Dark Rumour is an alternative pop music project based in London and Rome. They started collaborating in late 2018 but having played together in bands in the 2000's they have a good amount of experience. The group released Life Before but it doesn’t all seem to have been released at the same time. There are twelve songs but the band is releasing them as singles. I’m not sure if the band will release an official album or not at some point.
The music is a mix of alternative, shoegaze, synth pop and I also heard some post-punk there as well. Their music is driven but also contains a good amount of reverb. It’s a great combo which creates an aesthetic I enjoy. The band get going with “The Hobby” and you are greeted with a driving and fuzzy bass line, a consistent kick and reverb laced vocals. There’s a bit of ’80s synth pop vibe here but the framework is more rock based. The vocals are catchy and was one of the highlights. Thunderous toms drums and sliding guitar make the foundation on “House Keeper.” The song breaks into a number of grooves and the bass provides the forward moving momentum. “Dark Linear” goes heavy into the synth pop genre with a straight beat. The guitars are smothered in reverb and give you a sense of nostalgia and longing. “Memory Log” sounds huge and is another high point. I loved the mix of melancholy and contemplation on this song. Guitars shimmer on this song but there are some interesting deviations. The darker atmosphere is created around the three-minute mark which does serve as a breakdown that the drums eventually start to build back up. The band's pop side is more evident on “A True Miracle.” Something about the vocals as well as the percussive elements gave me this feeling. It felt like a song that would drop when the ending credits rolled. There were a couple of other songs that sounded huge but the closer “Your Bad” might take the cake. This song is epic. This is a great batch of songs from beginning to end. The band created a signature sound that was cohesive and apparent in all the songs. Fans of the aforementioned will want to check this out. Take a listen.
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The last time we heard Richard Roosevelt was on Woosah which we reviewed here at Divide and Conquer. Roosevelt went back to work quickly after releasing Woosah because he’s back with a new release entitled Pray 4 Me.
The release contains thirteen songs but comes in at a fast thirty-eight minutes. Roosevelt has trimmed the fat off these songs and you are left with accessible songs that you can sing along with, dance to or just chill with. The album starts off with the title track “Pray 4 Me.” It’s a hard hitting song with a deep hip-hop beat. I noticed Roosevelt utilizes the ever popular auto-tune on this song. It works and isn’t the only time he uses it. The song felt like one big hook but the rapping is also smooth and seamless. “Under Seige” was a highlight to my ears. The music is atmospheric but the beat really thumps making it a dance worthy tune. I would say this song also contains one of the best hooks on the album. Roosevelt doesn't do everything himself on this album. The song “Taking Names” features Brandon Louis. It’s a strong collaboration between the two. I loved the soulful background vocal harmonies. The groove here seems to be filtered through delay and white noise effects. There’s a significant change around the one-minute-and-thirty-second mark and a very different but very cool beat emerges. The arpeggiated synth bubbles to the surface. For the full effect I recommend headphones. There’s another collaboration on “Will You Be Waking Now.” This song felt like one you would spin as the night is winding down or perhaps starting to begin. It's got a lounge-y vibe where the world slowly emerges into the moment. One of the darker tunes is the fluid and ominous sounding “Eastside” while “Spousal Support” has one of the more memorable hooks and interesting choices for sound design. As the album progresses Roosevelt delivers a number of engaging songs. The dissonant musical elements on “Goose Egg” and straightforward declaration on “Never Liked You” hits the bullseye. He also closes strong with “Look at Me” and it contains a down-tempo beat not too far away from legends A Tribe Called Quest. Roosevelt is on top of his game here. This is an album that deserves to be listened to from beginning to end. Recommended.
he didnt is a solo artist from the UK who has a good amount of experience. The artist has played guitar in a number of bands and Ascension is his debut EP. I thought the topic of the EP was unique. According to the artist, “These songs are influenced by crime in the Australian outback.”
Musically, a lot of the sound and aesthetics on this release felt most comparable to indie rock from the ’90s and early aughts. It's guitar based music and the songs are more of a slow burn. There’s elements of shoegaze, alternative and rock. The first song is entitled “King” and starts with some guitar progressions, a beat and eventually somber sounding vocals enter into this mix. As I mentioned it moves slowly almost to the point of feeling hypnotic. There’s one lyric that repeats like a mantra “So I know it’s coming / feeling the way home.” One of my favorite band’s, Mogwai, came to mind with this approach. Around the three-and-a-half-minute mark the guitar started to flourish and it was reminiscent of Smashing Pumpkins. “March of the Econowives” is next and there are no lyrics on this song. The song takes one main guitar riff and milks it for about the first two minutes. It’s a good groove between the guitar and bass melody. The song's first major change comes a little before the two-minute mark but goes into the main chord progression soon afterwards. The centerpiece is “Trouble Every Day” which comes in a little over seven minutes. This is another instrumental song but does have vocal harmonies. Similar to the other songs there’s a lot of repetition to the point where it feels hypnotic. The main riff is introduced around the two- minute mark and lumbers forward as additional layers are added til the end. Last up is “Ascension” that is under two minutes and which is basically strummed chords with a tremolo effect. I have to admit I wanted a little more dynamics as well as transitions. It’s a similar issue I sometimes have when listening to post-rock where it takes three or four minutes for the song to start. The production was great and I thought the guitar sound was on target. I feel like this is an EP that benefits most from listening from beginning to end. There’s no real single or hook but if you emerge into it the music creates a bit of a zen like headspace. Take a listen.
Karmaneh is a solo effort from the UK who recently released two three song EPs entitled Stone and Mono No Aware. Both of the EP’s have songs that could have been combined to create one longer E.P.
The first song is entitled “Stone” and starts with field recording but electric piano and vocals quickly enter to create the melodies. Everything about the song feels intimate and confessional especially the way the vocals are mixed. Electronic elements enter and have sounds similar to an artist like The Postal Service. Those elements sort of climax and the vocals are reintroduced but no hook is to be found. “The South of Spring” begins with buzzing synths, what sounds like water droplets. It sounds like a malfunctioning robot. A more prominent synth comes in with melodies and there’s also dramatic spoken word “This tree - sprung and spree. This slope, the south of spring. Bluebells. So dazzling. The dark.” There’s an engaging transition around the two-minute mark and again Postal Service came to mind but also the band Notwist. “Orbits” is the next and the most experimental piece. It’s an ambient piece which is haunting and sounded like sound design you might hear in a horror movie to create tension. The EP Mono no aware starts with “Yagan” and mixes white noise, with pretty yet melancholy chords and a dismal sounding vocal. It works out especially how the mood changes. A little before the two-minute mark a beat arrives and sort of lifts your spirit. I felt like this song was a highlight amongst all the songs. “La Mer de Naoko” contains ethereal sounding pads and is punctuated with arpeggiated synths. It’s very cosmic sounding and instills a sense of awe. The vocal leans towards the pensive and melancholy which works. Last up is “Moss” which is a short piano piece. I liked a lot of these songs. Some of the ideas he forms don’t feel completely fleshed out and I thought a hook or two could have helped in this regard. On that note the groundwork is there. I liked the palette of sounds and overall mood with this release. I hope to hear more from this artist in the not too distant future.
Zoro Cane is an indie rock artist working from his bedroom studio in Munich, Germany. The artist took on all responsibilities from writing the songs to mastering them on his four-song EP Coming Home.
The first song is the title track and it begins with what sounds like the instruments revving up. There’s a drum build and everything snaps into place. The song is in 4/4 time, revolves around fuzzy guitar chords, a steady bass and catchy vocal melodies. All things considered it’s a straightforward song with a good amount of forward moving momentum. The accent was heavy to me so personally I struggled making out some of the lyrics. Next up is “Find Yourself” and it is a bluesy rock song. The vocal melody follows the guitar line here on the verse. There are a number of satisfying transitions and the hook was memorable. I really liked how the song transitioned back into the verse as well. I was getting ’60s and ’70s classic rock vibes as well on this song. “Kiki Kiki” was a fun song and also the most experimental in the batch of songs. There’s more of a surf rock vibe and the song flirts with unique percussive elements. The timing changes at points and feels seamless. This song doesn't have a hook in the typical sense and focuses on more instrumental aspects. Last up is “I Don’t Mind” and it is another straightforward song revolving around strummed acoustic guitar chords. It’s a well-delivered vocal performance. The chorus is not only catchy but also contains slightly humorous lyrics which I thought was a good way to end the EP. As an engineer myself I thought the artist did a good job with the production. The songs are lo-fi and I would have recommended he pass on the songs to a mastering engineer but overall I thought the fidelity was solid for a complete DIY effort. Each one of the songs had a little different flavor. I can’t say the artist has formed a signature sound but this debut certainly indicates his talent and potential. The songs felt inviting, heartfelt and repeat worthy. Take a listen.
Nocryma is a solo effort from Las Vegas multi-instrumentalist/singer/songwriter Adam Dunson. The artist recently released Looking Glass which is a four song EP. Dunson mentions “Looking Glass is four tracks that endeavor to encapsulate melancholy in its various guises”.
The EP opens with “Juniper” and it revolves around acoustic guitar and vocals. On that note there is a lot going on. Dunson is an exceptional guitarist and displays that on this song with guitar picking, non-conventional chord structure and the overall dynamic. The vocals are just as expressive. Dunson’s vocals are engaging for a number of reasons. He has range, the affectation changes and there are a lot of different melodies. Dunson mentions “The piece addresses the listener from two perspectives - one of a derelict, haunted by their past. The other is a siren call from a deadly flower, offering respite from one’s troubles but failing to disclose even greater horrors.” The other thing to mention is the occasional use of reverb which is used in ways that changes the feel of the song. Within ten seconds of “Temples” I knew I was in for a different kind of song. It begins with electric guitar and drums. The song soon starts to rock out and a steady bass is added to the mix. It’s a catchy rock song. I have to admit I was expecting something a little more unconventional based on the first song but this worked out well. Up next is “The Grey” and it also combines elements of the first two songs. It’s a seven-minute epic that starts with guitar picking, bass and vocals. Things begin to pick up around the two- minute mark with piano as a cerebral quality that starts to creep into the song. Around the three- minute mark the song rocks out in a Pink Floyd type of way. The guitars sound huge here and Dunson’s vocals are on point. It’s not over yet; after the crescendo the song goes back into an acoustic fading into a field recording. Last up is “Solitude” and this song is a little over the nine-minute mark. It’s the most dramatic song yet. It begins with haunting piano and vocals that are barely above a whisper. The song doesn't rock but instead builds with other piano parts which are beautiful, melancholy and even give you a sense of anxiety. This is a very varied EP. I leaned in more towards the theatrical and experimental side rather than the rock based moments but overall there’s a lot to appreciate here. Take a listen.
Carly Thomas is an award winning Independent Canadian singer/songwriter, born in Thailand and raised in Argentina, France and various parts of North America. Thomas is a seasoned performer who has played everywhere from street festivals in Paris to the folk circuit in Manhattan, and recently released an album entitled Behind The Ficus.
Behind The Ficus is Thomas’ third full-length album, following 2003’s Distance and 2009’s Up This High. The album contains eleven songs and is around forty-four minutes long. I found the songs to be inviting and accessible. The music blends elements of pop, folk and rock. The album gets going with “Train Station” and there is a swift and upbeat energy to this song between the guitar picking and rolling drums. I loved the groove right off the bat and as soon as I heard the vocals I was on board with the music. Great opener with memorable melodies, hooks and solid performances from everyone involved. One of the highlights was “Stay With Me” and this song is a slow moving melancholy ballad. The vocals sound fantastic with this type of energy. It’s pensive, thought-provoking and melancholy but also quite beautiful. “Impossible Bottle” was also a good one and reminded me of ‘90s alternative acts while “Carolina” is a single worthy song with one of the best hooks on the album. There was an Americana vibe on “Carolina” that blended with her signature sound. The album progresses with the intimate “Into The Rain” which contains elements like slide guitar that add to the emotional heft of the song. Thomas continues with another song entitled “Front Row” which contains a funky bass line and another single worthy chorus. I thought “Virginia Is For Lovers” and “Empty Room” were the other highlights. Thomas delivered a consistently good album. I thought the flow from beginning to end was cohesive and seamless. Recommended.
Michael Knapp has been a singer/songwriter since playing in post-punk bands since the early ’90s. Knapp, like countless others, paved a career for himself outside of music. The year went by and then when the pandemic hit he had an opportunity to start making music again. That would eventually become Sink Until You Swim.
The music did feel ’90s based on my ears. I was reminded of a number of my favorite bands from that era like My Bloody Valentine, Hum and other like-minded bands. The album begins with “Imposter” which is a fast paced and high energy song. There’s a blend of distorted guitar, drums, bass and vocals which seem to get more intense as the song progresses. Great opener. I loved the guitar riff on “Devastated” which works with the other elements to create a mix of shoegaze and alternative. The vocal harmonies which are subtle add a good amount to the song as well. The album continues with a number of great tunes. “Turned the Dial” is another song with some exceptional guitar work. I was picking up more of the post-punk vibe on this song. One of the catchiest and single-worthy songs is “Silent Standoff.”.That being said, “Running In Circles” goes heavy on the shoegaze elements. It’s one of the more intense songs on the album that feels like it can barely be contained. One of the more lush songs is “Points and Picas” while “City Laid to Rest” flirts with elements of metal but also with many other different genres as well. Another highlight was the more cerebral and soundscape based song “A Simple Luxury.” There were a couple more highlights on the album including “Sink Until I Swim,”,“Townley” and “Sabbatical.” I think fans of ’90s alternative rock will gravitate towards this release the most. These felt like songs I grew up listening to so there was a sense of nostalgia. That combined with solid songwriting and delivery made a solid album. Take a listen.
When expressing the power of loss, New Jerseyan Mark Welles opts for simplicity. The 11 plaintive tracks on his debut album It Started Last Fall trace a loosely conceptual portrait of relationship and departure through unfussy arrangements. Of course, if you’re inclined to grieve over klezmer, dubstep or asymmetric prog, this may all sound quite twee. For the rest of us, however, it’s an effectively frank statement, made possible by the tribulations of a pandemic-style reset.
Written and performed on acoustic guitar, these compositions are the raw boned output of a one-man emotional band. Not only does Welles play every instrument from the confines of a bedroom studio, but he crams a full drum kit into the space. Thus, as heartbreaks decouple from 808’s, we as listeners are treated to a soil-rich brand of folk. It echoes singer/songwriters like Jeff Tweedy and Ryan Adams (with the occasional chops of Pete Yorn) and goes down easy, like Taylor Ham on a hard roll; that staple of Jersey comfort. The opener “Sailing” melds a funky riff against just enough grunge-era inflection without tumbling down the flannelled rabbit hole. There’s an honesty in the vocals, “mouth-forward” as they are; a soulful warmth that lubricates each bitter pill. “Turn me over / when I know I don’t belong / turn me out / ‘cause I won’t be here for long,” Welles cautions. And thus, the house of cards – interminably swaying – is introduced. In fact, the entire album rides this line between therapeutic confessional and catharsis. Whether it’s the vocally dragged solemnity of “Hold On,” the upbeat jangle of “And Then I See Your Face” or the clean resonance (and louder guitar) in “Glory On The Way,” the wounds are as fresh as the fortitude. Not only is there little, if any, filler on the album, but several tracks stand tall. “Waiting, Watching Over You” could easily be a foray into obsessive compulsive indecision. “So I wait / to try see this through / Yeah I wait / to share the burden with you,” Welles sings before descending into a wind-kissed howl. “Away” hits like a melancholic cup of coffee (or poison, depending on your dog in the fight), existing at the crux of tenderness and self-awareness. And the earnest confession at the end of “Lonely Days” is chillingly poetic; steeped in the pity of popped hearts and brittle, broken frailty. If entrusted to a less talented lyricist, these aches might become fatiguing, akin to crashing the same psychoanalysis session every afternoon. Yet, that’s hardly the case here. We listen because we feel. And we feel because we care. If Welles isn’t divorced by now, his partner should at least be on guard. One can hear the pain – and all of its gorgeous nuance – even if simply latching to the cadence of the vocals. Crisply produced and warmly delivered, whatever it is that “started last fall” for this indie folk-rocker, hopefully finds some closure. Or not. There’s likely enough baggage in the trunk to spark a few more LP’s.
Seamus O'Muineachain is a multi-instrumentalist composer and producer from Belmullet, Ireland. Back in 2017 we reviewed Cloves and the artist is now back with a release entitled Different Time Zones.
The music is instrumental and in line with contemporary classical artists like Nils Frahm, Max Richter and Ben Lukas Boysen. There is a relatively small palette of sounds on this release and I think the use of space is just as important as what’s being played. The music is a mix of meditative and cerebral. I think the main feeling I was getting throughout the album was a sense of stillness. The album starts with “Over” and is a delightful song that mixes instruments like guitar, bass, piano and synth. If you added drums at some points it felt like it could be post-rock however the song doesn't and keeps itself in more of a classical contemporary type of vibe. The track is warm and there’s well done interplay between all the elements. “Summer Lightning” is next and the song is a beautiful slow burn. The song is not in a rush to get anywhere and I think that’s some of the appeal. It sort of puts you in a headspace where you really don’t need much to happen. Sounds appear and dissolve but there’s a feeling that all of it’s happening in an organic way where certain patterns emerge. This quality continues on “If Only.” Some moments are not more than ambient swells with piano embellishments. The album continues with “Almost” and “Foraging for Wild Garlic in a Light Snow” as the artist pulls you deeper into the headspace he has created. “In Czechia, Under Stars” has very faint drums you can hear in the background which give it a unique quality while “Dogwood” is very ambient, not unlike something you might hear from Sigur Rós. I loved the closer “Vltava / Shannon” which incorporates bird songs as well white noise. It felt like a hopeful piece to end on. I think for most people the last couple of years have been filled with anxiety, apprehension and other fear-inducing states. Sometimes it’s a framing issue as The Stoics would say. This is the sort of music that can reframe your outlook on the day. It’s the sort of album where listening from beginning to end will have the most benefits. Highly recommended. |
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