Pandora’s Paradox is an Anglo-German prog rock collaboration between seasoned musicians Peter Lawson (Manchester, UK) and Wolfgang Ostermann (Mistelbach, Germany) who hope to create “something away from the mainstream.”

Peter Lawson has played in several bands as a singer and guitarist, and has been influenced by progressive and krautrock.  On this album he sings and plays electric and acoustic guitars, lap steel, mandolin, bass and keyboards. Wolfgang Ostermann works as both a live and studio percussionist in several genres including rock and electronic music. He produced the album along with playing drums and keyboards. 

The opening track “Inside the Simulation” marries high, sustained lead guitar with chunky, droning metal riffs and a vocal somewhat like Ozzie. Both the guitars and drums are quite accomplished, but I was afraid the whole album was going to keep this shrill metal sound going. I needn’t have worried. Across these seven tracks the guys channel everyone from Van Der Graaf Generator and King Crimson to Bowie and early Genesis to create a prog rock masterwork that nearly blew my socks off.

“Ouroboros” is the kind of math rock track “Heads” revel in, using rhythmic and melodic devices similar to Gentle Giant, Zappa or Crimson. This track also has all the instrumental variety the first song lacked, introducing lush acoustic guitar, full spectrum percussion and expansive keys. I’d forgotten the band was a duo when I first heard this and was imagining a single genius piecing together every power chord and drum beat. The fact that it’s a collaboration is even more amazing, as the guys seem to elevate each other with every new lick, melody and rhythm. 

The title track “Pandora’s Paradox” runs almost ten minutes and is another newfound prog classic, this time recalling some of the wildest Yes or Rush tracks, with the bass playing a standout. In an indie music world where songs are often backed by machine-created drums, there’s no substitute for a skilled live drummer and Ostermann is worth his weight in gold. After a killer intro, the song proper weirdly sounds a bit like “More Than A Feeling” by Boston, but that’s just a tiny kernel surrounded by totally intense power chords, melodies and guitar soloing. There’s even room for some Wakeman-like synth trills. Lawson’s vocals recall Peter Hammill and David Bowie at different times. 

“Speaking in Tongues” is a percussive showcase featuring Ostermann on metal drums, to which he slowly adds different drum surfaces including congas, low-pitched bells and toms. It’s a great one-man show and an excellent short interlude.

The opening of “the Knight and the Knave” concentrates on the acoustic guitars of Peter Lawson, who has a crystalline tone every bit as sweet as Steves Hackett or Howe. On top of this he adds somewhat intense, compressed lead guitar overdubs and orchestral strings. At three minutes the vocals begin, very Bowie-like (see “Sons Of The Silent Age”). This is followed by an instrumental section featuring inverted melodies freely traded between chiming chords, sustained fuzz lead guitars, keys and toms.  

“Dance of the Dead” concludes the album with lush acoustic guitar and keys along with pleading, heartfelt vocals treated to all sorts of phasing and EQ. Lawson plugs in for one final solo with seemingly endless reverb and sustain. 

​Perhaps the biggest praise I can give this album is that I sent it to a pal before I’d even finished listening. Very highly recommended!

Brother, hailing from Asheville, NC, unveils a sequence of singles throughout 2023, offering a compelling glimpse into their sonic universe. Upon diving into their track list, the initial encounter with "Renaissance Queen" swiftly evokes a nostalgic '90s aura, oscillating delicately between grunge and alternative spectrums. 

The track pulsates with a dynamic essence, boasting robust grooves and lingering melodies that echo shades of Nirvana's vigor, yet a distinctly Southern rock-infused guitar solo adds an unexpected twist. "Telephone" emerges as a stellar standout, an irresistibly catchy tune that exudes a radiant buoyancy, practically begging to be a front-running single. Its jubilant soundscapes and cleverly elevated hooks showcase the band's tight-knit cohesion and unwavering precision. 

However, it's "Stepping Stone" that unveils another facet of Brother's artistry, tinged with an Americana essence not as prevalent in their other compositions. The track remains remarkably palatable, boasting infectious catchiness that's hard to shake off. While these singles stand as highlights, delving into their album, 'Behind The Grey,' proves a rewarding journey. "Calm Down" stands tall among the tracks, leaning closer to the eclectic vibes reminiscent of Vampire Weekend, a departure from their '90s alternative rock signature.

​For enthusiasts of '90s rock, particularly the alternative scene, Brother emerges as a band ripe for admiration and exploration. Their repertoire, a melange of influences and styles, promises a resonant experience for the discerning listener.

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Monogroove is a retro power pop group from Crescent City, California who’ve just released a new album titled The Flip Side. Even before I heard their cover version of “Stepping Stone,” I thought of the Monkees when I heard these guys, and from me that’s nothing but good.

The band members are Rin Lennon (guitar/vocals), Michael George (guitar/vocals), Jay Smith (drums/vocals) and Alias Wilde (bass guitar). You can find their downloads and CDs for sale on Bandcamp, where they have a blindingly purple psychedelic home page. Though I started off with headphones, I switched to my computer speaker to approximate the feel of my old transistor radio.

“Modern Day Romeo” gets us off to a bright, upbeat start with British Invasion vocals and ringing guitars. If you love the sound of the early Beatles, The Dave Clark Five, Gerry and the Pacemakers and the rest, you’ll know exactly what to expect. The topic of this song is one of my favorites: the club-hopping guy who thinks he’s cool but whom everyone knows is a pretender. “So Many Other Lives” moves ahead in the historic timeline to the psychedelic era, with the appropriately named Lennon sounding very much like that other Lennon. This song has a stately, steady beat similar to “Rain.”

“Stepping Stone” is the aforementioned Monkees cover. Though the Sex Pistols will always have the most punk version of this song, the Monogrooves definitely add a bit of power and grit, making it sound like their own. “My Town” features chord changes and complex harmonies that conjure visions of Sir Paul in his youth. Drummer Jay Smith gets to play a lot of tumbling toms here. “Let Me Know” is a kind of amalgam of the Rutles and the Wonders, two made-up groups who were designed to sound like the Beatles. The Paul Quality in the lead vocals is even stronger here. “Dirty Dogs” has a sharp arrangement that allows for a lot of interplay between drums and guitar riffs. It’s a fun rocker, like a less intense, more expansive version of “Hey Bulldog.”

“Tuff On Dirt” is a goofy romp with a surf-rock sound (twangy guitars and tumbling drums) topped by glam rock vocals similar to The Sweet.  “Mine All Mine” is a rocker with early-Who attitude, in both the harmony vocals and the Townshend-like arrangement. “Brimstone” is a propulsive track led by solid harmonies (natch) and sharp guitar interjections. This one is a bit darker as befits a song about a place called Brimstone Avenue, which doesn’t sound like anywhere I’d want to be. I really like the different, more opaque sounds here.

The final track is a cover version of “One Tin Soldier” and would have been an interesting choice no matter what, having been the theme song of the ’70s classic movie “Billy Jack.” But it was fortuitous for me, having just heard a podcast by songwriter Dennis Lambert who discussed composing it. This is a recognizable version of the song but just different enough to be enjoyable on its own terms. 

​If you love retro sounds, you’ll find most of them here. Fun for everyone!

David Grogan is a rock artist and band leader from Walnut Grove, North Carolina. He’s just released three singles titled “Folded Flag,””Forgotten Memories” and “Paranoid.” As a live performer, Grogan loves covering the rock classics of bands like Guns N Roses, AC/DC, Motley Crüe and many others. The first two songs are acoustic, with the final track performed by the full band.


“Folded Flag” is a stark performance featuring only Grogan on acoustic guitar and vocals. As I guessed from the title, it’s a personal song from Grogan to our country’s veterans “who sometimes feel left behind.” Grogan sings as the voice of a veteran dealing with the aftermath of their time on the front: “Ask me how I am, I will never admit / I will never say I can’t get over it… so tired of the fighting in my head.” Grogan performs this song like similar performances by Glenn Hansard, starting quietly before exploding with emotion. 


“Forgotten Memories” is another acoustic number, but this time Grogan delivers more of a rock performance, letting loose on an even more powerful vocal that barely needs a microphone to be heard. Grogan also overdubs a short acoustic lead break that’s quite melodically inventive. The key to the song is the line: “Forgotten Memories make me sad.”


The final track “Paranoid” is a real treat for me, as this was one of my favorite songs by Black Sabbath. Full band now, we get a chance to see how Grogan and company fare with a single-riff classic. They nail the feel and power of the song, but with lead guitar breaks that are necessarily different from Tony Iommi, and provide an alternative way of hearing the song. Grogan’s vocals are frighteningly close to Ozzie!


An interesting group of singles and a nice introduction to the hard working, hard rocking world of David Grogan.

www.reverbnation.com/davidgroganband

Meet the budding musical ensemble, Pretty the Wolf. Led by vocalist and producer Sammy Tenuta, this band ventures into unexplored territories where rock and poetry converge harmoniously. Alongside the steadfast performances of bassist Shawn Sommer, pianist Alton Smith and drummer Frank Pace, Pretty the Wolf navigates through melodies and beats, weaving together an eclectic fusion of music that offers a refreshing listening experience.

"Never Walk Away" sets the stage with its acoustic guitar-driven introduction swiftly joined by a robust rhythm section. This track seamlessly traverses various musical styles, echoing elements of classic rock intertwined with nods to ’50s pop. Its lyrics exude an unequivocal positivity, delivering a straightforward yet uplifting message.

"Frame" emanates a nostalgic allure, evoking a mid-energy ambiance that invites listeners to sway along. Channeling a Pink Floyd-esque sentiment, the song's guitar work shines, complementing its syncopated start-stops and cultivating in exceptional dynamics. 

In "One More Night," the band presents a compelling contender for their standout single. Radiating an infectious brightness reminiscent of a quintessential summer anthem, this track uplifts spirits with its catchy hooks and an undeniable feel-good vibe. 

​What sets Pretty the Wolf apart is their adeptness at approaching songs from diverse angles, effortlessly pulling off each musical iteration. Their songs are testament to their multifaceted musicality, inviting audiences to embark on an auditory journey through their varied and captivating soundscapes. Take a listen and immerse yourself in their musical kaleidoscope.

Unlike many indie artists, New York’s Jed Luckless is known more for his live shows, online performances, video streams and improvisational jams than his individual songs. In fact his fans named him “Jammin’ Jed” and call themselves “Jed-Heads.” Luckless has helmed almost 700 shows since 2009 and also works with several bands including JLB (original music), a Phish cover group and a Grateful Dead tribute band called “Star ’69.” His third studio-recorded solo album is called Multiply. 

Multiply has been a long time coming, having been started before the pandemic. It features nine original tracks with some songs harkening back to his earlier years. His genres are rock, folk, blues and bluegrass, and his lyrics range from “emotional and reflective to whimsical and quirky.” Luckless is also a classic one-man band who plays everything on the album, including guitars, bass, drums and keyboards along with all vocals. Recording took place at Jedstead Studios in Lake Carmel, New York. The tracks were mixed and mastered on a Tascam Digital Portastudio.

Luckless didn’t mention The Who or Pete Townshend as influences, but the opening track “Time & Tide” definitely has that “Behind Blue Eyes” sound and energy (especially when the electric guitar kicks in). Mostly picked acoustic guitar, various percussion (including glockenspiel) and vocals to start, the song rapidly turns into a bravura rock performance with vocals that recall Harry Chapin’s energy. 

“Latest Craze” is a minor-key acoustic rocker with a faster tempo and super-quick electric guitar breaks along with jagged, bemoaning harmonies. Luckless makes me homesick for Hollywood when he sings “Looking out the window somewhere in L.A. / I like it like this on a cloudy day / But here I am with nothing to say or do.” There’s a surprising Phantom Of The Opera-style organ solo in the middle, quickly followed by wailing lead guitar. I can’t tell if the latest craze he mentions is a video game or just life itself, which is probably the point!

“Own” is slower and more earnest and intense. The main guitar plays a simple chord while the lead weaves harmonic lines in, around and through the main melody, also backed up by piano. Luckless’ drum work is solid and impressive. “Multiply” is a mostly unison guitar tune with that distinctive “plugged-in acoustic guitar” sound. Luckless pretty much alternates between verse and chorus and back again, but the progression is striking and a perfect backing for his fuzz solo at the end. I can imagine him discovering how much fun it was to play this riff and just wailing for hours. 

“Ungratefully Dead” is not unexpectedly a Grateful Dead parody with a swampy blues structure and an amusing vocal conceit (sounds like he’s talking about getting high, when it’s actually about being laid six feet into the ground). He adds some great electric slide guitar throughout. “Luna” jumps out at you thanks to its Gentle Giant-like baroque opening on acoustics and piano. The song itself is a swinging bluesy romp where most attention is squarely on Luckless’ crystalline strumming and insinuating vocals. “Feel” originally downloaded alphabetically for me as the first song, and it reminded me of a Cream track written by Jack Bruce, or something else from that era thanks to the cool Leslie-style guitar and keys sound. I love the many overdubs of his personal vocal choir. A psychedelic guitar solo seals the deal.

“Throw It Down The Hill” is one of the only songs I can imagine Luckless singing live to his fans where they can all join in. It’s a kind of sick nursery rhyme or sea shanty about tossing garbage down the hill, and that ultimately includes a wife and other formerly living things. It’s a morbid but funny scenario to imagine. “Forgot To Forget You” is a similar clap-along played at a fast bluegrass one-two beat and ornamented with slide guitar. The perfect album closer!

​I’ve heard quite a few one-man-band albums in my time (maybe too many) but Luckless has made a consistently enjoyable stack of tunes which could have easily been a real band of great players. Fun and recommended!

Blank Road is a collective of songwriters, vocalists and instrumentalists spanning across California. Rooted in the essence of American rock n’ roll, their musical pursuit embraces a wide spectrum, encompassing country, folk and blues influences. Their commitment lies in crafting original compositions steeped in the tradition of heartfelt melody, resonant harmonies, and lyrics that echo the very soul of rock n’ roll. 

"Trouble Free Life" sets the stage with a cappella vocal harmonies, exuding warmth and familiarity, hinting at the impending instrumentation. The ensuing fusion of folk, bluegrass and country elements creates an ear-pleasing landscape, where poetic lyrics flirt with notions of both darkness and salvation, evoking a sense of well-being.

Shifting gears, "American Dreams" leans heavily into a rock-centric sound, channeling the essence of classic rock. With a reminiscent air of ’70s blue-collar vibes, it conjures echoes reminiscent of the legendary Steely Dan. 

Among the ensemble, "Sorry, I Feel This Way" emerges as a personal highlight. Infused with a bit of funk and soul, its heartfelt vocals intertwine seamlessly with a humorous bass line and soulful organ, delivering a tender, classic apology-laden love song—a rarity in contemporary music landscapes.

​Blank Road's collective identity thrives on its eclectic nature, each track showcasing a distinct stylistic approach. Yet, amidst this diversity, a common thread emerges: their adeptness at executing their diverse musical endeavors. Each venture into varying styles feels purposeful and skillfully accomplished, cementing their prowess as artists

In the debut offering Rhythm of the Storm by Easy Rain, the eight-track instrumental album spans just shy of twenty-five minutes, offering a cerebral yet dynamically kinetic experience. Some of the artists influences include Lotus, Papadosio, and Perpetual Groove which I do hear within the music.

Opening with the infectious allure of "Euphoria," the album immediately gets into the main aesthetic that you’ll revisit  with its arpeggiated synth weaving seamlessly amidst robust, resonating low tones. This standout track infuses an undeniable groove, leaving one refreshed and invigorated. 

The ethereal landscape of "Moments" envelops listeners in a rich, comforting ambiance, where the convergence of diverse elements crafts an expansive sense of well being. While the guitar takes the lead, the song allows ample space for each component to breathe harmoniously. 

"Just Fantasy" delves into beat-heavy realms, marrying a polished, atmospheric vibe with an elusive mistiness, conjuring an otherworldly soundscape. Meanwhile, the funk-infused "Magic Oasis" thrives on the interplay of sharp guitar interjections against a pulsating bass line, crafting a mesmerizing sonic vista. 

As the album progresses, "Another Dimension" transports listeners to distant realms, while "Vibes" intricately layers elements, including hints of discordant guitar, creating a complex sonic palette. The transition from the warm prelude of "Danky Janky" crescendos into the high-energy closer, "Master Class." In a single descriptor, “fluid," encapsulates the album's essence, as Easy Rain adeptly orchestrates the ebb and flow of elements, ensuring an uninterrupted sonic experience.

Thurane, hailing from Arizona, unveils his latest single "Redeemer," a precursor to his upcoming EP slated for a June release. This is the type of song that's easy on the ears, is dynamic and has plenty of appeal that will warrant repeat listens.

The track kicks off with a punchy blend of kick drum and vocals, as Thurane soulfully croons "you are my redeemer," immediately catching the attention of the listener. Swiftly cascading into syncopated guitar riffs and basslines, the song effortlessly merges melody with an underlying edge, delivering a groove that resonates on multiple levels. The seamless build of energy was well done and felt fluid and natural. 

The standout moment arrives with a blistering guitar solo, injecting raw attitude around the minute-and-a-half mark, leaving a desire for more as it seamlessly dovetails back into the hook with heightened intensity before drawing to a close. Upon initial listen, "Redeemer" exudes dynamism, catchiness, and a commanding presence, yet it's upon subsequent spins that its allure truly deepens. 

​This track possesses an undeniable universal appeal, sure to resonate with a diverse audience. The singing, songwriting and delivery has a lot on offer. I'll certainly be checking in on the artist once the EP drops. For those captivated by its charm, exploring Thurane's wider discography promises further musical satisfaction.

thurane.com

Described as New York City's beloved nerd, Joshua Desjardins has made waves with his viral music video for the catchy single, "I'm a Nerd," boasting over 100k views on YouTube and steadily climbing. The track embodies a straightforward, 4/4 beat, standard techno-style synths and other club-worthy elements, crafting an anthem tailor-made for the nerd community.

It's a playful composition that refuses to take itself too seriously, exuding an undeniable catchiness and an air of fun. Despite its sonic resemblance to a 2005 club hit, the song carries enduring appeal owing to its nostalgic charm and distinct niche quality.

"Love Song for Lady Gaga" follows a slightly more serious tone but retains Desjardins' signature playful style. Notably, his explicit mention that the song isn't for Madonna or Kesha adds an amusing touch that resonates well.

​While enjoying these tracks, one can't help but wonder: when will Joshua Desjardins grace us with more music? His tunes have struck a chord within a community, hinting at a palpable hunger for further releases. It's evident that Desjardins has connected with an audience, leaving many eagerly anticipating his next musical endeavors.