Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating The Stammer Burden On The Living 3.9 Kyle Handler Spaceyy 3.5 Moon Hooligan Moon Hooligan 3.7 Homemade Ski Mask redballbluechicago 3.7 John Coker Stoic 3.6
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Hollow is a newly formed band/project from Bristol, England composed of Evan Hepple-Jones and Pete Jones. The duo recently released What Do You Want which is a six-song EP. They explain that Marilyn Manson, Nine Inch Nails, Combichrist, Sisters of Mercy, Kidneythieves and London After Midnight were influences and that’s fairly obvious when listening to the music.
They get going with “Egg” which starts with a fuzzy sub bass, distorted guitars, a steady kick and reverb laced vocals. This song is dark but more hard rock and grunge oriented. It sounded like early Nirvana except for Cobain and more reverb. Next up is “Darkside” and this is much more industrial and sounds a bit like early NIN and Ministry that were a huge influence on Trent Reznor. The groove is kinetic, goth inspired and definitely immersive. I’m guessing they both sing because the vocals sound very different. It’s a deep baritone. The production actually sounds different and less lo-fi which was a little odd. “Won’t Tell You Again” did sound even more like a B-side from NIN. It’s a cool song with some dynamic transitions that were powerful. The band go off the rails with “Play With Me” and sounds closer to The Cure. They get back into goth/industrial mode with “Imaginary Friend” and have more of a cosmic, cerebral soundscape with “Lost.” A lot of bands with debut releases kind of throw different styles on the wall to see what sticks. The band does that to some extent here but I would say more than anything the du wear their influences on their sleeve. I liked the songs and delivery but some of the similarities to specific felt apparent. My main critique would be for the band to think about what factor they could insert into the equation that starts to form their own signature sound. Overall, this is a very solid release and points to a band with a lot of potential. I look forward to hearing more.
A Level Look is the most recent release from clash bowley. He has some new moves this time around but still is undeniably bowley.`The tones and textures felt warm on this release and he even introduced vocal styles that I can’t remember hearing before.
“Maybe Someday” is the opening song and is smooth velvet. The instrumentation felt like it was coming from a hall. I loved the vocals which are more up front in the mix. This song particularly reminded me of Radiohead which really impressed me. “Sleep Away” brings up the energy. The groove is one of the best I’ve heard from bowley which is kinetic and alien sounding. Bowley goes back and forth between different vocals. There are points where he sings the hook and also does a spoken word. It reminded me of a beatnik poet that you might hear on the lower east side. “Terminator City” contains unique percussion elements that (no pun intended) clash against an arpeggiated synth while the title track “A Level Look” contains a similar energy. The vocals were quite catchy and we even have a guitar solo in the mix. “Losing Control of My Heart” is bass heavy with a thunderous kick drum that cuts through the mix as phase effects from multiple guitars swirl to make a psychedelic concoction. One of the most unique tracks I've heard from bowley is “It Could Be.”.This song was ominous sounding. The vocal delivery at times made him sound like a villain in the movie. “Navigator,” “Shoulder the Blame” and “Wrong Train” had a classic bowley feel to me. “Without You” had a great beat. Last up is “By the Grace of God” which is a solid closer that felt like the cherry on top. This release after I was done listening reminded me of the solo work from Thom Yorke. I’m not sure why I haven’t connected those dots before. Recommended.
The Guilty Lenses id a band from Minnesota that recently released their debut effort entitled Somewhat Romance, Somewhat Poetry. It’s a long album with fourteen songs and is just under an hour.
The songs are a mix of indie pop, surf and hard rock. They often sound like an amalgamation of different bands. Take for instance “Dance Bar Blues'' which sounds more aligned with a band like Queens of the Stone Age and then compare that to the more lush “5 mins to Close” which come closer to Franz Ferdinand. I liked both songs but just for different reasons. The band is arguably their best when just going for catchy tunes as you hear on the second song “On the Loose.” There is denying how infectious this song is from beginning to end. As the album progressed I thought there were a number of standouts including “Look Good,” “Payback” and “Brave New World.” The most dance worthy song in the batch I think goes to “Prima Donna.” This song is just a blast that starts off subtle enough and ends up rocking out hard. The production and recording quality was top notch. Kudos to the engineers who took a relatively sparse band and made them sound huge and formidable. I thought the vocals sounded intimate when needed but also applied the perfect amount of compression when the higher octaves and more aggressive singing occurred. This album felt familiar and didn’t have any surprise, good or bad. The structure of the songs felt predictable but the songwriting and delivery was solid throughout. This is a solid debut and I look forward to hearing more from the band.
blankslate is a three-piece band based in Denver. College roommates Emma Troughton (vocals), Ryan Dunn (guitar) and Tess Condon (drums) met after transferring from other schools and were looking for a fresh start. They began playing on campus and at open-mic gigs, then moved onto clubs in Denver and ultimately New York, where they preformed a livestream acoustic show.
blankslate describe their EP {thursday} as “…a modern take on the classic '60's California sound, aiming to capture the foggy, jagged shores of Northern California, where Troughton and Dunn grew up. The album deals with themes of growing up and coming into your own while also incorporating some storytelling as well.” The songwriting is a collaborative process among all the members. Josh Lee provides a lush string quartet, while additional instrumentation and Pro Tools production were supplied by Tyler Imbrogno at Daymoon Studios. Imbrogno also plays bass and keyboards throughout. I played this EP before checking the credits, and was immediately struck by the huge wall of vocals featured in most every song. In my imagination, every member was singing. To find that the vocals are mostly the work of Emma Troughton blew my mind: she not only achieves gorgeous and spot-on harmonies, but is capable of sounding like a full and diverse chorus, and not a studio construct. Stylistically this band tends to go all-in on every song, starting at medium intensity and building toward huge, dramatic climaxes. “42” is the story of a woman whose husband died in a house fire, and who may or may not be visiting in spectral form as a Spirit Guide. A Cliff Note’s reference to Troughton’s vocals might mention Stevie Nicks. It’s amazing to me that only Ryan Dunn is credited on guitar, as a full spectrum of sounds immediately assert themselves: acoustic, electric, shimmering chords and hard rock fuzz. Josh Lee’s strings make their first appearance, adding the perfect final touch, especially paired with the “old record” effect at the very end. “Whale Bones” begins with what sounds like percussive beats actually played with whale bones, leading into Tess Condon’s always crack drumming. This song about leaving one’s hometown is heavily weighted with Imbrogno’s keyboards and pins the VU meters with more stunning Troughton vocals, this time with a touch of Kristin Hersh. Maybe I’m a sucker for drama, but I loved this one. I also appreciated the slice-of-life piano and rain tape at the end. “Westcliff” continues the theme of leaving home and setting out on your own, this time with a more natural sounding and lovely vocal on the verses; the chorus and second section reach back to the Michelle Branch ’90s. “Orientation” features ukulele and a more acoustic sounding mix for a tune that seems to purposely recall The Lumineers “Ho Hey” with its thumping beat and clap-along choruses. These are some of the most beautiful songs I’ve heard in a long while. Again, I’m a sucker for that big ’90s production sound, which was a total shock coming from a band this small. Regardless, the singing, playing and songwriting are on an extremely high level and I hope this band shoots for a full album very soon.
Native World is a four-piece rock band from Indianapolis, IN. Wanting to go in a different direction from the post hardcore alt rock vibes of their previous releases, the band opted to deliver something fresh. Heavily inspired by the jrock umbrella, the band turned to their love for the genre as well as mixing indie pop and different rock influences in their latest EP Blossom. The results magnify the band’s exploration with different pop elements, culminating in an album that is full of unique and flavorful rock tunes.
Blossom reels you in with “Gone,” where listeners right away are hit by shimmering and melodic guitars. The sounds feel very catchy and upbeat. I greatly enjoyed the vocals which seemed very bright and spirited. The guitars also sounded great. This track had tons of ear-pleasing flavors. Right from the get-go, “Celeste” wastes no time in getting started. I loved the atmosphere and mood this track brings. I thought the band really delivered here. On “Countdown,” rumbling bass takes this track by the reins. With a darker vibe, the song embraces a more gothic approach. The vocals come across with a grittier feel. The track had a lot of atmosphere and mood and I loved every moment of it. “Glimmer” is off to a more sauntering groove. Some keys make an appearance on this song, giving it a very lounge vibe. The vocals sound softer here, going for a subtler approach. Gradually, the vocals become more impassioned with feelings and flavors. Airy guitar grabs ahold of listeners toward the introduction of “Sunbeam.” The vocals are equally captivating. Coming in with full-on energy, the sounds all really come together here. I loved the intense vocal delivery as well as the coalescing of instruments behind the singer. Thematically, growth plays a large part in these recordings. After the departure of their first vocalist, Native World underwent a new trajectory and quickly began creating the five songs on this EP. They wanted to produce something that sounded new and original and they have succeeded in that intent. Their success is largely owed to the band’s great chemistry with each member playing a part in the songwriting process. Their rapport is also seen in each of the sections as the band certainly knows how to jam out. The pandemic allowed the band members time to fine-tune these tracks and all their hard work had paid off – this is a fine EP.
The Dutch Monks are comprised of Jesse Rudd-Schmidt (a singer/songwriter from Melbourne, Australia) and pianist Thijs Flinsenberg, who hails from Utrecht in The Netherlands. As good fortune would have it, Flinsenberg’s professional work led him to Australia where he met Rudd-Schmidt. During the following two years they both worked together in medical research at the Peter MacCallum Cancer Centre. After playing music together, a strong bond was formed. The combination of loosely assembled Australian poetry and beautifully direct Dutch musicianship led the duo to record Yours to Lend – a full-length album that combines alternative, indie folk, pop, folk and folk rock genres. The album was recorded and produced by Steve Vertigan at Soggy Dog Studios in Upwey, Victoria, and mastered by Ross Cockle at Sing Sing Recording Studios in Melbourne.
Yours to Lend is as “complete and polished a body of work as you will find, showcasing the bands incredible musical connection.” It contains themes concerning relationships and loss. Lyrically, it tells the story of Rudd-Schmidt’s experiences during his twenties. The band compares their sound to The Fray, Ben Folds Five, Birds of Tokyo and Jackson Browne. The opening track “Storm”tells the story of a stormy relationship, hence the song's title. The backing vocals really packed a powerful delivery, made possible by Montana Sharp and/or Sara Lamont. A catchy ’60s bop beat can be heard on “Colour Blind." It features a middle section that takes the listener into the most heartfelt emotions of the album’s title track, describing the loss of a loved one to cancer and the effects of those around. I really like the fun beat here, along with the backing vocals. "Chop and Change" features another fun beat along with a funky bass line to start things off. It also has one killer break happening between the keys, bass and guitar - nicely done! "As Close as You Can Come" tones things done with a gentle introduction and a soft rock vibe that's reminiscent of singer/songwriters from the ‘70s, like Jackson Browne as mentioned earlier, and I would add James Taylor in there, too. With "Dork" I was taken in by the song's tender melody and the fantastic rhythm on the drums played by Peter Maslen. But more than that, I loved how the Dutch Monks and company wrote such recognizable, sadly humorous lyrics and paired them with such a beautiful melody. The album's title track "Yours to Lend" is another slower number, sounding very much like Ben Folds, but in some spots this song's darker melody reminded me of The Police. The backing vocals were absolutely haunting, I mean, my god - if you listen to just one song, perhaps listen to this one. Lyrically, the words are deeply personal, I'm guessing, but written abstractly that I couldn't quite make out what the song's message was. The band describes the interlude track “A Place to Stay” as "an obscure stand out - eerily reminiscent of a wake, celebrating the life, which was lost, before calling the listener through into the next track" titled “Home.” This song has a quiet sound starting off with just the acoustic and Rudd-Schmidt’s vocal. Drums come in a bit later along with the other artists. This sounds a bit like The Fray, but I was hearing some old school stuff in there too - maybe a little Steely Dan? The song's words are about the emotion one feels when someone they loved has died. Carrying on the low-key vibe, at least in the intro, is “Never! Not Anyone." The band then cranks up a thundering rock sound in this song about love, and how it can possess one into thinking that there is no one else that they want to see their lover with. The final track is a final lullaby which serenades the listener to the sounds of acoustic guitar and harmonica. “Rory” is an ode to a tormented and heartbroken relationship. The music arrangement and instrument playing is definitely worth the wait - there is almost nothing better than hearing the melancholy sounds of the harmonica, which is played by Flinsenberg, and the guitar playing by Rudd-Schmidt was effortless. But whoa - the lyrics alone were enough to make a grown man cry - "In a way I hope you're happy so I can be happy too / But if you're just like me, I know you'll only cherish our dreams / Now it is they can no longer be seen." This last song really cut straight to the heart. Overall, Yours to Lend is a gorgeous collection of songs, filled with beautiful melodies by a band with wonderful chemistry.
Part Object is a London/Somerset five-piece band comprised of former and current members of Bleeding Heart Narrative, Petrels, Douglas Barelegs, Grapefruits, American Gods, Dr. Filth and Carpet Band. Broken Platforms is their debut EP, a four-track offering that dives into dimensions of chaos, madness and fractures. Through the journey of these tracks, the band shows there is an order to the chaos, as they compel with spoken word-like vocals and a strong backing on instruments that showcases the band’s explosive sound through the punk, math rock and post rock genres.
Broken Platforms gets started with “Lords,” where a long strain of guitars wail on the forefront of this track as an adamant beat drums up the drama. The vocals are half-spoken and sung, giving it a very experimental vibe. The guitar riffs are relentless, becoming an on-going drone on the backdrop of this track. The song has some punk rock influences and some hard and post-rock could be heard as well. Off to a more sauntering groove, the guitars are permeated with a mathy rock feel on “Infractions.” Once again, the poetry performance-like vocals arrests. Gradually, the sound builds in traction, as the vocals are shouted out in gusto toward the chorus. Consistent guitar riffs sound off on the start of “Niaqornat.” The vocals sound less spoken word here with the singer throwing himself full-throttle into the music. As a part of the performance, the band works in distorted effects into the vocals, showcasing their range on this track. With little to no hesitation, the band wastes no time in getting started on “Thousand Island Stare” with a melee of raging guitars. Next, the vibe slows down for a more spaghetti western feel. The drums and guitars slowly sizzle in the backdrop. The melodies then flow through. The closer sees the band jamming out to full effect. The band describes their sound as: “Cracked mirrors, fractured landscapes, splintered identities. From the maelstrom forms emerge and dissolve, shifting patterns undermine solid structures. Chaos threatens then recedes, permeating once-firm boundaries…” Like the chaos they describe, the band’s process starts out with a relatively raw format and then they tighten up their sound culminating in the four tracks on this album. They generally write as a band and jam out their ideas before the singer takes the raw material and adds lyrics and melodies. This seems to work out for them, as the synergy on this record was one of its strengths. Filled with raucous energy, ill-contained guitars and rumbling bass, the band delivers an EP filled with distinctive riffs and flavorful melodies. The album was a good introduction to the band’s sound and I look forward to seeing more of their evolution in future releases.
Basement Apartment is the solo DIY project of Jon Cahill. He recently released an EP entitled People I've Never Met. The EP contains six songs and runs about twenty minutes. I thought the music was straightforward. The songs mostly revolve around strummed chords, 4/4 beats and catchy vocal hooks. I can’t say there were any surprises good or bad while listening but found the songs catchy, accessible and well delivered.
The EP starts with “Time Flies” and is greeted with strummed chords and vocals. Bass and drums quickly follow. The song has a standard structure similar to verse/chorus/verse. Next up is “Baby” and it starts in the same way as the previous except the instrumentation trickles in. Lyrically, the song weaves a classic tale of catching someone's eye, heartbreak and typical cycle of love. “X and Y” was a highlight. The song has a very similar feel to the previous song but I thought the vocal line and bass melody were very catchy. There’s a bit of a Vampire Weekend vibe and I would probably throw in The Shins. It’s catchy indie rock with a familiar flavor. Next up is “Winter” and it’s another cool song. The groove I would say caught my attention more than some of the other songs. There’s just a very cool energy, some creative lead guitar and well executed vocal harmonies. Great song. “West Coast” is a bit of a summer jam. It’s fun and would sound great with the windows rolled down. The ’50s pop style chorus worked well. Last up is “Last” which is another highlight. The theme revolves around the classic struggles of modern people (imposters syndrome) in Western society. There are some really unique sounding elements in this song. This is a really well done EP. It felt immediately accessible but it also grew on me. There’s a cohesive quality to this EP that feels like the artist built a strong foundation. I’m look forward to hearing more and would say this is debut points to an artist who is just getting started.
Jeus Pain is a solo project hailing from Boston, Massachusetts that recently released Heard You Have a Small Car, Buddy? The EP contains three songs all of which are instrumental hip-hop.
The EP starts with “All on the Phone” and immediately reminded me of artists like Flying Lotus and Prefuse 73. There are a number of elements which are just hard to separate in your head. It’s combinations of oscillation, white noise and sine waves all which are held together with a straightforward 4/4 hip-hop beat. The beat is really the foundation which allow him to explore ephemeral elements which come and grow from the mix. There are some changes to the beat but really not much. It’s fairly steady and it’s everything that gets morphed and manipulated. Some of elements drop and some remain. I thought it was a strong opener. “Haha Funny King Remastered” is a little more experimental. I would say because of that I thought of Flying Lotus. The beat is more complex and there is some great use of disparate elements. This song goes into some interesting places but also never feels content settling in a groove. I think sometimes a groove is good to ride out which can create a certain type of vibe that your mind can settle into. This song changes too much for that feeling to be created where it feels a little like being hynoptized. Last up is “Who Had Been There” which again is a very busy song that is constantly changing. The horns were nice but there were moments where I just felt like there was so much coming at me at a constant rate. My critique would be for the artist to be ok with settling into a groove and taking his time building or deconstructing. Even thirty seconds would be great. People want to be hypnotized and locked into this type of music at points. I like his ambition but letting the songs breathe is something I think would be beneficial to his process as well. Overall, these are some solid hip-hop instrumentals and points to an artist with great potential. This genre desperately needs new blood so maybe Jeus Pain can provide that. I look forward to hearing more. |
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May 2024
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