Zack Hyneman of Portland, Oregon is a co-founder of the Supernatural Beavers, that released their first album in 2020. He’s back with his debut solo album titled HYNEMAN, in which he wrote, played and sang everything himself. Hyneman calls this “a collection of songs written over a decade of serious songwriting. The content is primarily autobiographical: a musical portrait of my twenties. Most of these songs have been played at various open mics, but this is the first time they've been recorded professionally. Themes include love, coming of age, drinking, drugs, wandering, working an unfulfilling job, anger and a ballad about a great, great grandma of mine who was left in a basket on a doorstep when the circus came through town.”
Hyneman’s only genre listing is “folk” but I also found his songs to have a strong country bent as well. He further notes that he intended these songs to have minimal arrangements, “but they had a way of expanding in the studio.” Recording and production was by Gregg Williams at The Trench during late 2021, with mastering by Timothy Stollenwerk. Hyneman’s acoustic guitar of choice is a Breedlove Studio Dreadnaught, with his clean, full vocals recorded through a Heiserman H47 tube microphone. Just to cut to the chase, I think Hyneman is a compelling singer/songwriter with a bright future. His songs have the intelligence, flair and humor of some of the genre’s leading lights. I won’t claim to have gotten everything I could from this album with just a few spins, but I know there’s tons of great material waiting to be discovered with future listenings. “Dresden” is an excellent start. Hyneman’s audio feels open and airy, especially with his acoustic piano and roomy acoustic guitar. The instruments sound organic alongside each other, not just like tracks stacked up; they seem to be playing in the same space and interacting with each other. Not surprisingly (given the H47 microphone) Hyneman’s vocals sound the best of all the instruments, with a vocal chorus worthy of Brian Wilson. The overall feel is laid back, laconic, maybe a bit cynical and world-weary. “San Francisco” is the first example of what I see as more of a country tune. “I never met a beer I couldn’t finish / before I met you.” I love Hyneman’s lyrical device of listing all the things the narrator could never do “before he met” the newest woman in his life. “The timing ain’t right / but honey, I like you a lot… if you kiss me, I’ll take you with me / every time I sing this song.” “Vanessa” is more folky, with its picked acoustics and big harmony chorus vocals. Again, Hyneman’s lyrics have a way of putting you in a time and place like a fine novel, but with just a few words. “Sunrise, cigarettes and bloodshot eyes / the sinners with regrets but no disguise… we’re scared, drunk and tired but at least not alone.” The effect is similar to the songs of Freedy Johnston, though frankly Hyneman has a better voice! “Mr. Future Workingstiff” reminded me of an old Ry Cooder work song, plodding along the prairie with great slide acoustic guitar. The drum beat is a little unsteady but feels authentic. Honestly, if I’d heard this song on a Warners LP from the late ‘70s in a bargain bin, it would have made perfect sense. The best thing I can say about “The Beast” is that I can easily imagine Johnny Cash doing a cover version. “Rollin’” is a jaunty country amble, with the lyrical simplicity of a children’s sing-along. Hyneman notes that “the electric guitar is a 1997 Fender Stratocaster Lone Star; the piano is a 100+ year old Windsor Player originally delivered by wagon (the self-playing mechanism has since been disabled). ”The Ballad Of Minnie Sloan” is another Cash-worthy tune: a narrative story with a Sergio Leone soundtrack vibe, featuring harmonica and mariachi horns straight outta “Ring of Fire.” “Fuck This Song” is the closest Hyneman comes to a novelty tune with continuous, humorous use of the F word, but he’s too good to throw away even a funny song. Past the laughs, this final track is just as compelling and moving as everything that’s come before. “I know I got some demons and I think they’re here to stay / ‘cos when I toke and smoke ‘em out they just come back some fucking day… until I’m high lying on my back with a guitar on my bed / I close my eyes and try to write something but it only comes out wrong / man, fuck this song.” I have not mentioned every one of the ten songs on this album, but I think they’re all equally good and I highly recommend this album and artist to one and all!
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Springs of Decay is the recording project of central Massachusetts’ Andrew Caruso. Maria on the Shore is the debut release, a three-track EP that features Caruso’s writing, vocals, guitars and other instruments. Bass and drums were tracked by Tyler Ochs, who engineered the project.
Caruso calls his music “indie gloom.”.The lyrics certainly are gloomy–starting with “And I held your head as you died.” This is the opening phrase from the opening track “Collar,” which explores the death of a beloved pet. On the second (“The Spring of Decay, Verse One”) and third (“Maria on the Shore”) tracks, Caruso works through what he experienced watching his grandmother’s battle with dementia. It’s not an easy subject, but Caruso handles it with an empathetic combination of narrative and imagery. The music supporting these lyrics isn’t particularly gloomy, however. “Collar” and “Maria on the Shore” take on straight-ahead, indie-pop grooves, a bit reminiscent of the Goo Goo Dolls in their pleasant mixing of joy and melancholia. “Collar” straddles that line where we’re sad for the loss of our pet–but we’re reminded of the great friendship we had. He concludes, “I found your soul,” and I went to hug my dogs. On “Maria on the Shore,” Caruso stretches his legs and takes things a step further; the middle section finds him reinterpreting the melody over a reggae feel. In a lovely turn, the ensuing guitar solo plays over a feel that combines the original indie groove with reggae elements. It is very well executed, and reminiscent of how the Police fused reggae and rock. “The Spring of Decay, Verse One,” the glue between the two rock tracks, takes a very different approach. The music is more ambient in approach–heavy on the keyboards, with a synth-drum groove. Caruso, with voice electronically distorted, reads a short piece of prose (which inspired the lyrics for the title track) over the top. Be sure to read the lyric sheet to get the full effect of his writing. Maria on the Shore channels some tough topics and raw emotions into three fine tracks. Thank you, Mr. Caruso, for sharing with us.
Washington D.C.’s The Neuro Farm is a dark-wave gothic band that combines vocal harmonies with string orchestrations, driven guitars and soaring synths for a chilling sound. Consisting of Rebekah Feng (vocals/violin), Brain Wolff (vocals/guitars/bass), Tim Phillips (synths/programming) and DreamrD (drums/percussion), the band brings with their latest album, Vampyre, tales of vampirism, a strong heroine, and her adventures navigating the underworld world from “turning away from humanity and embracing her new nature” to taking down her former master and declaring herself queen of the nether regions. With a sound bordering on metal, there was a certain dark vibe to these set of songs. With musical influences from bands like Joy Division, Radiohead, Nine Inch Nails, Siouxsie and the Banshees, Sigur Rios, Chelesea Wolfe, Portishead and Rammstein, the band doesn’t just implement these inspirations into their sounds, they also give their own take to these aforementioned genres.
Vampyre opens up with “Cain,” where moody synths light up the sounds. The atmosphere grows as some spooky keys arrive. Next, some drums add to the details. The mood of this track grows more adamant, feeling very metal-inspired. Once Feng’s vocals arrive, you can really feel the music coming together with her enigmatic vocals carrying the sound forward. The cacophony of sounds made for a compelling listening experience. More synths arrive for an atmospheric sound on “Purity.” The guitars were revving and kept the heavy rock riffs coming. Wolff’s vocals send out an otherworldly feeling here. There was a lot of darkness and gloom to this song. Sparse guitar riffs solely accompany Feng’s ghostly vocals alongside some strings on “Maker.” The out-of-this-world sound coming from the band comes in full-throttle. I thought the band displayed a whole lot of mood and feeling here. Up next is “Enthralled,” a slow burning number with synths, keys, drums and guitars. Wolff’s distorted vocals come across in an off-key manner. It sounded like he was singing underwater. The dissonance went on to add to the off-kilter vibes coming from the track. Eventually, the vocals are executed in a very spoken world-like fashion. The band alternates between the two modes, keeping listeners on their toes throughout. Racing synths bring in a dynamic vibe on “Confession.” Feng’s operatic vocals cast a wide net over this track. More synths reels in listeners right away on “Decay.” Next, some aggressive guitar riffs come in. Wolff’s otherworldly vocals arrive, drawing listeners closer to the hard rock riffs. The music sounded very hard and heavy. On “Vampyre,” more synths come in alongside some sparse guitar riffs. Once Feng’s vocals enter, you get the sense as the music grows that the band is taking their time here in letting the music evolve on its own. On “Mortal,” some synths draw you in with an atmospheric vibe. As keys and wailing guitars compel you to listen on, more of the band’s slow burning energy is realized. The music once more takes its time in building up. There is absolutely no rushing here. Synths and the sound of piano at first highlights the sounds on “Mastermind.” Next, the music grows more adamant with a wave of clashing sounds. This then clears up once Wolff’s mantra-like vocals come through. The drums and gothic vibes really made the sounds\on this closer. The band’s search for what lies on the shadowy abyss of the underworld shows here. Their marked efforts to give us a sound that packs in mood and ambiance proves that they are definitely a band with a lot to show. The Neuro Farm takes you a journey through the vampyre world with this dark twist of an album.
This is Right Now is a release from Darel St John. We, at Divide & Conquer, recently reviewed his other album Forward which contains a similar approach and style.
“This is Right Now” is the opening title track and is a very motivational and inspirational sounding song. It’s a rocking song about gratitude and the present moment in terms of the lyrics and theme. “Shine” is a slick and smooth song with sharp but clean guitar progressions. The vocals are well delivered and I love the hook around the one-minute-and-forty-second mark. One of the other highlights was “Happy” and it is more warm and comforting. The message is again positive and I thought the hooks were memorable alongside the slightly delayed guitar, steady bass and drums. “Ride” is more cosmic and existential. There are hints of Pink Floyd on this song but the song is more subdued and earthly in some ways and I think some of that just had to do with the production decisions. Another highlight was “Inside” and this song not only has some of the most distinct guitar patterns but reminded me of ’70s David Bowie with its mix of flashy funk and rock. As the album progresses I thought there were a number of highlights including the seductive and intimate sounding “World of Love” which is about a romantic relationship. “See Me” is a delightful and warm song that’s atmospheric and dream-like. The lyrics are tender and heartfelt. I loved the groove on “Oblivion” which again contains some Pink Floyd type vibes I really enjoyed. The organ and bass sounded great together. The most rocking song is arguably “One Thing” while "Naturally” is positive but lush, leaving you with a sense of well-being. I thought this was a really good album from beginning to end. There’s definitely more or late ’60s and ’70s aesthetic in terms of the song writing and the production style. I miss that and I’m glad this artist is keeping the flame alive.
Jon Arthur Schmidt is a singer/songwriter, multi-instrumentalist and recording artist currently based in the Minneapolis area. The artist recently released From The Marrow. His music to my ears is somewhere between Father John Misty, The Beatles and Elliott Smith.
The album starts with an absolutely loving track called “Library Land.” It’s a short song but it captured my attention. I immediately fell in love with the vocals as well as the backing instrumentation. It’s got a life affirming quality to it. The album gets a little more pensive and melancholy with “Daylight (Never Left).” It starts with swells of orchestral strings which combine with delicately picked guitar. The vocals are earnest, heartfelt and warm. I loved the flourishes on the strings and the way it becomes cinematic at points. “Sweetness” is a gorgeous song. The guitar work, drumming and other elements create a number of engaging grooves. I was at times more reminded of a band like Radiohead due to the mood it was creating. “Tree of Life” felt like a ballad that is both motivational and nostalgic. The song rises to some epic peaks and feels like the most pop oriented song to this point. “It’s All Falling” has more hints of melancholy which I think fits the artist well. This is another example of a fantastic vocal performance. The album moves forward with “Beautiful World” which is the arguable highlight. There's rolling drums that create this upward energy and the song felt like it was about gratitude and a healthy optimism towards the future. The album continues with a variety of good songs. I liked the more guitar based “Just Give It a Try.” I was a little confused by how much more lo-fi “Blue Tarps” was but loved “Eagle Eyes” as well as the closer “Lovesong Lullaby.” The production and recording on this album was exceptional. I definitely had some preferences in terms of the songs but there were a lot of great ones and a couple that were truly exceptional. Overall, this is a great album. Take a listen.
Sam Cobra is a four-piece psychedelic rock band from Seattle, Washington. They play shows and festivals regularly in the Pacific Northwest, and their 2019 album Supernova was reviewed here on Divide & Conquer. Dan Weston noted that the band did not release music quickly after forming, but instead took almost three years to hone their sound, “forming a very tight unit with an undeniable chemistry that can only be created with diligent practice.” Two years later they are back with a new album titled Dark Matter, though only two of the original members have returned.
The current band features Stephanie Ward (vocals/rhythm guitar), Thom Beckman (lead guitar), Danica Shao (bass) and Donovan Pfeifer (drums) along with guest Andy Basinger (keys). The band explains that Dark Matter is “a unique concept album, leaning less on traditional rock (than the first album) and tip-toeing into the shoegaze arena. Every song is part of a chronological narrative that tells the story of a space adventure by a young alien girl who travels to Earth to find herself. Along the way, she also finds love, family and her role as an unlikely heroine.” The band’s webpage features all the lyrics and unique artwork for each song. Musically the band notes that this album also includes more synth, viola and guitar effects “for a more ethereal approach.” Recording took place at Earwig Studios with mastering at Resonant Mastering, both in Seattle. There was a time when I was heavily immersed in what used to be called “Adult Fantasy” and that’s somewhat the vibe I get from these songs and the artwork. In all honesty the lyrics are often opaque and there’s not a lot of “action” within the story, but I appreciate having the lyrics and pictures to follow along with. Though I loved much of what I heard, I found that most of the songs followed the same template, which made it hard at first to differentiate the songs. “Dark Matter” begins with a Middle Eastern-sounding viola (and much of the artwork has a Middle Eastern feel as well) which also reappears briefly later in the song. Right away l liked the cool minor key strumming and the melodic bass runs. Stephanie Ward is clearly the visual and musical center of the group: a multi-instrumentalist, she’s also quite beautiful and has a lovely voice that tends to linger on the single notes without a lot of moving around. The drums appear to be overdubbed on top of a drum machine or loop, for an interesting effect. Story-wise, this is the part where the heroine crashes her spaceship. “A current of destruction, galactic interruption, approaching an eruption / Descending to the ocean, collision set in motion, a meteor approaching a flame.” Overall this is a fine example of medium-tempo psychedelic rock. “Oblivion” actually refers to the part of the story where our heroine is saved from the oblivion of a watery grave. This song feels more like folk rock, with some incandescent hard guitar breaks by Thom Beckman. There’s an acoustic piano moment by Andy Basinger that sounds like it came from the Stones’ psychedelic classic Satanic Majesties. Vocally Ward expands her range by overdubbing some lovely harmonies. “Whale Rider” takes us back to a minor chord scheme before the celebratory chorus, where (I guess) our heroine is rescued by a guy riding a killer whale. It’s got a jittery beat and a short proggy section at about three minutes, plus a quite tasty lead solo. To me this is the most similar to a traditional song thus far and an early favorite, with a truly epic structure and an exhilarating arrangement. On the heels of “Whale Rider” we have another excellent track called “The Promise” for which the band shot a video. Ward sings in a very high register, and there’s another fine guitar solo by Beckman. “Asylum” features jangly folk guitars and more exquisite harmonies. “The Gift” come closest to really changing things up: it’s the hardest rocker in the bunch, with tribal drums and hard rocking breaks that appropriately illustrate the introduction of “a steady hound with siren’s sound that echoes through the herd.” “Castaway” cycles the sound back to the album’s opening, with another Middle-Eastern sounding viola intro. The rest of the song is a soaring, majestic mass of sound with a bit of R.E.M. jangle for good measure. “Tremors” concludes the album (and story, for now) with a chorus that faintly echoes Gordon Lightfoot’s “If You Could Read My Mind.” Along with Ward’s always sweet vocals, the drums carry much of this tune. I have to give this band credit for consistency, even if I might have preferred a bit more variety to the arrangements. Any of these songs taken on their own is excellent, and wherever Sam Cobra goes from here is bound to be somewhere good.
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 Jonny Phillips Trio yin 3.8 Willy Nilly Dogs In Heaven. 3.6 Helios Flower Morning Coffee, Whisky Night 3.7 Cozy Throne I’ll Tell You What Freedom Is 3.6 Dear Other The Wizard Clip. 3.8
Asteroid Blues is a five-piece band from Sydney, Australia that was formed in 2019 and has just released its debut EP, also titled Asteroid Blues. The band was formed by five high school friends who “wanted to create a space to write music and express their creativity as a group. After more than two years of trial and error, the band is now ready to share their music with the rest of the world.”
Corey, Keegan, Tristan, Lemon and Ewan formed the band to “experiment with clean rhythms, hard-hitting outros, catchy vocal leads, and sharp and melodic guitar solos. The outfit boasts a unique alternative indie-rock sound inspired by acts such as Ocean Alley, The Strokes, Arctic Monkeys and DMA’S. They draw their creativity from memories of their careless youth growing up in suburban Sydney.” The band has been building momentum through their live shows throughout Sydney. Indeed, they see this EP as “a love message to our audience that has been following through thick and thin over the past few years.” Recording took place at Utopia Studio by Isaac Lewis, with mixing and mastering by Jack Nigro. “Blackstar” is the opening track, and it’s a ballsy move for a band named Asteroid Blues to use the title of David Bowie’s last album for a song title. Indeed, the crunchy guitars do have a Bowie edge, though of course I can also hear a bit of The Strokes. The song starts out in hard rock but quickly switches to a more ’80s pop rock sound, especially in the vocals. They seem to purposely play a couple wrong chords in the hard-hitting chorus, which is a trick I’ve used myself; it adds a bit of spice and mystery. “Infinity Man” has more of a ’70s rock style, feeling epic in conception and almost jazzy in parts. I like the full-on power of the guitars and drums, though the compression is getting quite a workout - the cymbals barely have room to breathe. Something funny for me was that just before I got this album, I was wondering why artists weren’t using wah wah pedals as much anymore. These guys add a wah solo at the end that did my heart good. “Hallucination Bay” starts with an intimate plucked acoustic guitar (sounding a bit like a ukulele) with a clean, close up vocal, leading into a song with shimmering electrics bouncing across the stereo field. Love the title and the concept behind this song: “Let’s go take a walk on the shores of Hallucination Bay / Look inside your soul… stay here and chill on the shores of Hallucination Bay.” This is another song with an unexpectedly sophisticated arrangement with a somewhat smooth jazz feel. “Caffeine and LSD” ends the set on similar footing with the drums a bit more prominent, even including a “disco” high hat beat. Overall the mix is a bit cleaner and the arrangement seems to reach across the decades, with roots in the ’60s, ’80s and up to now. These guys are quite good, and their songs show tons of promise. I can’t wait to see them stretch out and take their sound to the next level.
Russell James' fourth full-length release Feel Your Pain sees him reconciling two of his root Influences: simple and traditional folk songs and dreamy, lush shoegaze textures.
The album opens with “History Of Crime” and to me it had a familiar American flavor in the spirit of a band like War on Drums. It’s a very atmospheric song that imparts a good amount of reverb which swells from different instrumentation. The juxtaposition of the fast drums felt necessary so the song didn’t float away. I’m a sucker for banjo and really liked the simplicity of that instrument on “Somewhere In America.”.The song is also backed by a consistent kick drum, some strummed chords and lyrics about life in this country. I loved the reference to Elliott Smith. “The Morning Singer” felt like the first highlight. I really liked how he delivered the vocals. There's a smidge of reflection and melancholy that hit the mark. The song is similar to the first song in that it is very atmospheric with airy pads and swells from what sounds like lead guitar as well as some type of synth. “The Poet” brings things down to earth with a distant harmonica, intimate guitar and piano. This is a heartfelt number and I especially appreciated the line “Depression is a motherfu*k.” The next song “Tremor of War” felt like you were getting back on your feet to confront whatever might have torturing you. It’s a bright and motivational song but also quite lush and serene at the same time. Another good one was “A Quiet Life” which combines some banjo, guitar, drums and bass which rolls with positive vibes and some of the most memorable vocal melodies on the album. “Backseat Driver” is a little more dangerous, dark and edgy while “I’ll Be Your Man” is a stripped back song relying on guitar and vocals at the center. Last up is “My Hand Are Tied.” This song adds what sounds like cello to the song which creates a bed of solace. I thought this album had a seamless flow to it. The songwriting and delivery was top notch and I think fans of American infused folk and rock will appreciate what this album has to offer
We All Seem Fine is the debut EP release from Philadelphia duo Midnight Flowers, consisting of in-laws Charles Kaericher (guitars/drums) and Tatiana Orr (vocals/keyboards). Kaericher recorded and mixed the album with the help of David Barnhart; Barnhart also plays bass on the record.
Kaericher and Orr got together to play during pandemic-induced downtime as “just something to do.” They released two singles in short order, and, buoyed by the positive response they received, Midnight Flowers pushed through to complete a longer set. The result is a six-track disc that shows its ‘80s new wave influences, combined with indie-band drenches of reverb. We All Seem Fine offers solid melodies set against lush production, with plenty of vocal stacks, synths and guitar parts to keep things interesting. “Shades of Blue,” the opener, is a lovely pop tune, with chiming guitars and tasty backing vocals over a chugging rhythm section. Barnhart’s bass locks in nicely with Kaerciher’s drums to keep things moving, and the synths supply a little bit of extra tension against Orr’s mellifluous vocals. It’s a strong start. The band keeps it going with “That’s Life,” another charming pop experience, with Orr’s thick vocal harmonies complemented by synth lines and jangly guitars. The bridge was well-done, with some nice songwriting turns and a head fake non-ending. “Never You PT2” keeps the upbeat indie-pop vibe going, featuring a cool middle synth section. For the next three tracks, the band varies the feel a bit. On “Some Time,” an ‘80s-type synth ballad, the band shows that it can tackle a slower tune. The production here is well thought out, and not overindulgent. The snare-driven middle worked particularly well, and Kaericher delivers drum-hero fills with panache. Next, Midnight Flowers tackles a throwback rock-and-roller with “Sleep This Off”’s surf-rock backbeat. The up-front guitars are still indie-tinged, but there’s enough chunk underneath to push things along. Finally, the title track closer finds Orr reaching for high notes in a groove straight out of early 2000’s Britpop. Oddly, Orr’s vocals–nicely balanced through the other five songs–are a little buried under the synths here. The record is solid, start to finish. However, one thing that struck me after repeated listenings was that the synths all had lots of warble effects on them, as if Orr held down the aftertouch while recording. You can hear this, for instance, on the ending of “Never You PT2” or the middle and ending of “Sleep This Off.” With the jangly guitars and reverb-heavy vocals everywhere, the tracks don’t need extra vibrato from the synths, too. None of this should deter you from adding We All Seem Fine to your new wave rotation. Enjoy a spin, and let’s hope Midnight Flowers sends us new music soon! |
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