Home Court is a four-piece alternative rock band hailing from Southern Australia. Starting out with a punk template as fifteen-year-old school friends, the band has matured and with that newfound maturity came their current influences: The Strokes, The Smashing Pumpkins, Sonic Youth, Nirvana and Pixies to name a few. Put these bands in a blender and you get the unique sound that is Home Court.
Their debut EP Have You Met Home Court? has five tracks, four of which have lyrics in them. All tracks including the intro were recorded and mixed by Colby Robertson at Interim Studios. Marcus, a friend of theirs, mastered the five songs as well. Special mention goes to the album cover art for accurately representing the band’s style through a humorous lens. Home Court starts their debut EP with the instrumental piece, “Looper (Intro).” It begins with expressive guitar and bass riffs, building up to an indie grunge powerhouse of a track as soon as the drums come knocking in. Surprisingly, this is the most interesting number on Have You Met Home Court? The other four songs each have enjoyable moments. “Light, Heat, Sound & Pressure” sports interesting riffs throughout, and I’ll bet that the skipping drum rhythm will evoke some nostalgia in the indie crowd. The EP’s centerpiece, “Mouthguard,” takes on even more of a Sonic Youth quality than the previous cut, and it’s noisier, too. Rumbling, fuzzy bass and frenetic drumming provide the backbone for this rocker. There’s also a sick grunge-inspired riff that begins towards the end. The band dial up their inner Strokes influences on “Clean Plate,” of which the danceable rhythm sounds like it was lifted from Is This It. However, this is quickly overshadowed by the eight-minute epic, “Turning Circles.” I was reminded of a band like Black Country, New Road when listening to its mostly spoken word delivery. Furthermore, much like that band, Home Court experiment with all sorts of shifts in dynamics and tempos a la Pink Floyd. By the end, I was thinking, “These people sure are technically proficient!” Technically proficient as they are there is more room for growth in regards to the vocals and songwriting. I thought that in all five pieces of this EP the instrumentation stood out. I would advise Home Court to keep going down this impeccable lane of indie rock meets grunge, noise and progressive rock. And props to Robertson for such finely tuned production. Recommended.
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Few Celtic folk rock artists blend elements of both Jethro Tull and Loreena McKennitt as effortlessly as Oakhart. They are a five-piece from Southern England that primarily play at pubs and small festivals. Their current lineup consists of Mark Earll (guitar/mandolin/vocals), Mike Jessop (violin), Mic Poynter (guitar/vocals), Steve Chapman (bass/Djembe) and Adrian Forster (bodhran/Irish bouzouki/ vocals), with Earll, Forster, and Poynter serving as Oakhart’s songwriters. However, two of the songs from their self-titled debut Oakhart (“Across the Western Ocean” and “The Vong”) are credited as “traditional.”
Recorded at Green Room Studios in Devon, UK with mastering engineer Mark Tucker (Jethro Tull, Show of Hands, Fairport Convention), Oakhart dazzles and mesmerizes with its collection of eleven Celtic folk-inspired songs. It does so by intentionally capturing the sound of their band playing live. In fact, aside from using minimal overdubs, the only other effect that I could detect in this album is natural reverb, which is great because it gives each song a cavernous quality, mostly in the vocals. There’s a song from Legally Blonde: The Musical called “Ireland,” all centered around Paulette’s fantasies of escaping to that place and finding happiness there. This album is that song personified, and it begins with “Turn and Face the Wind,” a minor key song aided by enchanting harmonies and tremendous vibrato in the vocals! Unexpectedly, “Merlins Song” is introduced with a spoken word section before the actual song begins. Here, the singer’s rich tenor reminded me slightly of Michael Stipe from R.E.M., yet again singing minor key melodies. If track three, “The Birdman,” sounds familiar to some, it’s because it sounds like it could be a song from Jethro Tull. The playful ¾ time signature provided a nice rhythm to this prog-meets-folk piece. However, it could have been just a tad bit longer than three minutes. “Frack Off,” the following song, is explicitly about protecting our environment, and with that urgency comes lots more violin and not too much backing percussion. What better way to talk about preserving the natural wonders of the world than with a song such as this one! The traditional folk song, “Across the Western Ocean,” sounds like a major-key sea shanty brimming with violin, mandolin and acoustic guitar. “All the Way to Dublin,” on the other hand, is an original composition telling the whimsical story of an Irish band. As a bonus, the ending is quite cheeky. It made me smile. After the instrumental folk-dancing of “Home Counties Hop,” we dive headfirst into a sea of violin and vibrato on “The Dating Game.” It’s yet another song dabbling in wit, and it precedes the second traditional piece, “The Vong,” which is another instrumental. I must say, I really admire how Oakhart decided to sandwich “The Dating Game” in between two instrumentals. Four-and-a-half-minute “Festival” may not have any violin in it, but the atmosphere contained within the rest of Oakhart is still here, nonetheless. Yet it’s the closer, “Stand As One,” that truly stands out as the finest example of progressive rock colliding with strands of Celtic folk DNA. It’s easily the most rock-like cut on their self-titled debut, even featuring a Pink Floydian electric guitar solo alongside more mandolin and percussion. Plus, it speaks a universal message about the importance of unity. Oakhart don’t just have talent and strong hooks. They also have something incredibly meaningful to say with each song they write. That makes this band all the more engaging. It’s a shame that they don’t show any of their lyrics and that Bandcamp is the only place their music can be listened to online because I’m convinced that this is not just music for the pubs. It’s something special! Highly recommended.
Best Supporting Actor, a solo/collaborative project, is led by Arcadio Rodriguez. Rodriguez strives to make music that is a little out of the box. On his latest release, Moving Pictures, which is realized with the help of Rodriguez’s friend Duncan Clawson, the two have made a type of ambient music that immediately arrests. Field recordings of clanging of cowbells, water gurgling, food wrappers and more make up these compositions, but Rodriguez also incorporates the use of synths and beats to add to the dynamism of these tracks. The finished product is very artsy and experimental that I think a lot of us will be drawn to.
Moving Pictures begins with “Graduate,” where the clanging of a bell and some popping noises come through. Then the sound of synths wraps it all together for an ambient feel. The sound is soothing and takes its time in developing. There’s a touch of ‘80s retro vibes from the synths as it grows in sensibility. Next, some percolating beats arrive. The sound of a food wrapper sounds out on “Second Guess.” Intermittently, synths come in and out of this recording. I was definitely getting ASMR vibes here. There was something strangely soothing about this song. Some strings come in for an ear-pleasing sound at the latter part of the recording. On “Wander Kid,” the sound of rain comes through softly in the background. Some keys and synths make for a melodious sound and ambient piece. Gradually, you can hear the sound of birds chirping. Overall, ethereal-sounding and definitely something you can find yourself relaxing to. Some keys strut in for a lovely and melodious sound on “Scenic Route.” The tune meanders for a bit and I was immediately getting ‘80s vibes. Gradually, Rodriguez’s vocals light up the sounds. This track was mellow and laid-back. I was getting some lounge vibes. I thought this closer was a great way to end the album. If you’re looking for something relaxing to listen to, then Moving Pictures might just be right up your alley. Filled with ASMR moments, soundscapes with the ability to soothe and an ambience that moves, there’s tons to appreciate here. With that being said, I thought the last track was really dynamic and I wished to see more of that kind of music from Rodriguez. While the ambient tracks were great, I think Rodriguez really went on to show off his musical chops on the closer where we get to hear some of his wonderful vocals. All in all, be sure you check out Moving Pictures!
Bad Acid is an Austin punk band that has a raw energy which I always love to see from bands in such a polished digital age. It’s always exciting to hear a piece of music and visualize a group of manic musicians free-styling in a garage. That’s exactly the case on “Party,” the opening song on End Times. Ferocious electric guitar power chords buzz blisteringly over smashing drum cymbals and aggressive vocals. It’s the kind of song that would melt your face off at a live gig because it certainly blew me off my sofa. What a powerful start to an album. I always give kudos to a band that nails an intro.
“Mesmer” has a slightly funkier, upbeat vibe than the intro, which was a pleasant surprise. It’s a side that I didn’t expect from this band, after hearing the chaotic first track. The vocalist, Lafayette Moore, almost delivers the timbre and essence of Julian Casablancas (The Strokes), but only for fleeting moments. The choruses, in comparison to the clean verses, are wild and face-melting, once again. I’ve talked in reviews before about the power of the loud-quiet dynamic in a song. It just makes those high-volume moments all-the-more impactful. “Dope Sick Blues” is driven by a slow, brooding guitar riff, along with low and sinister vocals from Moore. While it’s a slower tempo from the previous tracks, Bad Acid delivers all of the same energy and grunge-fueled darkness. “Celebrate” is much the same, though it adopts a loud-quiet dynamic, much like “Mesmer,” and really opens up space for Dave Pratt (bassist) to shine in those quiet sections. “Ashes” is one of my favorite songs. Short and sweet, like all solid punk anthems. The guitar-work is sublime. Fantastic riffs and power-chord progressions. Really loved the screeching lead guitar too. There’s such a messy vibe to this track, but it’s intentionally messy, and I absolutely love it. The demented vocals gel perfectly with the overall vibe of the track. Shout out to Michael Pinson (drums) for his raw energy on this song. I admire the synchronicity of every instrument during those staccato sections. It’s also worth mentioning the outro, “Wizard Smoking in the Tree Tops,” which closes the album with such a vibrant and crystal-clear guitar riff. A fantastic album from a fantastic band.
Starrify is the solo project of an alternative artist by the name of Mark Palmer. On Goodbye California, Palmer’s latest eight-track project, listeners are treated to a showcase of this musician’s sheer talent as a multi-instrumentalist. On “Ghost of John,” it’s clear that Palmer is a master of all trades, not a jack. His vocal-work, for starters, is absolutely breathtaking. I can’t remember the last time I reviewed an artist with such a beautiful singing style. There’s such a fragility to his vocal timbre. Combined with the tender guitar-playing, this introduction to the album is hauntingly-stunning. I’m blown away by the fact that Palmer plays every instrument other than the drums.
“Secret Plans” is a strong second track too. This song manages to cover so much ground over the course of five minutes. More tender vocals and finger-picking, of course. It’s the strings that truly captivate me on this track, however. They swell in such an utterly heart-breaking way. In much the same way as Palmer’s vocals, there is a rising and falling quality to them which really evokes nostalgic, sentimental feelings. And the melody of this track, additionally, has such a somber, melancholic beauty to it. One of the loveliest songs on the record is “I Hear Horses.” Palmer has showcased the strength of his angelic voice, but he also demonstrates the softness of it on this song. There are some spectacularly subtle moments. The quiet moments really demand the listener’s attention, and I love that. With a song that boasts as much intricacy and detail as this one, every listener should devote their entire attention to it. There are so many layers to be soaked up. Guitar is at the heart of every Starrify track, of course, but it’s the background strings and synths that always complete the songs for me. The title track closes the album perfectly. “Goodbye California” is exactly what you’d expect from the title. It’s bittersweet. The acoustic guitar melody is so emotive. Palmer utilizes a chord progression that feels simultaneously happy and sad. The muted drumming and delicate vocals create such a beautiful, relaxing vibe. It sends off the album on a wave of tranquility
Sayryn is a Nashville based duo that consists of Bryn Jahna and Saya. The duo formed during lockdown where they started to explore songwriting. They recently released their debut single entitled “The Mortician.”
They mention that "The Mortician" was written in March of this past year. “After a lengthy discussion about how we relate to our old selves, sometimes feeling as if our old selves were completely different people, we came up with the idea for this song. ‘The Mortician’ is essentially a murder ballad and we chose to formulate the song around trying to get the listener to figure out who the murderer is by the end of the song.” I absolutely loved this style. It reminded me of ’70s folk with a darker goth type of quality. The artist Vashti Bunyan came to mind if she was more into a southern gothic style. It also brought to mind the song “Down in the Willow Garden” by The Everly Brothers which is also about a murder. It’s a haunting song and if you ever saw the first season of True Detective it would have fit perfectly into that series. The song is in ¾ time with a distinct picking style that is associated with a waltz. They both sing here and I thought their voices sounded very good together. One of the vocalists is an octave higher. The vocals are sort of delivered in this sort of monotone way that feels a bit stoic. It fits the song perfectly and it’s both beautiful and haunting. I also want to point out that they sound great whether it’s vocal harmonies or solo. The song starts with just guitar and vocals but as the song progresses there are other elements that come in. There’s what sounds like a second guitar which adds to the haunting atmosphere. The fuzz on the additional guitar sounds great. It also adds a spaghetti western style into the song. The single got me very interested in where the duo will go from here. I thought they nailed this sound. It’s creepy, haunting and dark but they are able to insert a sense of stillness and beauty in there as well. Take a listen.
Barry Shelton (vocals), Kit Savvy (keys/vocals), Chase Cowan (bass/guitar) and James “Jam” Holloway (guitar) are Sister Sleep. The band is inspired by the likes of My Chemical Romance, The Used, and AFI to more contemporary acts like Bring Me The Horizon and Badflower. If you’re a fan of these artists you will most likely appreciate what they bring to the table with their EP Wraith and Rosary.
The EP starts with “Somnium” which is more of an intro than a fully fleshed out song. It’s under a minute long and I would say it sort of sets an ominous tone. You are greeted with a filtered beat and what sounds like radio transmissions. Darker synths and percussive elements quickly come into the mix. You hear someone say “The time for sleep is now.” I loved the transition to “Give Up the Ghost” which starts with an explosive burst of guitars, bass and drums. We got some singing on this song which felt very pop-punk infused. In fact I would say this is cross pollination of pop-punk and goth inspired emo. The song is dynamic and the hook is undeniable. The vocalist sings “I've given up on the life I had / I’m born again / Watch me creep down the halls / Now I've gone mad / Dripping with sin.” There are some killer transitions on this song as well. “Orchid (Wide Awake)” reminded me of Evanescence in terms of tone and energy. It’s a confessional song with atmospheric qualities. The vocals are varied and dynamic. It’s a little before the two-minute mark where the song explodes and gets more intense as it progresses before falling back to an electronic beat and pads. Sister Sleep wears their influences on their sleeve while still maintaining a unique sound all their own. With visual and thematic inspiration pulling from horror movies and the occult, the band surely has a flair for the dramatic. “Coffinkarma” was the arguable highlight. This song had a very memorable hook and I thought they did a great job exploring different styles. I was feeling the ’90s alternative vibe with this song. The closer “Exist Without (09.05.52)” absolutely soars. This song sounds huge and might have the fastest BOM of any of the songs. I was impressed by the band's technical skills. This type of music has a certain appeal to a younger audience although anyone who grew up with this style of music should love what Sister Sleep brings to the table.
Joe Rose is a 52-year-old songwriter/producer who was born and raised in Los Angeles and has been residing in the Boston-area for the last twenty years. Over the years he has refocused his efforts by concentrating on solo projects and recording his own music.
Rose started his musical career in the late ’80s and early ‘90s as the co-founding member, co-songwriter and lead vocalist/keyboardist for the L.A. post-punk quintet called The Optimistics. After some time off he returned with his new release 124. The album contains thirteen songs and I would say there’s quite a bit of variety, so let’s get into it. Up first is “Northridge Quake” which contains earthy organ, driving drums, bass and an overall Americana type of quality. I was reminded of John Mellencamp and Tom Petty. It’s a fun opener and was also quite catchy. “Dust” is up next. This song had a couple of synths and an airy atmosphere feel to it. I really liked the vocal delivery on this song and Rose sounded similar to J Mascis on this song. The Americana spirit from the first song all but evaporated. “Disguise” is a high energy rocker that gets your adrenaline pumping right off the bat. “Denial, My Old Friend” was a certified highlight on the album. This song had a great groove and the Americana quality is back. I thought the vocals were on point and the drumming fit the song well. It’s also quite dynamic and displays his versatility. As the album progressed I thought there were a number of high points. The hard to define “Blessed” had some grit and well executed instrumentation with a good amount of attitude. Another highlight was ”Waiting out the Storm” which brought to mind The Doors. It drives more than a typical song by The Doors but the vocals did seem to align with Jim Morrison. I also loved “This Fools' Parade” which is one of the more joyful and dance worthy songs on the album. “Salvation” and “Handsome Ned” were also noteworthy tunes. As a recording engineer myself I would say my only critique was the mastering. The songs were often at different volumes. A proper mastering job would have helped to get a similar RMS level. Rose is a talented musician and quite versatile. 124 contains a number of quality of tunes. Take a listen.
Agathya Visveswaran, aka “Agaaze," is a twenty-year-old multi-instrumentalist artist and producer from Rochester, New York. Last year Pitch Perfect reviewed A Portal Inside and the artist is now back with For You.
It’s a seven-song album a little over thirty minutes long. The album combines a number of different genres like electro-pop, hip-hop and psych-rock. It’s also a concept album. Agaaze mentions "For You follows the story of a young protagonist, who is enveloped by a desire to live in a dreamland created by his own mind, but eventually learns to accept the joy of the present moment. Each song represents its own theme, and the project is presented as a retro/futuristic TV show.” The album gets going with “The Door” which begins with sub bass synths, phaser infused white noise and other atmospheric elements. A beat arrives along with somewhat subdued vocals. There’s a meditative stillness to the song but things start to morph and evolve. Serene sounding classical guitar fades in and then heavy thick drums and buzzing bass synth are added. Tame Impala came to mind when this groove arrived. Soon after we get a blaring guitar solo. This was an interesting and bold song to open with. It avoids a typical hook and is mostly instrumental. “Lately” fades in with some ambient and connects with airy synths and a deep and robust rhythm section. The groove is strong and the electro and funk flavor made this a fun song. There are a couple breakdowns which were well done. “I Don’t Got Time for This Today” is next and the energy here felt the most uplifting so far. The grooves are certainly slick and while not as varied as an artist like Aphex Twin the music has a similar cerebral quality. The song introduces some slick lead guitar. “Cinnamon Paradise” felt like the centerpiece. The six-plus-minute song starts with a filtered urban sounding beat. Once the vocals come in the music expands. I loved the bass which sounded organic. In fact I was getting Thundercat vibes on this song. I would also say this was the catchiest song on the album in terms of the vocal melodies. The song is also dynamic and explores a lot of different terrain with colors and tones. “Still Water” is a catchy one and the most rock based sounding song on the album while “Are You Real?” has more of a dark hip-hop flavor. “You and Me” was a fantastic closer. I loved the juxtaposition of the instrumental aspects. The vocals were also quite joyous and confident sounding. It sounded like the most optimistic breakup song I’ve ever heard. The young talent will certainly gain some attention with this release. It’s a cohesive and genre bending experience that I think will resonate with people. Highly recommended.
The Bored is a four-piece rock n' roll outfit from the Twin Cities that formed in 2018. They mention ”All band members provide vocals, with Darrell Pipo taking the lead. The sound is rounded out with electric guitar helmed by Darrell Pipo, Matt Bruns on bass, Christian Waage playing trombone and keys, and Jason Matsch thumping out the time.”
From the River's Edge is the band's debut album. It’s a pretty straightforward rock album with most of the aesthetics feeling aligned with rock bands from the ’90s. I can’t say there were many novel surprises but the album gave some sense of nostalgia and I thought the songs were well written. “Maybe Someday” is up first. You are greeted with fuzzy strummed guitar chords, bass, drums and organ. It’s catchy, the groove is solid and there’s a memorable hook. I felt like it was a song that would be fun to hear on a Saturday night. I appreciated the horns on “Yer Not Alone.” The song is dynamic and the mood is similar to the opener. It’s just fun and kind of gives you some energy. “You Decide” could be the single. Between the handclaps, memorable chorus and more it felt very familiar. In fact I would say there’s Americana infused in this song. I felt like it could be played at a baseball game. “Bad Time Blooze” and “The Only One” continue with a similar emotion and feeling. “The Bitter End” was one of my favorites. It’s anthemic, I loved the horns and it reminded me of one of my all time favorite band's Neutral Milk Hotel. They continue with “Don't Turn Around” and the power pop and phaser infused “Could It Be You?” which continue to form their signature sound. They close with another anthemic song entitled “Two Tickets.” The Bored isn't reinventing the wheel here but they can write and deliver a solid song. These felt like songs you could listen to with a group of people. I kept on thinking these are good drinking songs that people might sing along with. The emotional resonance stays in that domain the entire time which I would say works for the band. It's an album you can listen to daily that doesn't exhaust you emotionally. There’s a lot to appreciate here. Take a listen. |
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