Compton McMurry is a young artist who is just getting his start. He started writing at the age of fifteen in 2014. Using a Macbook, a mic and Garageband he laid down three songs for an EP he called Laughing At Traffic.
McMurry still has a lot to learn as a songwriter but I felt his songs displayed some talent and potential. He plays a little too much into the singer/songwriter genre and his own sound isn’t all that defined at this point. I was very much reminded of Jack Johnson. If you didn’t notice there are already countless artists that sound similar. Despite some of the more overt influences his delivery is solid. You can hear this on the opening track “Random Words.” Despite the underwhelming production you can tell he has a great voice. The song is also quite catchy. There is just no denying that. The chorus has a classic intimate singer/songwriter vibe when he sings “Ooh baby; Ooh, ooh baby, / Tell me something’s wrong.” The next track has a similar vibe to the opener. I thought the drums sounded better this time around. The bass also sounded pretty good. There was a lot of low end as the clean acoustic guitar helped. The song is quite catchy, there is no denying that. I thought the vocals harmonies really helped make them sound balanced in the mix. He closes with “Falling Together” and it is certified singer/songwriter pop. The piano was a nice touch and his vocals sounded really good on this track. McMurry has all the time in the world to define his sound. At his age I listened to Nirvana and Smashing Pumpkins and pretty much wrote songs that sounded exactly like that. My advice would be to think about how he could differentiate himself from such an oversaturated market. I think that would be the next step in his development. Overall, there is a lot of talent here and is one to keep an eye on.
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Andrew Muse is a twenty-three-year-old musician who released a demo entitled The infinite In Words. The recording quality is certainly that of a demo and contains vocals and guitar. The guitar consists mostly of chords. It’s a good thing he has such a soulful, enjoyable voice. I think once he gets in a proper studio his potential could be reached.
He opens with “Some Country Tune.” It’s a solid introduction to his singing style. His vocals carry the song. I liked the first song but thought the second song “Paul n' Linda” worked even better. The guitar picking was light and beautiful but again similar to the first track it's all about the vocals. It has a bit of ’70s folk vibe that worked quite well. The lyrics are also thought provoking . Muse gets a little experimental on the title track. There are some effects on the guitar and his vocals. Pretty standard reverb and delay but it works. He asks the question, “where do we go from here?” The track spews nostalgia and was a highlight. Up next is “A Stand In The Schoolhouse Doorway” which reverts back to a folk vibe while “Paraded Vices” closes out the album. The production is varied on this demo. Some of the songs are significantly louder than others. For example the closing track sounds thin and soft compared to some of the other tracks. This is after all a demo. Muse does have talent and his voice really is quite exceptional on these tracks. I’d like to hear his voice supported by fleshed out songs and better production. Muse is an artist we should definitely be keeping an eye on.
Simon Panneton aka anfan is a guy from Montreal who makes music as a hobby. There’s nothing wrong with that in fact I think most starting musicians should view it like that. Do it for the love of the craft. The focus shouldn't be making a career and being adored by millions of fans. If that does happen it will be a nice surprise rather than an expectation.
Panneton used the DIY standard Garageband on his release little storm and all the instrumentation sounds like virtual instruments. It’s a fairly standard palette of soft synths, electronic percussion and some more odds and ends. I can’t say Panneton is a naturally gifted vocalist but he gets the job done. He is sometimes a little flat or sharp on the notes. This is a situation where auto-tune may have been beneficial. Panneton opens with “I'm going out with my friends tonight.” The song goes on a bit long and repeats “I'm going out with my friends tonight.” Musically, the song revolves around airy synth and dream-like elements. Overall, a good opener and a song that gets better the more you listen to it. I have to think the song “Last night I dreamt you almost kissed me” has to be some kind of tip of the hat to “last night i dreamt that somebody loved me” by The Smiths. There are a number of other songs which seemed to be inspired by Morrissey in the lyric department. The song has forward momentum and good beat. On top of that the structure is inventive and dynamic, I thought the song had a good floe “The circle of your arms” is a seven-minute song. It was another solid track but I still thought it could have benefited from some brevity. As the album progresses the highlights were the melancholy “The fever of your skin against mine” and “The girl who made time stop like it was nothing.” Overall, the album was enjoyable. Although the could have used some studio polish I thought the singing was heartfelt. The lyrics seemed to echo that as well. The instrumentation didn't blow my mind but worked for the songs and felt like it supported his vocals in a good way. little storm is far from perfect but has some inspired moments. I’d say as a hobbyist who does this in his spare time that this album is a success.
For the past five years Peter Plank has worked as a live and studio musician in St. Louis, Missouri. He has played guitar and bass for a myriad of artists. He soon got an itch to make his own music which seems quite normal to me. In 2013 he released an EP entitled White Diamonds which contained five songs. Plank followed up with a seven-song LP entitled Never Strangers in 2016.
He collaborated with a couple of other instrumentalists as well as vocalists. The results are very well produced songs with fleshed out instrumentation that is somewhere between alternative and folk. Up first is “Everything Beautiful (18).” The first thing that got my attention were the guitars. I really enjoyed how warm they sounded with just about the perfect amount of reverb. The picking pattern was quite beautiful. The guitars weren’t the only instrument that has a warmth to it. I felt like the whole track had a warm glow. The vocals were delivered well with catchy melodies. Great opener. Up next is “I Will Hold You” which is another success. The drums really keep the song feeling upbeat. There are orchestral strings on this track but they are used sparingly. The song is also quite dynamic making it that much more engaging. “Collide” starts off with a female vocalist. However about a minute in the male lead is introduced as well. It is one of the more emotionally resonant songs. There is a nostalgic quality to it and it feels very atmospheric partly due to the fact that there are percussive elements. “All You Need” felt like a pretty straightforward rock song while “Fire” contains a fantastic vocal performance. “Maybe I’m Wrong” has an intimate singer/songwriter vibe to it. The title track felt like an appropriate closer. It gets more intense as it progresses leading to an epic crescendo. Never Strangers is a great sounding album with well-written songs. Plank isn’t reinventing the wheel with this style but when the songs sound this good it doesn't matter much.
One could venture to say that there are a lot of cities that could be called “music cities” and by that I mean cities on which any given night you could be pulled into a thousand million different directions as to what show you wanted to go see. I live in Chicago and I have written about the Chicago music scene for long enough to know that you can play a Potbelly’s lunch rush in Lincoln Square for a crowd of strollers and nannies during the day and then play the stage of any number of bars and clubs eight hours later while your first sandwich eating crowd is likely fast asleep.
So given the plethora of places to play, not to mention the top tier talent of all genres and all different levels of national, international, and indie acclaim that rolls through the windy city on a daily basis, you better have some game, especially in a city where weather is so often the deciding factor of many peoples plans. Yet with the forces of culture and the forces of nature all bearing down on me I would still venture out no matter the circumstances to catch a gig by Chicago alt-country quintet Blue Horse Blue whose second EP Lilies In The Sky finds the band sounding like they’ve been together for decades, sounding tighter than the lid on a jar of pickles. The folksy opener “All My Suffering” is textbook folk, a crisp and toe-tapping melody. The guitar-mandolin combo does it thing and singer Korin Isotalo vocals fall somewhere between Janis Joplin and Dolly Parton, but also a bit of Joe Strummer in there too. Her voice is scratchy and smoky. It’s an instrument. But the beauty of it is that the rest of the band works with to bring uniqueness to their folk sound. This all culminates in the hard working title track “Lilies in the Sky” and on the Grand Ole Opre-escent “In God's Arms.” For a band that has only been at work for little more than a year Blue Horse Blue sounds like a band that has been working together for so much longer. Their beautifully blue closing track “Tally Ho” cements it as an album that should be heard by reaches farther than Chicago. With talent like Blue Horse Blue has though here’s hoping the winds of this city carry their sound much farther. It’s a sound that should be heard.
The Favorite Things is a band from Minneapolis that formed in 2014. After a couple of line up changes, band name changes, etc., they teamed up with Jacques Wait to release Coming Clean.
The band is a rock band through and through and to my my ears I thought there was a classic American vibe mixed in with country. My first thoughts were Tom Petty with a bit more distortion. The songs go down really easy and aren’t anything new. They have plenty of hooks and catchy melodies that are memorable and familiar sounding the first time you hear them. The album is about the perfect length at nine songs. In fact the songs themselves are all about three-and-a-half-minutes long. The album goes by quickly. The production is about perfect. It’s commercially viable and radio ready. The producer did a great job getting the band to sound live yet polished. Up first is “Coming Clean.” The band doesn't give an intro. They get right into it with the whole band rocking out together. Right away you should be able to spot the aforementioned classic American vibe. Suffice it to say if you like this song you will enjoy the others. As I was listening the word that came to mind was professional. They sounded great and in the pocket. No one in the band seemed to be overpowering the other. As the album progressed you realize how cohesive their sound is. There aren’t any synths or even many effects besides reverb. The band keeps the songs rather simple in terms of their palette. It’s hard to pick out highlights because all of the songs were well written. I have to say songs like “In The Summer,” “Sunny Day” and “Blow Zero” each have a single-worthy quality to them. You could make the argument that the band is either cohesive or playing it safe. Although the songs have a ubiquitous classic backyard feel to them it's undeniable the band knows exactly what they want to play. Recommended.
Timeless Soul is the second release from Jeremy Poland & Lantz Dale. It’s an EP with seven songs that I can’t describe as anything else than pop. The songs are smooth, clean and almost too catchy. On top of that there is a motivational quality to the songs both in the lyrics and the vibe.
They open with “All Yours Now” which is a classic love song. It mixes emotions like heartbreak and comfort. You can believe him when he says “You’ll never be alone again.” The vibe goes from melancholy to hopeful. As if you are able to see a little light in the darkness. Up next is “in The Light” which plays with those same moods melancholy and hope. This time around you can hear the difference when the drums come in. The singing is slightly different but just enough to shift the mood. Playing in the motivational theme he sings, “You’ll be fine / When times are hard / You are tough.” “All over Again” is upbeat all the way through and plays into a reggae vibe while “I’m a Wreck” has some solid guitar. I especially liked the flamenco style lead parts. “Where Did it Go” is the most upbeat and happy song on the EP. I thought it was the most single -worthy song in the batch. They close with “Timeless Soul” which revolves around facing aging. Timeless Soul doesn't have any raw edge to it. It feels extremely polished. That's not necessarily a bad thing but let's just say there isn't much grit. Overall, the songs are well written and I think you will know if this is your cup of tea relatively quickly. Kuru Luma is a band from Australia. Or maybe it's just one guy. The details are kind of odd. Either way the band is putting out a creative string of conceptual EP’s. According to the band “Luna Moth is the first EP in a four part EP story about a man's struggle with the current norm and expectations of the system we live in. The first EP represents anger.” They are a rock band through and through. The songs are a mixed bag and the production could have used improvements. Up first is “Something Minor.” The first thing I noticed was how loud and prominent the bass drum is. It really kicks. Even louder in the mix are the lead vocals. After an initial sour note the vocalist gets on track and delivers a solid vocal performance. The music has a very serious feel to it with no real levity. Up next is “Entry.” The drums are heavy like a metal song. The two voices desperately needed compression and to be balanced. One voice is more or less screaming. You can say he sounds angry which would work with the concept of the EP. The band has a little more success with “Pact” and “Tomorrow” but the best song out of the batch was “Circle” in my opinion. Luna Moth is a decent first effort but there are definitely areas for improvement.
Luke Duncan is a quirky singer/songwriter from New Zealand. The goal of his debut EP was to create something influenced by his love of bygone music from a rose-tinted, dreamy era. Artists from the ‘60s and ‘70s are those from whom Duncan draws his greatest influence, but he’s not one to restrict or limit himself to a narrow range of musical geniuses. He appreciates recent music, whether it’s mainstream or obscure, and such modern influences also shine through in the clarity and pristine production of much of this EP entitled Passing By. Still, the rawness and realness of music from decades long gone is definitely present here, and Duncan thrives on it.
Passing By, Duncan’s initial six-track release, opens with the intriguing “Razor’s Edge.” A slow-paced, melodic, acoustic, psychedelic track, this opener is driven by a timid drum beat, a jovial, clean electric guitar pattern and Duncan’s soft, mellow vocals. It’s a trippy, yet melancholic experience. This track is head-bop-worthy, yet Duncan’s lyrics and vocals are clear. They cut straight to the core of a person’s emotions and they mean something. It’s a pop psychedelia, and it’s infectious. I knew I was hooked almost instantaneously, and the rest of the EP didn’t disappoint; well, other than the fact it left me craving more tracks. “Never Ending Days” is an upbeat dream-pop song. A sharp, jolting piano chord progression drives the track, matched by a soft, clean electric guitar progression. Duncan’s vocals are mellow, emotive and elongated, as he reflects on the life which sits in his rear view mirror. He sings of the things he has left undone, but seems not to be at all phased by this. This is an upbeat, hopeful song about the potential of the future to offer happier opportunities. ‘I Don’t Know’ is a straightforward pop ballad. It’s driven by a chord progression on a gently strummed acoustic guitar and Duncan’s sweet, soft, floating vocals. It’s trippy and emotional all at once. It invokes deep feelings, and yet it makes one feel as light as a feather. I lost myself for a while somewhere in the depths of this track, which is short in length but huge in atmosphere and sound. All in all, Luke Duncan’s debut EP is impressive both in diverse stylistic tendencies and the production quality present throughout the EP. Often indie artists releasing their first collection of tracks run into problems, but Duncan remains an artist of consistent and constant high quality through each and every song present on this short EP. It’s really worth a good listen (perhaps while lying in the garden late at night and staring at the stars). I’m certainly looking forward to whatever Duncan releases in the futur
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I was born and raised a Catholic. I went to Catholic school from kindergarten through twelfth grade. I was an altar boy too. I went to church at least twice a week for the better part of my early life. As a kid I had no choice but when I reached my teens I finally started to rebel a little bit though it didn’t matter, I still went to church. When I went away to college I didn’t have to go to church anymore except when I came home to visit.
There was something very freeing about this. However at no point did I ever stop believing in what I had been taught all those years, even when I was exposed to people on a wider scale, some of them who all they wanted to do was try to prove that organized religion was nonsense and that “god” in any form did not exist. The fact that the Bible made no mention of dinosaurs was always the nail in their coffin. Then I would sometimes ask these people I overheard saying these things if they railed against the Goth kids the same way about there being no vampires. I got mixed responses. The music was always something that I liked about church though, the hymns mostly. I can admit the thanks and praise part amongst a group was largely lost on me. I didn’t want to give thanks and praise in unison. I wanted to do it in my own way and on my own. Perhaps that was where the slight rebellion was born. But had I been able to play an instrument and write songs I might well have taken the path of Rochester, Michigan singer/songwriter Ben Heymoss whose debut record Intentional covers a diverse amount of musical genres from folksy-rock to hip-hop. The binding theme of the album though is that they are all songs which in some way praise God and deal with Heymoss’s relationship with him. Skeptics still reading this might be ready to give up at this point. I can tell you as soon I read Heymoss’s bio a little red flag went up in my brain too. But then I thought about how many hundreds of records I’ve ever reviewed and how all of the songs on them, good or bad, had to do with a relationship of some kind. Most of the songs were about relationships between people; the old boy and girl sad dribble. So then what’s it matter if the x in the equation here is not a man or a woman but God? And with the opening track “Intentional” Ben Heymoss proves to be a damn good musician and songwriter. “Intentional” is infectious; it’s rhythmic guitar jangle pop converted me right away. His vocals are deep yet mellow. Next we get the slow and rhythmic “I Just Know” that grazes around early Bon Iver territory and then flows into a funkier territory. Then Heymoss threw me for a loop with the funky hip-hop addled “Divine” on which he flows rather divinely and shows that he isn’t about to be pigeonholed. Then he takes it to a higher level of funky reggae and rap on “Lose Your Life (ft. Cleveland Thrasher).” I’ll admit that I went into listening to Intentional with a bit of skepticism. But I came out of it with a sense of comfort and happiness. These songs are not preachy, they are not fire and brimstone but finely crafted songs of praise and thankfulness that stretch multiple genres. There are melodies and meanings that stay with you long after Intentional is done. And that I believe is the intention Ben Heymoss had and has accomplished with this record.
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