Hailing from Brooklyn, NY, Snailosaur, comprising the talented duo of brothers Paul and Dean, returns with Talk Therapy. Following the debut of their eponymous EP last year, this full-length album boasts an impressive collection of eight songs that seamlessly weave together the threads of indie rock nostalgia. For devoted enthusiasts of Snailosaur's earlier EP, Talk Therapy is an unequivocal triumph.
The unmistakable influence of ‘90s indie rock reverberates throughout, with shades of Pavement and Dinosaur Jr., and perhaps a subtle hint of Weezer. The journey kicks off with the electrifying opener, "Fake Cobblestone Alleys," a track previously explored in a prior article. Suffice it to say, it stands as a testament to the band's technical prowess and creative finesse, a killer showcasing of their musical acumen. As the album unfolds, "Darkness" emerges as a newer, more subdued gem, tinged with a Mac DeMarco-esque flavor. Fuzzy, shoegaze-infused, and adorned with dreamy lushness, the dynamics surge, culminating in a spectacular display of rock grandiosity. Among the standouts, "Apartment Boxes (nyc poem)" captivates with enchanting guitar melodies and a vocal delivery reminiscent of Lou Reed. The infectious groove renders it a repeat-worthy anthem, while "Nothing Has Changed" introduces cool atmospherics, offering arguably the most potent dose of rocking energy on the album—definitely a track to crank up loud. The syncopated energy of "High With You" propels the album further, demonstrating the band's prowess in crafting dynamic and engaging compositions. As the sonic journey reaches its conclusion with "L Train," the listener is treated to some of the sickest lead guitar work yet, a fitting finale to an album that consistently delivers. From start to finish, Talk Therapy is a killer experience, a resonant ode to ‘90s indie rock that will undoubtedly strike a chord with fans of Modest Mouse, Silver Jews and other classic bands. Snailosaur effortlessly bridges the generational gap, bringing a fresh perspective to the table while paying homage to the rich musical legacy that precedes them.
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Emerging as a standout figure in the country music landscape, Todd Barrow is steadily etching his name as an artist to watch. Hailing from Texas, this singer/songwriter boasts an impressive array of accolades, from the PRSA Award of Excellence to the Akademia Award for Best Country Album. His spotlight in Alternative Roots Magazine, American Pride Magazine and AVA Radio further solidifies his rising status, while appearances on television shows like Good Morning Texas and Texas Music Café on PBS underscore his expanding influence. Collaborations with country music heavyweights, including CMA musicians in Miranda Lambert's band and Fort Worth Producer of the Year Bart Rose, add to his illustrious journey.
Yet, beyond the laundry list of achievements, it's the palpable sincerity in Todd Barrow's music that truly distinguishes him as a compelling country artist. This sentiment is profoundly evident in his recent release, "Jungle Out There," a mid-energy rock/country fusion adorned with infectious melodies and a steady groove. The song's hook is irresistibly catchy, destined to linger in your mind after just one listen. With a robust Americana vibe and an impeccable vocal performance, it exudes a radio-ready quality that amplifies its allure. Transitioning into "Best Of Me," Barrow navigates the realm of a slow-burning ballad, where the vocals take center stage. A poignant tearjerker, this track serves as both an emotional catharsis and a motivational anthem, urging listeners to rise and restart. The magnetic electric guitars on the hook, coupled with a commanding band, elevate the song to a powerful and evocative experience. "West Texas Wind" follows suit as another stellar composition, effortlessly blending country and rock elements with pop sensibilities. Brimming with joyous tones, it stands out as perhaps the most uplifting among the three tracks. In each of these tunes, Barrow hits a home run, showcasing his musical prowess and heartfelt approach. These songs demand a listen, offering a recommended experience that encapsulates the genuine essence of Todd Barrow's artistry.
In the evocative realm of school dances and nostalgic echoes, Don't Blink's latest offering, Winter Dance, materializes like a sonic journey back to the dance floor days of yore. Drawing inspiration from the bygone era when live bands set the rhythm, this album paints a vivid picture reminiscent of those cherished moments.
Kicking off the auditory voyage is the title "Winter Dance," a ballad that gracefully unfolds with a slow burn, eventually escalating in energy. While the rhythmic nuances might pose a challenge for dance aficionados, the track's overall allure is undeniable, inviting one to imagine the whimsical attempts of youngsters on the dance floor—a captivating spectacle. The rock-infused vigor of "When August Whispers" takes the listener on a different trajectory, with distorted waves of guitars assaulting from various angles. With a distinct shoegaze flavor, the song exudes originality, narrating the wistful sentiments of August's fading whispers. "On The Other Side" ventures into the realms of prog, showcasing intricate bass work and commendable drumming, notably highlighting the resounding allure of the ride cymbal. Meanwhile, "Sleeping My Life Away (If I Could Fly)" offers a throwback to ‘50s pop, delivering a unique and off-kilter dance-worthy flavor. "Unconditional" introduces a darker undertone, where the tom drums reverberate with a commanding presence. "Going Numb" propels into a rocking anthem, while "Shell Shocked" adopts a more melancholic demeanor, dripping with an unmistakable sense of sadness. The grand finale arrives with the nearly ten-minute opus, "Across A Winter Sky." A magnum opus in its own right, the track stands out as a favorite, solidifying the signature sound that fans have come to adore from Don't Blink. In essence, Winter Dance serves as a testament to Don't Blink's unwavering commitment to their distinctive sound. Each track is a brushstroke on the canvas of nostalgia, inviting listeners to immerse themselves in the sonic tapestry that defines the artist's oeuvre. Take a listen and be transported to the dance floors of both memory and imagination.
Venturing onto the music scene roughly three years ago, The Sense marked their presence with a debut EP in 2020, and now, they return with a collection of new tracks that underscore their evolving sonic prowess.
Opening the sequence is "Black Magic Marker," an enchanting composition that intertwines hypnotic guitar patterns, ethereal vocals, and meticulously placed bass notes. A percussive bongo pattern delicately weaves its way into the song, submerging the listener into a contemplative stillness, akin to a meditative state. Approaching the four-minute mark, the track reaches its zenith, intensifying both musically and vocally. The culmination is followed by a gradual descent into intimacy, featuring delicate vocal harmonies and subtle instrumental embellishments. Shifting gears seamlessly, "Heartbreak remains" injects a livelier and more jovial energy while retaining the signature elements that define The Sense's sound. The kinetic percussion forms a striking contrast against warm, Velvet Underground-esque vocals, maintaining a consistent and infectious energy throughout. The dynamic shift persists with "I'll Be Damned," a departure from the preceding tracks. Showcasing a full drum kit and electric guitars, it exudes explosive energy with a fusion of funk and classic rock elements, drawing parallels to The Red Hot Chili Peppers. This track stands out as a testament to The Sense's versatility. The melancholic strains of "She's Making Me Lonesome" introduce a balladic dimension, evoking a sense of lonely emotion. The interplay between male and female vocals adds a poignant touch, making it a profoundly beautiful composition that might tug at your heartstrings. T he Sense's organic sound permeates their recordings, capturing a raw and live essence. Despite the rawness, the mixes remain solid, allowing listeners to appreciate the nuances of their music. With a diverse range of emotions and styles, The Sense invites you to immerse yourself in their latest offering—a musical exploration well worth the listen.
Meet Kyriana Michelle Perlman, the soulful force behind AnarKy I, an enchanting pop/rock/hip-hop artist hailing from Las Vegas, Nevada, with roots tracing back to the scenic expanses of Northern California, where she discovered solace and belonging.
In a serendipitous twist, her stage name emerged from a game of Scrabble, unraveling the profound truth that her birth certificate held an anagram, giving birth to the rebellious spirit of AnarKy I. A misfit by nature, she exudes an aura of defiance that echoes through her lyrics and attitude, shaping a persona uniquely her own. In her formative years, Kyriana grappled with the sting of misunderstanding and isolation, a narrative familiar to those navigating the fringes. Amidst the shadows of youth, music became her refuge, embracing her with melodies and allowing the lyrics to become her voice. With each verse, she unraveled her true self, unlocking emotions long confined. The spotlight is now on her recently released album, The Phoenixx Project, and we're here to delve into the details. The opening track, "Blue Flame," is a contemporary blues-infused piece that immediately captivates with Kyriana's compelling vocals. "Cherry On Top" follows, delivering lush and smooth tones with a notable influence from R&B, skillfully blending elements of the genre with rock. "Again (feat. Tymeless)" takes a darker turn, channeling a hip-hop vibe reminiscent of Timbaland. The collaboration with Tymeless adds a powerful dynamic, featuring a compelling rap breakdown. "Wild" injects joy into the album, presenting a potential summertime single with infectious melodies that invite sing-alongs. "Puppet" follows suit with high energy, impressive dynamics, and expansive vocals on the hook. The ballad "Ugly Inside" showcases Kyriana's vocal prowess against a backdrop of piano and evolving instrumental layers, building up to an immersive sonic experience. Unexpected elements, including rap segments, seamlessly integrate into the song, creating a well-rounded composition. "Hold On (feat. Marlei Knox)" stands out as an empowering and motivational anthem, while "Phoenixx" and "Outsider" contribute to the album's overall strength. "V For Vendatta" expands the album's scope, resembling an anthem with echoes of Evanescence. The song's hook, supported by diverse vocalists, solidifies its potential as a standout single. "Who I Am" unfolds as an intimate ballad, revealing different facets of Kyriana's sound before transforming into a pop-infused rock tune. Closing the album is "Never Come Down," a solid conclusion to the musical journey. In summary, AnarKy I proves to be the real deal with The Phoenixx Project. This epic pop album effortlessly flirts with various styles, showcasing Kyriana's versatility and musical prowess. Take a listen and immerse yourself in the sonic tapestry she has skillfully woven.
Levi Kempster of Vancouver, British Columbia is the creative force behind Cabbaggage, a solo project begun in early 2023. His newest album Birds of Passage features four new tracks, plus remixes and keyboard-only versions.
Kempster’s music spans a variety of genres including folk, contemporary classical, instrumental and electro-acoustic, though he simplifies things by saying “it’s quite cinematic.” All the keyboard parts were recorded by Kempster in his bedroom, with his guest musicians adding their parts remotely. Kempster mixed the tracks, with mastering was by James Edward Armstrong. Just to give a quick sense of this album, I’ll first describe it as mellow, spacey and multi-layered. However it’s not quite “easy listening” as many of the timbres and textures are a bit harsh, to the point of distortion. The album is structured with four basic tracks, followed by four remixes by other artists and concluding with three keyboard-only versions by Kempster. For music that’s difficult to grasp on a first or second listening, this is a lot to take in. I solved this problem by loading each track into Pro Tools so I could easily compare the three different versions. “Bird of Passage” pretty much defines the Cabbggage sound: slow, ethereal but also brittle. Iker Garmendia contributes flute on this track and the next two, along with Simon McCorry on cello. The track begins with bell-like notes heralding the quavering keyboards we’ll become familiar with throughout the album. McCorry’s cello also appears right at the top, playing recognizable notes but also creating weird overtones with his bow. Kempster is not afraid to push the gain on all these elements, which makes for a sometimes challenging listening experience. I believe Garmendia’s flute is matching some of the keyboard parts, which makes it hard to pick out. The first half of the composition runs almost three-and-a-half minutes, after which the volume and intensity quickly build. Piano and brass-like patches become more prominent, as does the flute. One can almost make out a melodic theme and variations on that theme. The cello is especially nice at the final fade. The “Solo Keys” version of this track has a much longer but similar intro; however, when the more piano-like parts come in, the sounds are quite different from the released version, with more clear notes but also lots of flying saucer-like modulations. The conclusion of this track is close to the original but with an extra helping of high-end EQ. Finally, we have the remix version by hyacinth. Remixes can be as simple as changing track levels or adding beats, but the remixes in this album are more aggressive with their changes. The hyacinth version is twice as long and starts with lots of backward effects before focusing on the cello overdubs, which appear to be slowed down (as does the whole track). You could call this The Cello Mix and be correct, though the brass sounds are also featured toward the end. “Moving Away” immediately sounds like the Cabbaggage we now recognize, but with a more upbeat theme fighting to be heard through the distortion. Like the first track it starts slowly and builds to a conclusion, though in a much shorter time frame. This track also features beats by Jez Thelwell, which add an interesting contrast. I was hoping the keyboard-only mix would bring the melodies closer to the surface, but if anything that track is even noisier than the full version. I actually prefer the remix by cellist Simon McCorry: though twice as long, he’s tamed Kempster’s noise so we can enjoy both the melodies and the tonality of the percussion. “Homeless” has another long intro featuring keyboards and cello, but thankfully Kempster has pulled back the volume so we can really enjoy his opaque but weirdly moving melodies. The keyboard version is essentially the same but without cello, but cellist McCorry is clearly the star of this track. The keys become more bell-like toward the end, building up volume with both flute and cello along for the ride. The remix by The New Emphatic is basically unrecognizable as the same track, featuring voice snippets, weird loops, beats and stereo-panned samples. It’s actually very cool and blessedly brief, and is the only remix shorter than the original. Our final track “Rushing Water” has no “keyboard only” mix. It starts with ocean and bird sounds somewhat buried beneath Kempster’s swirling keyboards, with repeating bursts of overloaded sound. The track’s construction is simple, like a long loop. The remix by autumna adds voice samples and low-pitched drums with an almost machine-like cadence. Like the original track it also takes a simple idea and lets it play through. Overall this was quite a mixed bag. Though I don’t love some of Kempster’s mixing choices, there was enough here to keep me interested and guessing where the music would be taking me next. Check it out for yourself!
Nick Bohensky and Max N'Adamo make a triumphant return with their latest offering, The Ritual, a ten-track exploration that transcends the conventional boundaries of musical genres. Following their 2022 release, The Imphilosible, the duo delves into a sonic journey ranging from straight-ahead alternative rock to the complexities of progressive and experimental compositions.
Opening with the titular track, "The Ritual," the album kicks off with a surge of energy. The intricate strumming pattern and exceptional bass work, reminiscent of prog-rock legends like Yes, set a promising tone. The melodic elements, coupled with an emotionally charged outro, make it a stellar opener. The lead single, "If It's Too Easy," catches your attention with its melodies, accompanied by a visually appealing music video. Synth and horn elements weave seamlessly throughout, creating lush waves that culminate in an explosive outro, leaving a lasting impression. In the melancholic realm, "A Minor Place" stands out, evoking shades of classic and atmospheric rock. The vocals are skillfully executed, exuding warmth and invitation. Drawing some comparisons to Nick Cave, "Dirty Projector" employs dreamy soundscapes and an airy atmosphere, fitting seamlessly into a David Lynch film. "Paeniteo" flirts with ambient sounds reminiscent of Brian Eno and Windy & Carl, providing a momentary departure before diving back into more structured tunes with "Candy Cienega" and "Trapdoor" both rich in atmospheric depth. "The Sick Blanket" unfolds as a slow burn, blending ambient elements with vocals, echoing the monumental mystique of Pink Floyd. "My Capo" emerges as a standout with its infectious quality, featuring the memorable line, "I’m gonna lose myself in you." The experimental closer channels the spirit of the late Scott Walker, particularly his masterpiece "The Drift," delivering a unique and unexpected conclusion. The Ritual takes listeners on an unpredictable journey, gently guiding them through deep waters with each successive track. Fans of the duo's previous work and the mentioned influences will find much to appreciate in this eclectic and multifaceted album.
90-Proof emerges as an eclectic ensemble, a convergence of musicians with divergent life paths, united by their shared passion for music and the thrill of live performances. Hailing from the vibrant city of Madison, WI, this collective, formed in 2021, swiftly transitioned from individual musical pursuits to a collaborative force, weaving intricate sounds and captivating audiences in a relatively short span.
In the wake of a mere year of performances, 90-Proof demonstrated remarkable initiative by mobilizing funds to embark on their inaugural studio venture, resulting in the creation of the resonant album, Lucid Dream. A manifestation of personal and global tribulations spanning two years, the album holds a profound significance for each member. Despite the flux of times, member dynamics, and financial pressures, the core essence of 90-Proof perseveres, pulsating with new musical endeavors on the horizon. The sonic odyssey commences with the upbeat and moderately energetic "Iridescent," resonating with a 90's alternative vibe reminiscent of bands like Mazzy Star and R.E.M. The track, dynamic and infectious, beckons listeners into the album's realm, setting the stage for what lies ahead. "Silver Lining" unfolds as an even more captivating narrative, steeped in melancholy and darkness, yet submerged in water-like textures during the chorus. The contrasting bright hook signals a transformative undertone in both sound and lyrics, creating a compelling sonic dichotomy. "Rabbit Hole" emerges as a high-energy single, reminiscent of power-pop aesthetics reminiscent of Heart, while the blues-infused "Rain" exudes a distinct ’90s aura. A standout moment arrives with "Goodbye," embracing an American and alt-country flavor that seamlessly complements the band's sonic palette. The vocals here fit like a glove, suggesting a promising direction for the ensemble. Shifting gears, the band navigates through a straight rock sound with "Lucid Dream," and "The Comedown" introduces an airy, catchy, and exhilarating phase. While "Affected" and "Escape" mark further successes, the album reserves its more epic offerings, culminating in the grand finale, "The End." While 90-Proof may not be reinventing the musical wheel, their prowess lies in crafting compelling compositions. Fans of ’90s rock and alternative genres are poised to embrace this sonic journey with enthusiasm. Take a listen and immerse yourself in the resonant world of 90-Proof.
Out of the Ashes is a South Florida rock band with a sad history. After releasing a 14-track album titled Night Time Hour and a follow-up single called “High, Dirty and Low,” lead singer Jack Stevens died on the eve of their biggest show. Stevens’ old partner Ray Anton has re-formed the band and released three new singles, including a new take on “High, Dirty and Low.”
The core of the band consists of guitarist Ray Anton and his wife Maria Serritella on lead vocals, with support from Joey Lee Tiger on bass and Roger “The Tank” Gonzales on drums. Guitarist Anton’s main influences are hard rock and heavy metal, and he mentions Eddie Van Halen, Neil Giraldo and Neal Schon as guitar heroes. “High, Dirty and Low” literally kicks in with hardcore riffing similar to Metallica, but the vibe changes immediately with the aggressive rock vocals of Serritella, who channels all the greats including Ann Wilson, Joan Jett and even Suzi Quatro. She bites off the lyrics like molten nails, harmonizes beautifully with herself on the choruses and does that fun kind of “whoop!” dialogue between the lyrics. Anton’s guitars are thick slabs of metal behind blazing leads and stuttering left-right effects skittering across the stereo field. The bassist and drummer provide rock solid backing. Overall this is like the best Runaways song you’d ever hope to find. “How do You Know” is a “lost love song” that goes more mellow right at the top, with phase shifted electric guitar playing shimmering, dreamy chords. Serritella’s vocals are quieter and more intimate, a much better showcase for her amazing pipes. The chorus shifts into harder rock, then returns with angelic disembodied voices and synth sounds. This is stadium-ready rock including a dramatic build and killer lead soloing by Mr. Anton. “So Very Hard” more than lives up to its name, as we’re back to the wailing power chords, stomping beats and hard rockin’ vocals, whoops and chants. Ray Anton takes his “zipping” right-to-left guitar trick and reverses it for this track. For a band known for live shows, there’s a lot of Brian May-like production choices here, especially during Anton’s frighteningly visceral lead solo. This time Serritella adds a bit of Dale Bozzio to her sound. The verses get played in triple time toward the end, making the track even more propulsive. Powerful stuff from a newly reborn group. Check ‘em out!
Reverie Aeon is the debut album by a 30-year-old Croatian artist known only by his band name, Phantasmos the Data. The artist states that he’s also a street dance choreographer and teacher, but has no “music accomplishments” thus far and hopes to find an audience with a new genre he calls “gloom.”
Describing what “gloom” means, the artist calls it “instrumental, atmospheric, melancholic. It blends ethereal melodies, atmospheric sounds, melancholic feelings and introspective themes. Reverie Aeon invites listeners to explore their authenticity and the enigmatic nature of existence.” Though I like when musicians create their own genre, this music was not exactly “gloomy” to me. I’d call it electronic, ethereal, sci-fi, hypnotic and dreamlike. The album was designed, mixed and mastered totally on the artist’s laptop. In general the sound is very clean though I noticed it wreaks havoc with cheap speakers. This is a lengthy album with 15 tracks averaging four minutes each so I’ll discuss some highlights. “The Purple Gloom” opens the album and gives us a chance to hear the musical tools at use: mainly analog-sounding synth patches with those Moog-like growls, crystalline trills and deep booms. The main melody is like a sad (or should I say gloomy) child’s lullaby. Some of the sounds suggest an outpost on Mars. “Gloom Era” is built around the beat with the synth trills following along, building misshapen melodies and interesting, almost accidental harmonies. There’s a definite musical progression here which is kind of thrilling once you finally grasp it. “Reverie Trail” is based on an electric keyboard melody with some of those same sounds from the previous tracks skittering around in the background. One backing pattern sounds like waves of musical cicadas. There’s also a trap-like beat toward the end. “Gloaming” suggests a Fender Rhodes and vibes while futuristic insects run back and forth. “The Gray Bloom” features an impressive grand piano sample, amazingly played on a laptop. There’s also heavenly choirs of space angels and the requisite bleeps and growls, but overall this one is the closest to John Carpenter’s movie themes. “Photo Vesper” is the electronic version of kick drum and finger snaps. The descending synth melodies are almost in a dog’s hearing range, though as the track progresses the melodic lines settle more within comfortable hearing and are quite beautiful. “Aevum” is like a church service on Saturn, with a static-filled wind blowing at the windows. The main melody reminded me of Paul Simon’s “Parsley, Sage, Rosemary and Thyme.” “The Gloom Carnival” is a fun track that really does sound like an otherworldly carnival featuring alien animals in cages rolling by for our entertainment, though they seem to get a little angry toward the end. “Ecliptra” continues this slightly disturbing trend with a bed of what sounds like trapped souls crying out from space. “Nebula Oracle” is what a jazz trio in a parallel universe might sound like. In “Temporal Mortality” the extraneous sounds we’ve been hearing seem to become almost conversational, while the synth sounds lean toward trumpet and organ timbres, with metallic percussion hits. Everything I’ve said here barely scratches the surface of all that’s going on within these tracks. New, different and exciting music waiting to be heard! |
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