Luke Bernard Eaton is an indie folk musician hailing from Brisbane, Australia. After years of playing guitar, writing songs and performing in rock bands, he’s put out his debut, Notes From A Floating World, an eleven-track affair that revolves around “the transient thoughts, feelings and dreams that come and go” throughout his life here on Earth. Eaton currently works for the Australian government’s department of foreign affairs and trade.
Notes From A Floating World was recorded between March and August 2022 at Alchemix Recording Studios. Co-production, engineering and mastering was handled by Marly Luske. While Eaton doesn’t want to give away all of his studio secrets, he does let us in on the fact that much of the album “involved liberal use of an Echoplex tape-delay unit.” Additional bits of audio, such as home and field recording ambience, are also included to supplement its whole nature motif. Really, not much on this album makes one track discernible from the other. Most tracks follow a breezy yet simplistic formula of acoustic strumming, soft electronic kit percussion, and sometimes, silky electric riffs. This particular record begins with a dreamy D major tune, “Midnight Ink.” “And if you wanna see the rain,” Eaton sings, “Close your eyes and / Wash your memory down the drain.” I thought that these were some standout lyrics. His stream-of-consciousness style flows well with the minimal instrumentation. “Deep West” continues down that lane, echoing Tom Petty’s brand of folk music. However, this leads into the most beautiful song on the album, “Grand Final Day.” Boasting a nostalgic M83-esque synth tone in the background, this particular highlight sounds like the album cover looks-- saturated and washed out with color. Follow-up song, “On Moonwood Mountain,” makes for a decent runner-up to “Grand Final Day.” This one begins with a near minute of birds chirping and white noise. Once those sounds evaporate, it’s two more minutes of soft acoustic ambience. “Wanderlust” (with an umlaut over the u) rinses and repeats the formula of acoustic-meets-ambient sound. It’s fine enough as it is, but I get the feeling that Eaton could have done more with this. Meanwhile, “Nighthawks On The Threshold” has the longest runtime out of any of these eleven tracks and features electronically produced noises scattered throughout along with some very odd and unique percussion. I’m not quite sure how Eaton and Luske got that sound, but it sounds cool! “The Black Swan Hotel” throws in a well-placed reference to Led Zeppelin’s “Stairway to Heaven.” It’s anyone’s guess as to why this number is titled the way it is. “...And The Horizon After All” sways in the breeze with a bluesy traditional guitar riff. For some reason, this riff in particular reminds me of some of Oasis’s early acoustic stuff that Noel Gallagher would play. It branches out to include an easygoing electric guitar solo as well. Last but not least, closer “Sunny’s Dream” appears to be written about a girl, possibly a lost love of Eaton’s, named Julia. It's a solid song but I was expecting a little bit more with this one as well, to be honest. Luke Bernard Eaton’s voice sounds comfortable and lulling. As a whole, Notes From A Floating World flows as smoothly as a river. However, much like certain rivers out there, it has a tendency to meander at times. That said, if you’re a fan of indie folk music that also sounds spacious and dreamy, then this album is for you. Recommended.
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The first time we heard from from Martie Faye was a couple years ago when she released Reaching out for a Lullaby. Faye is back with a new released entitled A Song for Every Season. The EP contains five songs and Faye mentions “This EP as a whole encapsulates the seasons we transition through in life, with each song touching upon both a literal season and a metaphorical one.”
The EP begins with “Fountain” which begins with a somber and pensive tone with some atmosphere but soon picks up some momentum with the drums. It’s a sparse song with piano and drums letting the vocals be very clear. The vocals are at the center of the song and there are some really well implemented vocal harmonies that appear. Some subtle bass is added to the mix but for the most part it’s a simple song which I thought worked as an opener. A more upbeat energy comes together on “Everywhere.” The drums have a tribal quality which combines with a full sounding organ. Similar to the previous song the vocals shine. Faye showcases some dynamic range on this song. It’s a pop oriented chorus where Faye sings “I just wanna get lost with you / I can’t help it, love the way your mind moves.” “Say It Back?” was a highlight to my ears. It was the first song where the instrumental aspects really sparkle. There’s some exceptional guitar work, a standup bass and drums. I also loved how the song gained more momentum as it progressed. Faye seems very relaxed in a good way when it comes to the vocal delivery. In my opinion this was a single worthy song. “Heart of Gold” was an interesting one. It felt like the most cinematic song. The song is cinematic with pads and what sounds like electric piano. It’s another solid vocal performance. “Spring Reprieve (Shenandoah)” a traditional American folksong was a cappella and also quite beautiful. Faye sings “a song for every season / oh my soul, is gladly healing from the pain, / oh through the rain / comes a brand new season” to close the album and ties together the themes of the EP. Faye is certainly improving in my opinion. It’s always a pleasure to hear an artist come into their own. Take a listen.
The name Dino DiMuro is probably familiar if you’re a frequent visitor of this site. What some of you might not know is that he’s also a musician. Over the years DiMuro has released a good amount of music but today we will be focusing on “The House Watcher.”
DiMuro mentions “This track is a little dark for me. In general I like to inject a lot of humor into my songs but this one was based on a true incident, not quite as spooky in real life but the emotions it engendered nonetheless felt dark and otherworldly to me.” The song flirts with shades of gray but after listening I wouldn’t say this song's pitch black either. To my ears the song has a cinematic and mystical flavor to it. The music definitely has an Eastern quality. At points I was reminded of The Beatles when they got into a psychedelic flavor you heard on Sgt. Pepper's Lonely Hearts Club Band. The song starts with a descending guitar lick with keys and drums locking into the groove. It’s clean and felt like there was a circular pattern to the whole thing. The vocals more or less follow the guitar melody. DiMuro does have a sort of stoicism in his voice that I never heard before when he delivers lines like “There I was, on the porch of the neighbor’s house / The house that still haunts my dreams / But the 80 year old caretaker / Had not been told to expect me”. The lyrics have a vivid imagery to them. If you pay attention, it’s a narrative and unfolds like a horror movie. The music runs along brilliantly with the emotional resonance increasing as the song progresses. By the end I sort of got the feeling I was at a seance. Musically, I really enjoyed where this song goes. There are small deviations here and there from the main melody which keeps you locked in. The vocals, while almost monotone, were deceptively catchy. I found myself humming along with the melody after a couple of spins. I’ve heard enough music from DiMuro that I was able to pick up on his signature sound. I thought this side of him works and is a welcome addition to his expanding catalog. Take a listen.
The fifth album from Western Bloc aka Barry James McCarthy is entitled Rules are Bourgeois Porn. It contains ten songs and a number of different styles. The artist mentions “This album was focused on making interesting changes and arrangements of songs, avoiding anything that could have gone on the previous albums, and wanting some big, epic, choruses.”
The album begins with “Paradox Lost” which is a ballad. It revolves around piano and bass soaring guitars. McCarthy mentions Roxy Music as an influence and I was picking up on that here. I also found the band Pulp to be closely related and this song had major Jarvis Cocker vibes to me. Very cool opener. The title track “Rules are Bourgeois Porn” is next and right off the bat I could tell this was going to be a very different song. It comes closer to sounding like electronic and industrial in the spirit of the NIN. I couldn’t shake the feeling that the vocals were inspired by the late Scott Walker. It’s a unique singing style. “The Quantum Nature Of Bird Migration” is next and this felt like a highlight. I loved the instrumentation which has this ’70s type quality. The chorus is pretty epic. It’s a dynamic song all around and arguably one of the best songs I’ve heard from Western Bloc. “Sometime In The 1970s” is sort of lush and relaxed. There’s organ, various sounds from guitar and bass parts that keeps the whole thing moving. “Alway Crashing In The Same Karma” was a fun one and also quite catchy. David Bowie came to mind at points. Something about the production sounded similar to what you hear on his album Low. “The Ashes Of Bridges” is interesting. It’s a pretty upbeat and joyous sounding tune, although I found something a little haunting about it. “A Very Small Scene Of One” was fantastic. It’s got a punk flavor and felt covered in a goth vibe not too far from Joy Division with a more contemporary sound. “It Ain't Easy” has its moments as well. It goes in a lot of different directions and I thought the guitar and piano worked really well together. The energy ramps back up with “The Last God (Are There Eukaroytes In Heaven)” while the closer “Obsidian Knives” expands with shoegaze aesthetics. This is a very strong release from Western Bloc. McCarthy went out on a limb and I thnk the results paid off. Recommended.
Corduroy Cat is one of those rare bands with a simultaneously tender and funky sound. 10% Hopeful makes that abundantly clear right out of the gates. “Vivian” is a beautiful opener to this silky-smooth record. Clean electric guitar bursts into view with a deliciously funky but incredibly delicate riff. The emotive vocals really sell the overall track and give the melody a tremendous sense of depth and character.
I’m reminded of old rock singers, such as Brandon Boyd from Incubus. There’s something to the tone of the lead vocalist for Corduroy Cat. It’s much more than 10% hopeful; let’s put it that way. There’s so much raw energy and jubilance to his singing. I’m not sure whether Dan Doherty or Marv Doolin takes the helm as the lead singer, but the backing vocals are sublime, too; both vocalists are impressive. “When The Lilacs Bloom Again” is a display of Corduroy Cat’s more tender sensibilities, opting for gentler instrumentals and singing. It really allows the vocals to flourish. It’s a beautiful little interlude before the much more distortion-laden “Deception Pass.” This amps up the energy, offering electrifying guitar riffs, chaotic drums and more highly-emotive singing. Doherty and Doolin harmonize spectacularly on the choruses. Their utterly unique timbres mesh so well together. It’s so satisfying to hear two entirely distinct vocal styles gel so effortlessly. It gives the song an extra layer of depth and melodic marvelousness. The fourth track, “Opioids(make me blue)” came entirely out of left field, entirely switching up the sonic styling of the band. It’s a piano-driven lounge-esque rock anthem with a sharp, dissonant edge. The drumming has a powerful, booming energy to it, and it somehow works with this tender, emotional ballad; it doesn’t overpower the mix. I’m a big fan of the haunting melody in the choruses on this track, and I also love the fuzzy guitar solo towards the end of the song. There are some fantastic piano flourishes, too. And, of course, the vocals are on point, yet again. In much the same way, “ 'Oumuamua (feat. Bruce Lamont)” is another pleasant surprise, delivering highly evocative saxophone riffs throughout the track, along with sorrowful crooning and harrowing guitar arpeggios. This EP has so many wonderful moments like the ones listed above. I could be here for hours discussing them, but I think the best way to grasp what I’m talking about is to listen to the release for yourself.
Portland, OR resident, Anna Diem, can do almost anything in music. She is a singer, songwriter, multi-instrumentalist, producer and engineer. Thus, it should come as no surprise that Hello Oregon, her second full-length, was completed by only one person-- herself. Diem’s songwriting alone is impressive, but it’s enhanced by her excellent production skills.
Diem had this to say about her process: “I recorded Hello Oregon into Pro Tools, through my Moto 828 interface and PC. I used an AKG Perception 420 on my vocal and guitars, a Shure 58 on percussion, and my Tascam DR40 (portable recorder) for environmental sounds and field recordings. All mixing was done in the box, and I used Ozone mastering plugins for mastering.” The finished result was released in November 2022. As crickets chirp in the distance on the LP’s first track, “Lucky,” Anna Diem treats us to some deep piano playing along with her soulful vocals. This one, vocally and musically, reminded me very much of something from Adele’s 21 album. Other than the field recordings and barely audible thumps, the instrumentation is spare. I wouldn’t exactly classify this as a ballad, but the arrangement gives the voice and words the space that they need. The next two songs are noticeably more upbeat. “Everybody’s Different” commences with the wise words, “We’ve got a lot in common / I’ve got a lot of problems.” I was happy to hear some different instruments like acoustic and electric guitar, bass and percussion, as well as some faint ringing in the bridge. “Everybody’s different,” Diem reminds us, “It’s not that simple.” Moving on, we get “All of My Friends,” a song with an atmosphere that I felt was akin to “I Will Do These Things” by Azure Ray. Like the first cut, this one focuses more on piano than guitar work, but its tempo is much slower as the chorus melody gives way to ambient thunder noises and the twittering of birds. Both “Everybody’s Different” and “All of My Friends” really raised my expectations for the rest of Hello Oregon. Its next song, the title track, may be the only repetitive moment on the album, but it doesn’t kill its momentum. It’s sequenced right before the banger that is “Deep Sea Diver.” This minor-key song is driven by a haunting wordless hook as well as an addictive electro beat. Without a doubt, this is the record’s highest peak, and it’s not even close! Attached to “Deep Sea Diver” is a brief piano interlude that really feels as if it was meant to be part of the song, even though it’s technically a separate track. The last original song, “Hang On,” tells the listener to do just that with positive messages like “You can lean on me.” Finally, the record finishes with an indie rock cover of “Over the Rainbow” from The Wizard of Oz, which is an interesting choice to end the album. With a different melody, liberal use of reverb and Diem’s passionate vocals, it sounds nothing like the original. She really makes this song her own. As a whole, I feel like Hello Oregon is perhaps one of the greatest works I’ve had the pleasure of reviewing! Definitively cohesive and concise, it is a treasure among the countless other alt pop albums out there. I cannot recommend this enough, and I am eagerly awaiting her third outing.
Quaint Delusions is a quintet based in Dade City, FL. The band is led by Michael Starks. Starks got his start back in the early ’80s and has been active for most of that time. Most recently Starks and company released This Far Out. They explain “Quaint Delusions’ music would best fall into the categories of indie or alternative. Our music is indelibly tainted by the Beatles, Guided By Voices, glam and punk.”
The album starts off with “Happy Ending.” Right off the bat I liked the vibe which felt somewhere between Pavement and Yo La Tengo. The grooves are slick and smooth. I also thought the vocal delivery was on point. It’s definitely catchy and I found it accessible. It’s a strong opener that got me excited to hear more. Up next is “Had To Be You” which has a little more energy to it and felt like a song from The Beatles but more contemporary and in the spirit of a band like The Shins. “Rest Of The Way” has a killer rhythm. It’s a bit bluesy and the kind of groove you just sink into. The song has some energy but there was almost something hypnotic about the verse. Starks hits it out of the park with the vocals. I found the melodies quite memorable. The lead guitar work is also quite notable on this song. “A Credit To You” starts off with piano, drums, slide guitar and bass. It’s extremely catchy. The vocals are again accessible and I felt like I wanted to sing along. It’s also an emotionally resonant song with a tinge of melancholy. “Why'd You Wait So Long” might be the catchiest song yet. It’s uplifting and vibrant without going overboard. The Beatles vibes are there again with the mix of more modern indie rock. Starks sings “Ain’t gonna wait that long for you / It’s over man its through / Ain’t coming back to you.” “Ashtray” was the first song that had a bit of punk energy. I loved the vocals which are exuberant and infectious. It feels like Starks is having a fun time. The old school guitar solo works like a glove here. “So Many Pieces” is unequivocally a ballad. I wasn’t expecting it but the Pink Floyd type style worked. They close with a highlight entitled “Funny.” It’s close to a ballad as well but much more in the spirit of The Beatles than Pink Floyd. I loved this album. The musicianship is top notch, the delivery was exceptional and the songwriting really good. I think fans of some aforementioned bands will appreciate this. Take a listen.
Samuel Rollins is a moniker for the music of Chicago native Sam Smith. His music can be categorized as several different genres, but I’d say that this promising singer/songwriter’s work reminds me most of chamber pop. A large part of this is due to Smith’s deft piano playing as well as collaborating with various different instrumentalists to add texture to his songs. Mallets, acoustic guitars, horns, strings-- you name it, and Samuel Rollins can play it.
His 2022 debut, Seasons Change, is a lounge-y nine-track effort characterized by experimentation and occasional baroque sensibilities. Influences such as John Cale and fellow Chicagoland area indie musicians, Wilco, are cited. Smith says, “The bulk of the album was recorded at Picture-Minded Studio in Oak Park, IL. The rest was recorded at Smith’s house or Oleander Records and Studio.” Mixing and mastering was done by Max DiFrisco and Ben Kremer of Picture-Minded Studio. Part of what makes an album so worthwhile is when it is bookended by two phenomenal tracks. In this case, Seasons Change is led by a rather Pink Floydian piece called “In Tow/Fleeting Memory” and concludes with the shoegaze shimmer of “Chateau.” The mix of piano and crooning falsetto on the first track gives me strong notes of “X&Y” by Coldplay, specifically its chorus. The following track, “St. Petersburg,” begins with the lovely sound of birds chirping and is reminiscent of Burt Bacharach’s music. I think it’s the flute that helps to solidify this, but really, everything about this is orchestral chamber pop at its core. The captivating mix of orchestral pop and progressive rock continues to pay off with somber songs like “Weary Traveler” and “Coming of Winter.” The first of two bright instrumentals, “Magnolia,” is immediate and upbeat. This arrangement in particular is colored by all sorts of drum patterns, horns, piano, and the occasional twinkle of a xylophone. Meanwhile, “Peach Tree Dance,” while still major-key, is a laid-back Hawaiian luau of a composition. “Your [sic] like the frozen tundra to me / Sentenced to silence” goes track seven, which is simply titled “Trouble.” Instrumentally speaking, this just may be the album’s most back-to-basics moment, and it transitions beautifully into the title track and second instrumental, a gorgeous piano piece placing the spotlight on Roz Beile’s trumpet playing. I’ve already stated that “Chateau” is like a shoegaze song, but the more I listen to it, the more I get the feeling that Samuel Rollins would sound really good going in this lane. Its words are spare, only amounting to eight lines. Lyrically, less is more, and the fact that the swelling guitars and synths remind me of “Sandpit” by Curve (one of my favorite acts) is enough to give me chills each time. Like most moments on Seasons Change, it’s all about the variety of different sounds and the beauty that they help to create. One listen wasn’t enough. I had to play this amazing album again and again! I strongly recommend this magical first offering from Samuel Rollins.
With their first effort, A Greek Chorus EP, Three White Pines have set out to create enticing guitar atmospheres that sound every bit as epic as a calm before the storm. Rhys Griffiths is the lone musician behind Pines, although his wife, Jen, does appear on the title track to provide ambient vocals. The project is located just outside of Cardiff, South Wales.
Influenced by acts like Bon Iver, Minus the Bear and Radiohead, A Greek Chorus EP was self-produced, mixed and mastered completely at the Griffiths home. Izotope compressors and EQs were frequently utilized for this entirely instrumental EP, as well as Townhouse Buss compression for the drums. I’m thinking that this is the reason why they pop out in the mix so much, especially those snares. While Bandcamp shows that Three White Pines have many different sounds-- ambient, electronic, indie and progressive-- the first track, “Pangea,” makes me think that it wouldn’t be inaccurate to say that this guy makes deeply enigmatic post-rock music. One listen to the Telecaster guitar’s jazzy tones and ethereal effects is certainly enough to confirm that theory. “Pangea" is followed by “>Interloper>,” which goes from rich electric rock to acoustic ballad territory to gurgling electronica all within the course of two minutes. The key moment of this EP is the title track “A Greek Chorus.” Awash with ambient effects, this has in it the spirit of Hammock but the propulsive rhythms of latter day Radiohead. In other words, it’s another standout track! We get somewhat of a musical left turn with a noticeably more uptempo tune, “Glass Houses.” This is actually far more reminiscent of punk rock rather than post-rock or ambient music, but it fits because it still carries the subtle electronic experimentation and the same ethereal atmosphere with it. Also, it just rocks. Given that this EP (and likely also the band in general) is strictly instrumental, there aren't any lyrics to relay the message of this project. However, based on the name of the band and the cover art, nature seems to be the theme. The beauty and peace of nature is surely reflected in the music. Strongly recommended.
Olde Boy is an instrumental rock trio based in Boston, MA composed of Paul Calo (guitar), Tom Chandonnet (bass) and Brian Reid (drums). Reid recently moved so is no longer in the band but they plan on working with a new drummer. The band recorded a self-titled four-song instrumental rock EP Olde Boy.
They get going with “In Through the Outhouse” and don’t waste any time. They lock onto a groove and rather quickly build. The guitars get more fuzzy and everything gets more intense. I was definitely getting ’90s alternative vibes in the spirit of The Smashing Pumpkins. The song is very dynamic with the band being able to capture my attention with all the transitions. It’s a little after the four- minute mark where the band just flies, reaching a high point of the song. The breakdown was just as effective. It starts to feel a little jam band like at first but I love that build leading up to another high point around the seven-minute mark. “Radio Heady Topper” is next. It’s definitely a change in flavor. There’s some exceptional playing here. The groove around the one-minute mark definitely has prog rock in there. They start to unleash a bigger sound and then bring it back down. They hit upon some metal around the four-minute mark with palm muted guitar and some Metallica like flavor. “Thimbleweed” is another killer song. I loved the timing of the groove and the sudden changes in dynamics. They sound locked in and in the pocket. There’s some subtle effects here and there like a phaser. I wasn’t expecting the slightly Latin flavor in this song but one of their grooves does go in that direction. The guitar solo is out of control around the three-minute mark. They close with “Novare Res” which I felt was the most emotionally resonant song. The grooves felt a little more cerebral and thought provoking to my ears. As the song progresses I was reminded of the band Pavement minus the Stephen Malkmus vocals. Dinosaur Jr. also came to mind. The song contains an onslaught of transitions but perhaps just before the six-minute mark is where the band has one of their most explosive moments. The longer forms work brilliantly with this release. I didn’t feel like there was any fat on the songs. I think fans of the aforementioned bands should enjoy this. Take a listen.
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