vibe. I liked the tracks that had something distinctive about them, but there were only a few. I did however enjoy the final track “Make It Back.” Although it was the slowest and most brooding track of the album, it had the most heart. The guitar melody was more complex than previous tracks and the vocals sounded more sincere and heartfelt. There was definitely something different about this one that struck me. Traced Out shows a lot of promise. Harrison definitely has the sad emo indie vibe down which can become formulaic. However, when there's some diversity to his arrangements and sound, it becomes quite enjoyable. I think expanding on the distinct characteristics of the tracks that stand out would be a great start to branching out and experimenting a bit with his sound. I’ll look forward to his evolution as an artist.
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