TWO-STEP is a band from the UK that is bringing us some really mellow and sometimes island-like alternative jam-rock. The band first started out performing covers and soon slowly progressed into creating and performing original songs. Priceless is the band’s first EP and they admit to some experimenting with their sound, styling, writing and recording techniques, which in turn makes this album a unique compilation of earnest and genuine sound. The second track on the EP titled “Hold Fast” reminds me of a combination of Modest Mouse and Jimmy Eats World. There are some eerie vibes in the song, which could be contributed to the pitch of the guitar, the style of percussion as well as the vocalist’s laid-back demeanor. The lyrics of the song paint a picture of a relationship that’s seems to be going down the drain and both parties are experiencing anxiety; “All it ever really comes down to is, who could hold their tongue and who could hide their wit.” But there’s hope, “You’ve surely lost the touch with which you held your pride, just stop this now, and start again.” The song is really upbeat and makes you want to dance on some sandy beach somewhere. Compared to the song that shares the name of the EP, “Priceless” has a more mysterious aura and starts off with a slowly building percussion that opens up to a sultry and somewhat romantic song. There is passion and a little bit of confusion and this is felt clearly through the lyrics; “My indecision, my bravery, my self-opinion in jeopardy.” The strumming of the guitar at times seems random and out of place but its keeps the beat nicely and keeps you jamming. For a band just moving into the original music sphere, this is a successful first round. The songs are genuine in both sound and inspiration and all carry a clean air of carefree sentiments regardless of what the lyrics are singing. This is the kind of music that anyone can listen to and can fit into most landscapes easily. Sound quality is also notable because it emulates that of a professional recording. You could say TWO-STEP’s sound is Priceless.
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Brooklyn-based band Brightest Color is a gorgeous reimaging of 80’s synth pop. Their new EP, #2, is dark and calculated. The band creates a sound that is trance-y and accessible. Erik and Florent do the lion’s share of the songwriting. They met in Paris in 2008, where they had played in a math-rock band. When Florent and Erik made their way to New York, they joined forces with Robert and Kage and Brightest Color was formed. Brightest Color has hit the ground at a good pace, releasing their first album in April of 2012, then #2 in October of 2013. The four songs on #2, “Transatlantic,” “Providence,” “Hindsight” and “Rapture” are very cohesive and create a singular image in a sit down listen. For me, it was steam rising off wet bricks when the sun hits them in the early spring. The guitar work is inventive, original and a downright impressive. The other instrumentation is no slouch either. Synths sound dark and ominous, drums sound creative and meticulously placed and the lead vocal as well as the harmonies are fantastic. “Transatlantic” begins with a great amount of energy. The voice work is harmonized and calm. The drums and synth work in a tandem pace. Throughout the song, I can tell that this band probably has their practice space organized impeccably: their studio apartments minimal. “Providence” lets a little more feeling through. The echoing voice work perfectly off synch. “Hindsight” is carried along by a little tweeting, tweaking sound that is pure organic noise. It tickled my ears until they giggled. The use of voice has a serious and focused tone while the cascading guitar creates hypnotic swells of sounds. “Rapture” brings in a little melancholy verse then picks up in the chorus. The hook brings the listener into a calculated break rich with deep guitar work and crystalline sound. The energy is consistent throughout this EP, creating a graceful and thoughtful product. They use guitar, drums and a growing synth collection to create their organized noise. Their synth instruments of choice are a DSI Tetra, Roland SH-101, and a Juno 106. The EP was recorded at Studio G Brooklyn where Black Keys recorded Blacroc. Brightest Color is doing their thing in Brooklyn, playing local shows at the Bowery Electric, the Pine Box Rock Shop and Pianos. If you are in the Brooklyn, definitely check them out.
Labor of Giants released their album, Jelly, in June of 2013. The Connecticut-based band found themselves together after a few bands were undone, then the rest assembled through a combination of random Craigslist finds. Labor of Giants is made up of Tim Braun on keys, Dan Garaffe on bass, Kevin Hugh on drums, Nancy Michaud on lead vocals and guitars and Ed Sibouran on lead vocals and guitars. All the musicians on this record use their instruments with a liberal precision that gives Labor of Giants a unique and organic sound. Before understanding their origins, I would have guessed they just popped out of the forest like a bunch of funky wood nymphs ready to jam. They have been collaborating since 2009 and released their first EP, Miazmal Haze, in 2011. They recorded their album, Jelly, at Ed Sabourin’s Let It Roll Studios. Jelly was written over the course of several years, and different members of the band contributed to the initial sketching. Sabourin, Michaud and Garaffa were an integral part of the initial writing phase for Jelly. Live performances and repeated plays contributed to how Jelly was polished and primed for recording. They have a jazzy, gypsy sound. They have been compared to bands like Phish and My Morning Jacket. Labor of Giants does indeed have a tendency to jam, though their specific brand of jam is an accessible one on Jelly. “Satisfy” is the playful third track on the album. The voice work feels spontaneous and it really works for the overall sound of this album. “The Beginning” is my favorite song on the album. It is inspiring and sends a message of empowerment and independence. The sound is complex and vacillates between mystery and grit. “Tones of the Setting Sky” mixes playful piano work with upbeat and lyrical voice work. The result is whimsical and light. “Requiem” has the feel of a dreamy lullaby. The jazz element of Labor of Giants truly shines through on this song. It is evocative and deep without being trite. This song is a prayer and a song you can get lost in. Labor of Giants continue to play all over the Northeastern part of the US. I for one would not be surprised to see Labor of Giants jamming their way through the festival circuit this summer.
Austin-based musician Matt Kwid released Passive Listener in November of 2013. Kwid is the perfect musician – unexpected and obscure. He is self-described as “totally boring, middle-aged and pretty much a giant nerd.” This makes me completely adore Matt Kwid. His style is completely unique and focused, and unaffected by the rigmarole of today’s current music scene designed for the young and hip. Kwid took his time on each song. He did it all himself over a matter of many months. He chipped away whenever he needed an escape from his daily grind. The time he put into Passive Listener shows through the pacing and the patience of the music itself. The album was then mastered at David Klug Studios using high-end analog equipment. Passive Listener sounds like a more laidback version of the Gorrilaz The Fall. It is the soundtrack to a silent film. It influences visual art. It is a time machine into the future and a capsule into the past. “Waiting Room” was probably constructed in a waiting room; it has an even blend of blip and boops that make it excellent background music for a conversation about magazines. “Drift” is awesome. The break mid-song allows “Drift” to reinvent itself on the spot. The sticky synth noises remind me of something out of Daft Punk’s future. “Mekanism” has a little bit of a Texan thing going on. It has a beautiful cowboy texture to the sound, and could easily be the soundtrack for a space themed soft-core porno. “Mekanism” is slow and steady and wins the race. “Omission” is equal parts sexy and smooth. “Blaster Master” is faster paced and wraps up the space voyage that is Passive Listener. I loved this album. It seemed like Kwid wasn’t going for anything in particular, but rather just producing a labor of love, like he was detaching a completed project that was already inside him, and making it accessible to the rest of us. His sound is native to Austin and clearly original. Matt Kwid is talented and patient with his work. The results are smoldering. A SoCal mind set for whimsical tales spun over a cozy unplugged setting. That’s the scene in my mind as I listen to singer/songwriter Justin La Torre croon around life’s complexities. For being instrumentally minimal there’s quite a bit of rich texture that happens through his words and the talent around him, specifically the backing harmonies and ethereal accompaniment thanks to the keys and ocarina on Becoming Avalon’s EP Quiet War. On “Wrong Love” the charming acoustics pick and play around a semi sweet melody, vocals tinged with youth and naïveté. It’s an all around great sound for alternative and emotive musicians. The falsetto backing harmonies on the chorus are icing on the cake. Quiet War is justified as the album’s name; it is strong and carries a good number of elements that are found throughout the other songs. Soft traces of percussion pace things along and the lyrical romanticism is hard to ignore. Entrancing rays peak beneath a stripped away arpeggio on “Thieves.” This song is odd at moments harmonically but beautiful like The Beatles on drugs. Dreamy whistle tones complement the chorus and before you know it this gem is brought to a close. The last track “Lighters and Lottery Tickets” is the only one with cymbals and generally pronounced beat. It opens with a nice wash of stick definition and then gives way to pounding backbeat. The acoustic and vocals are still just as spot-on, just further enhanced with the added instrumentation. I have to admit some of the songs sounded a bit to commercial for my liking and the production is far from from prefect. That being said the good outweighs the bad. Quiet War is the end result from two years of hard times, self-discovery, and change. In these five songs you’ll find perspectives on love, family, and acceptance - good and bad varieties. The lyrics are read like an autobiography and while the stories tend to stay in the dark, the album is a testament to holding on to the light.
Daniel Carr calls this album his first solo project and he has written and recorded the entire collection of songs without any assistance. The Streets are on Fire can be classified as acoustic folk rock and the album emits a sound that is completely genuine and showcases the musician’s passion for personifying the character of a musician.
The second track on the album “Draggin’ Me Down Blues” begins with a compelling super gung-ho slide guitar riff and then the lyrics “I’m so far above you, you’re dragging me down, you think you know me but you're never around,” begin to tell the story of how someone is trying to damper his spirits, but through obvious observation of the demeanor of the song, he ain’t having it. The song is a clear outlet to the trials and tribulations within the relationship and almost a triumph to not only overcoming it but also having the courage to state it and admit it in the first place. This track is certifiably blues, but has a funky upbeat edge to it. One track I find appealing is “In My Town,” as it reminds me of styles from bands like Grizzly Bear, King Krule and Real Estate. The guitar has a pleasing twang to it as it is mellow yet has a strength and depth to it that keeps the listener grounded and anchored. The vocals also float nicely over the guitars and percussions, “My town is so far down it could fade away.” There exists a modest quality on this album; some may say it’s scruffy and rough. Carr recorded the entire album in his basement and this can be attributed to the disorganization of sound, yet simultaneously the sound mimics that of a live concert hall where the sound kind of bounces all around you and envelops you in the experience. Besides recording, song writing is a success on this album as each song has a different story to tell and a new experience to divulge. The Streets are on Fire is a great solo project that really foreshadows the future of Daniel Carr. Braddock Station Garrison hails from Washington D.C. and bring with them an East Coast inspired melodic side to rock music. Power and vulnerability are common themes between tracks that borrow just the right amount of light 60’s and heavy 70’s music. The engineering is top notch, and no surprise there, as the group brought Don Zientera (Fugazi, Dave Grohl) on board. The album High Water starts out very stated with “Into Your Arms.” It has a big wall of sound on the guitar, there’s a dirty power in the tone, and the drums dance down the toms with punching snares. The bass guitar pedals the bottom in groove submission while the vocals blend some kind of Elvis Costello and Paul McCartney character. “A Lot To Ask” is a gentler hip shaker. The drums hit the ride or crash bell on 1 during phrase closings in the verse and chorus, a little different of an approach. We hear some two-part harmony on this one and it’s a good mix until somewhere in the bridge, tonalities sway into diminished chords and things get a little abrasive. “Fall” – from the first few seconds one immediately identifies with the prior track. The progression, tempo, and phrasing are all too similar to “A Lot To Ask.” This isn’t necessarily working against this song because we all know that most albums find success in working some shape or color from their single into most of the other tracks. There’s a really nice hook on “Maria with Child” with playful intervals. Good guitar work on the solo, the drums have a solid drive to them. Good upper neck tone and intriguing lyrical message. “California Specific” also sports an interesting title. It starts off ambient and regal with a great choice of 6/8 feel. The vocals are fit for an anthem and yet it’s like a 60’s ballad meets premature Green Day. Can you say Rush? “Girl Gotta Gun” has a guitar line very reminiscent of “Limelight.” That’s a measure of someone who pays close attention to quality stations and good sound production. Also, the vocals on this one have that vintage distortion to them, the kind where you picture the lead man drawling into the mic at point blank. Style points for sure. High Water is built upon front man Steve Schillinger but the whole band contributes their own take on his work. It comes across as a collaborative effort without trying too hard. Pursuit of Alchemy, a four-piece alternative band formed in Perth, Australia, started out as a college project believe it or not. That’s a great beginning and, from the sound of their first effort, the end is nowhere in sight. These guys stake claim to a unique sound and if their hunger for innovation stays active, they’ll shake the underground. The album starts with a quick instrumental piece called "Antecedent" which acts as a segue to the first song. “The Journey We’ve Been On” from their self-titled EP Pursuit of Alchemy, glides in riding a wave of distortion and is also one of the highlights of the album. It's a pretty straight forward rock that is well written and relies on catchy vocals and equally as melodic lead guitar parts to keep your attention. They make use of filters on the lead vocals to add some diversity to vocals which is effective. I was pleasantly surprised when listening to “Warzone.” Who knew they had some synth in them? The song relies on melancholy and nostalgia that was apparent on the first song. I was intrigued by the contrast on the bubbly, warm synth and the harsh waves of distortion the guitar was making. Perhaps my favorite of the album is the Joeyw remix of “Feel Alive.” This has some bump to it, really creative and quality production, pick up the tempo about 20 clicks and it’s ready for the club! The part that really resonates is the stuttering effect the remix artist applied on the chorus. Lovely layering of instrumentation, emptying of sound, building elements, dub step half time romp. Play this one in your car and watch the passenger’s heads just rock forward. Overall, the production could be a bit better but the songs are solid and worth your time to listen to. This group has some work cut out for them, but they’re set for the haul especially considering the amount of ground they’ve covered already and their small-scale history.
One guitar is all you need. At least that’s all Jamie Beau needs to get this album off and running. It’s a concise and focused work that will surely blossom into longer form. The EP Shedding Skin boasts songs that pull at the heart and excite the mind. What’s most impressive is that there are even some radio ready sing-alongs in the mix.
Hats off to “The Mill.” Perfect understanding of arrangement, lovely acoustic playing and body taps. The vocals command and deliver with tasteful growl. And just wait for those gang vocal reiterations in the second verse and especially at the end. The way Beau literates “forever” is nothing short of awesome. I’m reminded a little of “Where The Streets Have No Name” by the phrasing and progression implications. What we have here is a talented singer and craftsman of sound. Expect to hear more from this gentleman. And side note; take a look at the video for “The Mill” on YouTube. It’ll surprise you, make you laugh, and show you a side of Beau you might not expect. “All Late” swims slow and drips of slow heartache while “Piece By Piece” carries more weight acoustically and really hits the chorus with intention. "All Late" avoids typical cliches as he sings "Catherine Wheel, what did you steal? You broke a bridge for your appeal? You blamed me" . The song goes into some inventive territory with vocal harmonies. Although the song is under three minutes he covers a lot of ground. “Shame I Met You” is vocally driven with a lot of meaning behind the lyrics. Beau sings "If I knew, what I know, if I knew, what I know I would’ve left so long ago; I would’ve left so long ago". It’s a nice close to a well-made album. Beau is a rising star and this EP will surely stand to credit his big break. Look for him out on tour coming to a stage near you. But until then, sit back and let his finger style guitar and powerful voice take you where you want to go. Steve Schillinger has been singing, playing guitar and writing songs since 1998 but only recently released his album called Sketches. It actually is a very appropriate title for the album in that a lot of the songs kind of feel like that. Mostly in part due to the quality of the album, which makes it sound more like a demo than a polished, professional recording. Although the acoustic guitar sounded tinny and his vocals were in desperate need of compression the songwriting usually shines through. The songs, while well written, lack much diversity. All the songs feature just his voice and acoustic guitar throughout the six tracks on the album and I would be lying if by the fourth song I was hoping for a little something like a bass, harmonica or piano to help me keep my attention through the album. The songs are all melancholy, which makes it an even harder to through in one sitting. The album opens with “My Heart Belongs To You,” which is one of the highlights amongst the batch. His voice sounds good in the mix and even reminded me a bit of Canada's favorite folk singer Gordon Lightfoot in a good way. A solid vocal melody carries the song. “Easy Smile” suffers from production issues. His guitar has almost no mid range or low end and his vocals have too much reverb on them. Besides that it’s a pretty decent song. Similar Issues surface with “Chance Encounter” although I did enjoy the vocal harmonies. On “I Gotta Go” the vocals sound like they are separated from the guitar. It sounds as if he is singing right into the microphone leaving no room for the vocals to naturally compress from the air. Schillinger lays on the chorus effect for “Broken Hearts.” The closer is a good tune and another highlight amongst the batch. Overall, Schillenger is talented but the production is so poor it holds back the album from finding its potential. I would love to hear these songs find a better home. Schillenger may want to consider re-recording these songs with a professional engineer and even adding some additional instrumentation. |
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