Drew Canine is a full-time data scientist and makes music in his spare time. He recently released Sick. The album contains a mix of rock, alternative, surf and even some folk and country.
The first song is “Through the Grid” which is a highlight and is a very catchy song with a great hook. It reminded me of Grizzly Bear. I’m not sure if it was the falsetto or what but it’s a great song. Up next is “Spend a Day” which is another good song. The verse has some cool elements which you can hear around the two-minute mark. “W No Reply” revolves around warm acoustic, various vocal harmonies and more melodies which I found immediately accessible and memorable. The title track “Sick Day” actually again reminded me of the band Grizzly Bear mixed with ’60s psychedelia and just a pinch of post-punk. “Low Lights' ' comes closer to the turn of the century in the spirit of Franz Ferdinand. Up next is the warm and more reflective sounding “That’s cool” which features some heartfelt and tender vocals. There’s a '50s pop quality to this song which sounded great. The music continues with “At the Lake, On the Shore'' which is more like a country/folk hybrid that is definitely the most contemplate and melancholy song in the batch. Last up is “Walking the Cow” which is a joyful and a bright song that felt like a perfect song for summer. There are some really well written songs. I mean my first thought after listening to the release was that he should perform this with a band. There are some fantastic melodies and the strength of the songs came from the vocals. I thought he was a good singer who could get away with a number of different styles. Overall, this was an enjoyable release from beginning to end. Recommended.
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Blackwater Jukebox is an experimental folk group based in Los Angeles. The band leader appears to be Geordie McElroy, who sings and plays acoustic guitar, banjo and keyboards. I call McElroy the leader because the band’s Instagram page contains videos where he appears up front as a wild performance artist with a passing resemblance to Ed Sanders or John Prine. There’s also countless photos of McElroy drinking in his apartment outdoor jacuzzi, which makes me wonder if this whole idea came from hanging out back there every chance he gets. Make no mistake: this is a one-joke record, but the joke is pretty good… or at least, quite unusual.
McElroy explains that Hot Tub Homicides is “…an update on classic murder ballads with a jacuzzi twist,” and the band itself has been called "the Indiana Jones of ethnomusicology.” Other members include Burly Temple (background vocals/electric guitar), Sara K (vocals), and three drummers: Cassidy Byars, Jim Dooley and Juan Rubio. Each song on this album is a jacuzzi-inspired riff on another song. The finished collection was mastered by Dave Lopez. “Black Cat Bone” begins the set with a reworking of “Eggs & Marrowbone,” a traditional folk song about a wife’s attempted blinding of her husband. Blackwater’s version is a bouncy B-52’s style rave-up with McElroy’s lead vocals never taking a break for air. In this case the husband is being poisoned with black cat bone, then left to cook in the jacuzzi. “Big Dog” sounds even more like the B-52’s, especially “Rock Lobster.” Again we have an array of tribal beats, spooky voodoo guitars, cheesy keyboards and McElroy’s insistent vocals. This song was inspired by an ancient gospel tune most recently covered by Alison Krauss. The chorus is especially catchy: “Big dog, big dog, let’s go down / down to the river to pray.” “Cabana Boy” turns the Bob Dylan tune “Love Henry” into an ominous tale of jacuzzi adultery and murder. Creepy keyboards and cannibalistic drums predominate while McElroy pontificates like a corrupt preacher. “Jacques Uzi” (check the pun!) is a highly recognizable take off on “Mack The Knife.” There’s an element of deranged klezmer music with wild drums and even five-string banjo. Apparently this weird tale of Nazi hunting has received a lot of attention; it’s clearly the hit of this album and the funniest iteration of the central idea. “Broadwater Sea” is a riff on “Pretty Polly,” an Appalachian murder ballad once covered by The Byrds. This track’s a more traditional rock tune that could pass for a hit in some quarters, featuring a driving rock rhythm and some of McElroy’s best singing. Sarah K adds fine background vocals. The final song is “Jet Set Yvette” which McElroy calls “misogynistic trash.” The jacuzzi imagery is strong in this one, along with the most tribal-sounding drums yet, plus native yodeling and stabbing digital strings. A great upbeat conclusion. So there you have it: six murder ballads set in jacuzzis. Fans of The Fugs, Mothers, B-52’s, or other offbeat bands might really enjoy these guys.
Muo Duo consists of Miles From Space, singer/lead songwriter and composition major from the Juilliard pre-college and his sister Winter Donnelly, Broadway singer and actor who played Young Elsa in Broadway’s production of Frozen. On their latest EP itsavibe the band plays music that offers us a distraction from everything that is happening around us from the pandemic to feeling isolated and left behind. Their feel-good and uplifting tunes lets us escape into sunny soundscapes, infectious melodies and an energy that is all about “peace, love and of course, dancing.”
itsavibe gets grooving with “Everybody’s Making.” Off to a spangly start, the catchy melodies and sunny front makes for a compelling listen. The combined vocal harmonies are vibrant. This is a great track to get your dance moves on. The beats and rhythms feel great. The uplifting tunes and feel-good vibes will really send you to a good place. On “Avocado Smoothie,” synths and keys make for an ambient introduction at the start of this song. The smooth and suave tones overflow with a seamless approach. The sounds are in the R&B, soul and pop veins. The horns are a surprising addition. The sax solo also added emphasis to the cool vibe. On the title track “itsavibe,” synths add a touch of ambience to the track. Smooth R&B sounds pull through. Soulful vocals sound off along with some hip hop-inspired beats. Some jazzy flavors could also be felt in this very lounge number. The smooth tune is a great way to close the EP. The EP is a mix of influences from hip hop, R&B, trap, rock n’ roll and indie – you can hear all this and more on these tracks. The three-track collection is bursting with flavors, all of which will take you away from your current situation and into what the band calls “a better world.” The sonic landscapes on this EP feel very vibrant, radiating an energy that at times feel very contagious in that way only pop music can make you feel. And like any good pop music, these tracks are a brief remedy from all that is going on currently, offering us moments of respite into a more carefree and less fraught landscape. This was a solid release and I look forward to seeing what new flavors the band comes up with next.
My college days about twenty years ago were a blast. I loved being away from home, made a lot of friends and had almost no responsibility. Unfortunately, not all college days are equal. The recent release Yours by Blue Navy explores the disillusionment, disconnection and rejection he felt while in college. It's also his best release to date with a notable boost in the production department.
The album is very dramatic and heavy. In fact the lyrics don’t seem to mention much about college. The lyrics are deep, broad, philosophical and poetic. They also revolve around the word “I” and I didn’t notice him using “You” that puts you in the driver's seat. It’s his pain, his hurdles and everything seems to revolve around his perspective. Some music invites you to share the pain but I didn’t really feel that way when listening to this album. Conversely, I felt like I was just watching from afar that this was his way of expressing his disillusionment with relationships and life itself. There are nine songs and all of them have a similar quality starting with “The Garden of Roses.” The songs contain guitar with hall reverb, vocals with a reverb and well a lot of reverb. Reverbs used like this creates a nostalgic and reflective feeling and this is really what you get. The best part of the song is the slow build which is on the line between hope and melancholy. “Another Autumn Lost'' sounds a lot like the title of the song. It’s full of reflection and nostalgia. “Slept” is a highlight. The vocals are well done and I would say this song felt warm and not as isolating. “In April” felt a tad more grounded and even the hooks felt a little more memorable. “Every Heart Is a Hole” was a nice sounding vignette while “The Memory of Our Former Selves” had its moments as well. “Forever Burnt” is a twenty-plus-minute piece, “Untrue”is a soft piano ballad while “From the Balcony I Gazed Down Toward Your Green Smiling Eyes” is another very long song eclipsing the eleven-minute mark. There is a part of me that wants to snap the artist out of the depressive, self-deprecating haze he paints from beginning to end. Although I really don't know how much is art versus reality it reminds me a bit of the way I used to feel about the world and it's a very isolating and scary way to face it. One thing I know for sure is that creating art can heal and also put into perspective the absurdity of life. At the very least I hope making this album helped him through the negatives feelings. That’s one reason why art is vital not only for the audience but for the artist themselves.
Judah John is a solo artist from Brantford, Ontario who recently released potions. This is an eleven-song album that is drenched with the criteria for what makes a post-rock album. There is lots of reverb of the guitar, a cerebral, pensive quality to the riffs and many other aspects which define the genre. These songs specifically reminded me more of groups like Explosions in the Sky and Do Make Say Think. There is a very similar mix of mood which is often on the line between reflective melancholy and hopeful sentiment.
Out of the eleven songs I thought there a number of highlights starting with “valley (feat Ethan Sliver.” The song starts with a fantastic guitar lick and had a ’90s quality to it that came from bands on Touch and Go Records. As the song progresses it starts to feel more post-rock influenced with more contemplative moods. The end gets rolling again with an epic climax. The slower moving “potions” is a psychedelic swirl. Drums go off doing their own thing only to join back with the guitars. There are some killer transitions throughout this song. I thought “begin” was a solid song as well. The song breathes and feels content being what it is. I also really enjoyed the increase of the BPM towards the end which soars. I was thoroughly on board with “rivers” and the almost bluesy sounding “wolf (feat. Alex Borjanovic).” Spoken word samples also seem to be used in every other post-rock song since Godspeed You! Black Emperor made it popular. They show up on “wolf (feat. Alex Borjanovic)” and felt like an unnecessary addition to the song. The production is good for a home recording. This genre I would say really benefits from multiple people playing live in a good studio more so than many others. That being said you can still hear some of the magic. I thought this was a good post-rock album. There are some really inventive transitions, impressive technical skill and overall nice songwriting. Recommended.
Andy Jurik is a guitarist and educator from Asheville, North Carolina. His first solo recording is called strive and it collects his arrangements of jazz, classical and contemporary tunes for acoustic guitar. He explains: “I’m passionate about genre-fusion and how the intersection of musical worlds can produce fresh, vibrant and original sounds.” He relates himself to musicians such as Gyan Riley, Francesco Turrisi and Diego Figueiredo, “…who blend seemingly disparate genres with deeply intriguing results.” This is not Jurik’s first rodeo. He’s a member of two duos: Demeler, which reimagines Carter Family standards and Celtic folk songs, and Duo Cortado, which commissions new works for two guitars. He’s presented doctoral research on classical guitar in jazz fusion and has performed at many universities and festivals. For this album, he recorded at home using Logic Pro X and Neumann microphones, and the sonic result is beautiful and pristine. Mixing and mastering was performed by Oli Whitworth. Jurik opens the album with Marc Summer’s “Julie-O,” originally composed for cello. Summer is a former member of the Turtle Island Quartet, and like many musicians Jurik admires, he “epitomizes a sensibility of genre distinctions becoming less rigid and more fluid,” which is why he chose this track as the first. This composition does indeed seem to straddle several genres, including classical, jazz and even flamenco. I have not heard the cello original, but Jurik’s playing is so lovely and nuanced that I can’t imagine it sounding any other way. For me his guitar style shows the technical virtuosity of John Williams or Pepe Romero with the resonant touches of Leo Kottke. “Improvisation No. 15 (Hommage à Edith Piaf)” by French composer Francis Poulenc is more strictly classical. Poulenc was a traditional composer who wrote religious music but also loved French popular music. This track is something of a pocket symphony, complex yet romantic. Next up is a trio of pieces originally written for piano by Brazilian composer Ernesto Nazarth: “Odeon,” “Eponina” and “Brejeiro.” Jurik has arranged the pieces to start “fast and grooving,” then slower and sentimental, and finally fast and grooving again. The piano roots of “Odeon” are obvious, and Jurik has a fine time bouncing around between the high and low “keys” on his guitar (in fact, he says that he loves this composer’s music partly because of how well it translates from piano to guitar.) While complex, there are also traces of ragtime, though Jurik ascribes this to “choro,” an early form of Brazilian jazz. The slower “Eponina” follows, featuring sweet melodies tinged with nostalgia. The concluding “Brejeiro” is a jaunty tune with a catchy melody. Leonard Bernstein’s “Lucky To Be Me” is a jazz standard from the musical On The Town. Jurik was finally moved to try his version after hearing beautiful versions by Bill Evans and Taylor Eigsti, and his own recording feels like a jazz-classical hybrid. Bernstein’s original tune is typically sophisticated, and Jurik nicely combines the vocal and piano parts into a single guitar arrangement. “Chorale” is a complex eight-minute piece originally composed by Nicholas Walker for double bass. Jurik recalls: “I was astounded with what this piece could say with just one instrument. Of course, I had to steal it and arrange it for guitar.” Again, Jurik makes it hard to believe this music was ever meant for anything BUT his guitar, especially with his palm-mutes in the middle section. The next two tracks are much more familiar to contemporary listeners. “Exit Music (For A Film)” is sourced from Radiohead’s iconic OK Computer album. As Jurik says, it’s “all the melancholy distilled to six strings.” I’m a big fan of that album, and this version worked on me the same way the music for the TV show Westworld often does, where a vaguely familiar theme becomes more recognizable as it progresses. I would never have seen the classical possibilities in this song, especially in what Jurik calls “Thom Yorke’s anguished howling,” but he certainly found and exploited them, even moving into a faster Spanish style toward the end. Unashamedly one of my favorite tracks! “Blackbird” by Paul McCartney of the Beatles (you knew that, right?) may be the only track here directly inspired by another guitar. This version sounds unfamiliar in spots, perhaps because Jurik “…wanted to push the structure a bit, break the form in a playful fashion.” Jurik has combined both McCartney’s Bach-like guitar chording and his vocal line, and from there has worked out the inherent classical possibilities for his performance. Lovely, but a bit more cerebral than the original! The final track is called “Strive To Be Happy” and the album title came in part from this composition. “Ivan Trevino finds a beautiful balance between harmony, melody and silence in this piece, all set to a perpetual rhythm. The guitar’s resonance adds an irresistible character.” The rhythm Jurik mentions does indeed add a new and exiting element to this collection, starting us out in a more minimalist mode before moving into circular clouds of gorgeous melodies, building to a breathtaking symphony-like conclusion. Jurik says that “The purpose (in recording these songs) was to construct something that honors its origins while saying something new.” In this goal he has succeeded admirably, and has delivered a stunning technical and sound achievement as well.
The Uprights is a pretty unique group. According to the band “The Uprights is a collective of artists (writers, photographers, cartoonists) that also play music. Anonymously. Each one of The Uprights plans to release his own CD and each will take a turn writing and producing the material.” The collective recently released Ghost ship.
The album is an amalgamation of different styles but I thought the songs have a sense of familiarity to them. Take for instance the opener “Psychopaths'' which is a classic brass swinging blues/rock hybrid. It's a certified highlight with a sort of classic theme that the mega rich don’t have your best interest in mind and that they are criminals/lunatics. That point is arguable but I definitely enjoyed the praise of the common man. “The Lowdown, Everlovin', Downright, Good-For-Nothin', Lockdown Quarantine Blues'' revolves around an old blues riff that’s been around forever. Nonetheless it's a solid song delivered with a good amount of emotion. “Every Time” is a change in style and genre and is more an acoustic ballad. It’s straight up love with memorable melodies. “Boomerang Baby” is another example of a rock/blues hybrid that embraces timeless riffs. “Good As Gone” has more of a folk flavor and reminded me of the Grateful Dead. This song contained one of my favorite vocal performances. “Waitin' On The Rain” is a slower moving song and one of the more melancholy songs. “American Dream” sounds like classic Americana while “The Damage I've Done” is a tender, sweet song about infidelity, jail and more broadly about reflecting about the past. “Keepnit Reel” was a highlight. I loved the eclectic and bluegrass vibe with the instrumentation. Last up is “Shame On The Night” which is a nostalgia closer with some killer horns. Ghost Ship reminded me of music from a genre band. I thought there were some gems and probably something for everyone. Recommended.
I’ve been a musician and started writing about music over a decade ago. There are a couple of things that you pick up along the way. One thing is the universal law of the universe - bands often sound like what they were listening to in their coming of age years. Without fail I have been able to predict style and genre dependent on age. When I saw there was a band Class of 91 I was wondering if that’s when they actually graduated. My guess is it is or is very close. The magic age range seems to be about seventeen to twenty-one when your brain decides this will be the music that’s your foundation.
I was young but alive in 1991. Bands like REM, Dinosaur Jr and other like-minded groups were making the rotation on MTV. Grunge didn’t quite hit yet and there was this warm, college rock thing going on which some say REM was leading the charge. Eyes on Fire is the recent release from Class of 91 and certainly sounds like it's very from the early ’90’s. In fact there was really nothing that would indicate this was released recently. The aesthetics, style and delivery felt like it was emerging from a specific sliver of time. The band rock fast and hard out of the gate with “Little Fiction.” It’s a short yet catchy song with a good amount of spirit. They continue with their type of energy on “Breakaway” while “Stockholm” is a nostalgic tune but not quite a ballad. I would say there is a little more Americana spirit in this song. “Couldn’t This Be Right” is the first song with a different overall type of energy. The guitars are clean and the mood is a mix of serene and motivational. “Cassettes In Helsinki” leans more into nostalgia. They bring up the energy with “Eyes On Fire” and “Destroyer.” Last up is the uplifting “This Is Magic.” My only critique is that the album felt like it was frozen in time. The band never really escapes the early ’90s alternative vibe and doesn't insert a new factor in the equation that could make it feel familiar and new at the same time. That being said I'm sure purist will love it. Overall, I really liked this album. It was nostalgic, the songs are well written and the performances are top notch. I think it goes without saying that this album will resonate most with fans of ’90s alternative. If you’re not familiar with this style this is a good place to start. Recommended.
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Low Flying Orchestra is the music made by Niall Ó Siadhail and friends. They recently released EP1 which contains three songs and is thirteen minutes long. It goes by fast but was enough to connect with the band and appreciate their sound.
The first song is “King and Queen” and the instrumentation felt a little distant at first. There are guitars and percussion which seemed to be in the background of the mix. The bass is a little more prevalent but it's the fantastic horns which really add a lot when they appear. Once the vocals came in it became obvious that the song was based around this element. I could hear every word and it was almost too loud in the mix but sounded great especially when the instrumentation gets more intense towards the end. Melodically, I was on board with what they were playing and singing. It was accessible and memorable. The delivery was great and reminded me of “Young Folks” by Peter Bjorn and John. Next up is “Roger’s Car” which begins with strummed guitars and vocals. It’s a change from the first tune and I appreciated the vocalist even more. There are just some really nice qualities to his voice. I was not expecting the fantastic change around the thirty-second mark. There are drums, guitars, bass and what sounds like either violin or cello. I’m leaning towards violin. On the second verse the vocalist sings with an affectation at points. He changes it up but it didn't feel too theatrical. The vocal harmonies towards the end are very nice. Last up is “Berg Man” and this song begins with a beautiful combination of violin and wind. The guitar comes with a couple strummed chords but in all honesty I sort of miss just the wind and violin. This song builds very nicely and doesn't rush to do it. It’s a dynamic song and the last minute or so increases BPM and creates a powerful ending to the EP. I would say this EP does a great job showing some of the diversity of the band but also their foundation. It also left me hoping to hear from them in the not too distant future. That’s about as good as a start you could ask for.
Violent Sunrise is the debut EP from indie-alternative rock quartet Mystic Time Machine. The band is fronted by lead singer and songwriter Ricia Rae (who also plays keys), and includes Mark Baldwin (guitars), Georg Nikodym (bass, and Maggie Panko (drums). Scott Cook produced the album and added some of his instrumental talents.
The title track kicks us off. It’s straight-ahead minor-key rock, driven by an indie-flavored double-stop guitar riff and growly, moving bass. Rae’s vocals float over the top; their range, depth and harmonies recall Annie Lennox or Siouxsie Sioux. There’s a little more edge in Mystic Time Machine’s guitars, though, as if Dave Stewart kept his taste but took a couple of lessons from Joe Trohman. “I’m Not Thinking” keeps the minor-key rock feel going, but adds some synths. Cook’s production work shines here; there’s a lot built in here. It adds up to a well-formed whole, but you can pick out the individual parts, too. I particularly liked the gritty guitar underneath, which was just enough to give the track some edge and tension. “The Reason” is the poppiest of the tracks. Mystic Time Machine layers in some radio-friendly percussion (tambourine and congas) as well as palm-mute guitar and clear keyboard tones. They keep the chorus interesting, moving toward prog-rock territory with shifting meter and accents. On the outro, they go with the full pop arrangement, including a quick, tight ending. Lest you think they went soft, the final track, “Moral Injury” brings us back with a heavy riff and lyric. The dreamy--dare I say mystical?--middle section offers good contrast between the heavy sections, and makes them stand out more. It’s a nice cap to the set. Violent Sunrise is a solid debut. The underlying pop sensibilities of the arrangements, combined with Rae’s smooth vocals, will appeal to a broad audience, while the grit underneath will satisfy those looking for a bit more edge. Give it a spin! |
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