Touch The Buffalo is an indie rock band from Arlington, Virginia who are releasing a four-song debut EP titled ​Bodhicitta. 

Starting in 2016 with just a ukulele and some original songs, they’re transitioned from singer-songwriters into a rock band with a unique sound. Interestingly they’ve retained much of their ukulele sound within most of these songs, which makes me question why they call themselves grunge at all. I wish I had a list of member names, but I can tell you they’re a four-piece group featuring guitar, six string bass, keys and drums. Sometimes they add ukulele or half-scale electric guitar to the mix.

“This City’s Burning” opens the EP with all guns blazing. Thick slabs of electric guitar with chords that harmonize nicely with each other, an insistent drum beat and plaintive, Sebadoh-like vocals. There’s sounds here that were probably made by taming feedback into a tuned wail, which is quite a feat. For a grunge band there’s at least twice as much going on as you’d expect, including a classic dueling lead guitar section in the middle. 

“In Six Heads About It” features the first appearance of ukulele as a lead instrument, and though the fuzz guitars and keys soon follow, there’s always room for that classic tinkling uke sound. The lead vocals have a Hozier quality. Again I’m surprised and gratified that a grunge band has taken so much time “orchestrating” their songs and arrangements. 

“The Carpenter and the Nurse” begins even further afield from grunge, featuring a lovely acoustic piano with echo’d guitar counter-melodies. The vocals feel truly vulnerable and the bass adds a perfect counterpoint. The guitars and even the piano get more assertive and powerful as the song moves along and by the end it’s a full-fledged rock tune but still with a melancholy edge. 

“Hope’s Song” concludes the album with the most intimate opening yet, starting with just ukulele and voice, then filled in with lovely chiming guitar chords and magical synth washes. This is an amazing example of Dreampop-Rock (I just made that up) with a meticulous arrangement, incredible mixing and a warm, welcoming sound. If the guys had submitted this track on its own I’d have given it a 4!

Wonderful new avenues of pop rock with just a taste of grunge. A quite promising new act!

touchthebuffalo.com

Flip That Groove is a techno-hip hop project from Melbourne, Australia known for collaborations with other artists. Led by “Pauli” Field, its newest EP Getting Kinda Freaky features songs recorded with guest vocalist Cloutie Will.

Flip That Groove excels in fusing various styles and genres including dance, techno, funk, indie pop and hip hop. Its music is described as “a mesmerizing amalgamation of loops, sounds and samples that intertwine seamlessly to create distinct vibes.” Collaboration is key to the band’s mission, reflecting its commitment to cultural diversity and promoting solidarity among minority groups.” Its music features minimal breakbeat and big beat elements, and are designed to explore thought-provoking themes, “exploring the intersection of art, culture and social issues.” Recording took place at Bounce Recording Studios in Melbourne, with production by artists Pauli Field and Cloutie Will.

The title track “Getting Kinda Freaky” certainly sets the tone for all the songs, as the sound and feel has a distinct erotic vibe. Not surprisingly, the band describes it as being about “erotic temptations and sensuality.” It begins with a sedate beat, a simple electric keyboard pattern and a mournful violin.

The beat soon adds laid-back like finger snaps, handclaps and tambourine. Cloutie Will has a quiet, lower-pitched voice that’s double-tracked so that becomes kind of dialogue with herself. A shorter track but a great opening.

“Hungry Ghost” is a song I first heard on computer but then played in my car, and the low-end nearly rumbled my tires off the highway. You’ll need a nice sound system to get the full benefit! This song is described as being “all about the temptation of money and greed, and the perversity that more is better and can fix all your problems.” Compared to the opening track, this one feels like quadruple time and features cool funky saxophone samples and swirling synths. Will’s vocals are more strident and upfront, and her Australian accent becomes more clear. There’s just enough distortion to add a classic hip hop edge to the sound. 

“One Love is All” is another track with an impossibly phat bass sound. The band says it’s “a shoutout to respect and identity, and the ability for all in the community (regardless of gender, race or religion) to Live and Love as One.” It’s got a classic hip hop sampled drum beat. Will’s vocals get quite the workout here, moving between a quiet hum, narrative rap and Joplin-style shouts. Musically it’s mostly single notes with small variations. Pauli Field jumps in for a bit of vocal dialogue with Will, so that now we have two dueling Aussie accents. If anything this track is even more “erotic” than the first. But even that pales next to “Sex & Violence” where the sex is explicit, the lyrics are NSFW and the imagery is wild and unrestrained. As befits the subject, the beat is a kind of deep grind with mostly drums and pounding. Will’s vocals are overdubbed multiple times so it sounds like a sexy girl group. Wow!

​I may need a cigarette after this EP and I don’t even smoke any more. But I had a great time and you just might too!

Clash Bowley makes a triumphant return with his latest album, Dancing With the Cat Girls... Again! The title itself elicited a chuckle, hinting at a familiar dance with feline muses. As a longtime enthusiast of Bowley's musical endeavors, the anticipation for the sonic journey promised by this new release was palpable. 

The eponymous track, "Dancing with the Cat Girls... Again!" roars to life like a motorcycle revving its engine. An immersive soundscape unfurls, navigating through distortion, drones and other elements that gracefully traverse the stereo field, laying the groundwork for the distinct sonic signature of the album.

In "Situation Rising," Bowley weaves together distinctive guitar and bass melodies, creating morphing phase patterns that captivate the listener. Amidst carefully crafted lyrics, he delivers vocal melodies that feel organic and  fluid, with lines like “Respectable / A choice that I made Electable / Never will fade / Hear the choir sing / Feel that heartbeat jump / What will the new day bring / Glory or just some chump." 

Midway through the album, energy surges, notably in the standout track "Lift." Bowley showcases his unique percussion approach, employing distinctly different patterns panned hard, reminiscent of techniques employed by iconic artists like The Beatles. The minimalistic charm of "Horizon" with its upfront vocals seamlessly transitions into the more robust "The Martian Rock." Earning the sound design accolade is "Into the Abyss (ft. Fritz Herold)." This cinematic piece unfolds with a mesmerizing groove, evoking echoes of influential artist Burial. Tracks like "Qebhet" and "This Ain't What Love's Supposed To Be" emerge as standout moments in the album's tapestry. 

​In summary, Bowley once again delivers a solid album, skillfully blending intricate soundscapes, thoughtful lyrics and innovative percussion. Dancing With the Cat Girls... Again!" stands as a testament to his artistic prowess, inviting listeners to immerse themselves in its sonic richness. A compelling offering from Clash Bowley – a must-listen for aficionados of experimental and genre-defying music.

Salon de la Guerre is the musical project of one Eric Randolph Rasmussen of New York. Rasmussen has a track record featuring an incredible 33 albums, of which the latest is Even Toy Dogs Get The Blues. Though listed as “alternative rock,” Rasmussen more truthfully describes it as “a mix of garage rock and pop with electronic experiments thrown in.” Rasmussen is a classic one man band, playing all the parts himself along with arranging and producing in his home studio.  

Imagine an edgy, experimental power trio booking some recording time. They invite a keyboard player who grows restless within whatever song they’re working on and begins experimenting with different melodies and chords. Some fit, some don’t. The vocalist is a prose writer they found at an open mic show who uses the band as set dressing, plowing ahead to get his jagged but clever wordplay into the mic. There’s 15 tracks very much like this, so I’ll touch on some highlights.

With “The Physicist at the Track” I’m reminded that The Beatles had a favorite dissonant chord they’d often use, sort of a mixture between an E and an F (most clearly heard in “It’s Only A Northern Song”). The piano in this track is similar, in that the rest of the instruments seem to be following different paths than the keys. But it’s also the wailing lead guitar, followed by lead guitar looped samples, rambling spoken background vocals and jazzy Beefheartian bass. With my disbelief at all that’s going on, I almost forgot the lead vocals, which are laid back, a bit gritty and matter of fact. What it’s about I couldn’t say, except the lyrics do seem to follow the track’s title. By the song’s conclusion it becomes clear that some sort of plan had been followed, that there was order to the randomness.

“When He Was Good” features fast picking on some obscure string instrument (banjo would be too simple) with another single-chord workout which eventually falls prey to bizarre variations. The lead vocals are again sprechgesang (sing-spoken). As we progress the keys become a little nutty, like the way my best friend and I used to screw around on my family’s baby grand. “Yacht on Fire” has a gritty rock riff that’s a bit more traditionally alternative. At this point I’m starting to hear a bit of Phil Collins or Peter Gabriel in Rasmussen’s voice. This track features yet another relentless backing beat with more noodling at the edges of the frame. 

Continuing the Peter Gabriel theme, “Lost Wood” has a Fripp-like riff that wouldn’t have been out of place on one of the early Gabriel solo albums. I love how the guitar, bass and drums are pretty much on the same page while the keyboard pads accentuate the vocals and create their own outer-spacey world. As with many of these tracks, the song seems to stop halfway through but that’s just Rasmussen reloading his weapons. When it picks up it’s taken on a jagged quality that I quite like. “Walk Back the Cat” has another jumpy, catchy rock riff at its core. I’m getting the impression that Rasmussen can create these riffs in his sleep, but he really has fun with his overdubbed keyboards, as he widens and expands his basic musical ideas quite wonderfully.

“Too Much Innocence” has a terrific drum track that I could swear is a real kit. Musically it’s mostly psychedelic fuzz guitar, bass and drums until the middle, when the hip-hop-like keys suddenly appear. If I forget to mention it, Rasmussen is always singing over the top of the music, with seemingly endless pages of lyrics. “Remembered as Great” is a little different as the jazzy piano pretty much guides the track, with the fuzz guitar following along for emphasis. There’s a very interesting glockenspiel-like patch tinkling over the top. Had I started with this song I might have found it weird, but by now I’m so used to the Salon de la Guerre sound that it actually plays like pretty accessible experimental rock. “Bubble dance, feather dance, boa dance / It was all just circumstance / Get inside my faint heart / With or without your clothing on / I like to see you outside when you dance.”

“Goodbye, Govinda” shocked me with how traditional it sounds, with an engaging main chord melody and vocals that pretty much follow the chords. This version of their sound recalls how the experimental combo Pere Ubu would always skate near accessibility, without losing that edge of bizarre synthesized ornamentation. Definitely a highlight for me. “The Shark and Me” has the chaotic feel of a track from Trout Mask Replica, of which I’m a huge fan.

The title track “Even Toy Dogs Get the Blues” begins with the kind of all-encompassing fuzz versus quiet lead vocal dynamic done so well by R.E.M. in “Let Me In.” Rasmussen weaves a lyrical tale based on the old song “How Much Is That Doggie In The Window” though his toy dog is named Prozac. It’s sad, touching and very real. 

​Even with all I’ve said here, I’ve only scratched the surface of this wild, unpredictable album. Lovers of edgy, experimental rock should consider these songs required listening for their personal playlists. Loved it!

Russ McRee, a dedicated studio-based guitarist, composer and producer, continues his unwavering commitment to artistic evolution. Despite the passage of years since live performances took center stage in his repertoire, McRee persists in refining his craft, channeling his efforts toward crafting music primed for the realms of film, TV, video and advertising. The culmination of this ongoing journey is encapsulated in his latest EP, Gemini Rising, a body of work that he modestly deems his best to date, spotlighting the standout tracks, "Emigrate" and "Stroll." 

This four-track sonic exploration commences with "Stroll," a composition that orbits around a pair of acoustic guitars and percussion. The atmosphere exudes vibrancy and kinetic energy, enriched by an Eastern quality in its modes and scales, lending a nuanced complexity to the sonic tapestry. Segueing into "Drive," a shift in energy is palpable, propelling the listener forward through a sonic trajectory that deviates from the circular patterns of the opener. Yet, the focal point remains steadfast in the interplay of two dueling guitars, anchoring the composition with a compelling dynamism. 

"Levitate" follows suit, marking the EP's entry into the realm of a jam band aesthetic. The lead guitar work unfolds seamlessly, exhibiting a velvety smoothness that adds an extra layer of depth to the musical narrative. The track serves as a testament to McRee's versatility and willingness to explore diverse sonic territories. The pinnacle of production sophistication arrives with "Emigrate," the most meticulously crafted offering on the EP. Infused with additional atmospheric elements, the composition adopts an almost new age and electronic quality. The hypnotic grooves and patterns, coupled with the ethereal sound of delayed guitars, create an immersive sonic experience that resonates profoundly. 

​As a cohesive entity, Gemini Rising EP unfolds as a sonic journey that benefits immensely from a full, uninterrupted listen. Much like Aristotle's aphorism that "the whole is greater than the sum of its parts," this EP becomes an immersive experience, drawing the listener deeper into the expansive sonic realm McRee has meticulously crafted. "Gemini Rising" is not merely a collection of tracks but a sonic odyssey that warrants a wholehearted recommendation for those seeking a transformative musical encounter.

Nina Hämmerling (vocals), Russell Smith (guitar/vocals), Michael Mugrage (guitar/vocals) Tommy Nagy (drums) and Scott Spray (bass) are The Bar Car Band. From what I was reading the name came from when Hämmerling and Smith would commute on a train and spend their time in the bar car where they would be served drinks and fun times would ensue. Apparently the bar car on the train has been out of commission but they decided to keep the spirit alive by using it as their band name. 

The EP I spent some time with was High on Sunshine which contains four songs. One of my first thoughts on the music was that they picked the appropriate name for the EP. It does sound warm and inviting. Perfect music to warm you up during a cold winter.

The eponymous track, "High on Sunshine," unfolds as a rock-infused reverie, tinged with a jazzy allure. Clean guitars, robust bass lines and expansive drums form a melodic symphony, while Hämmerling's vocals exude confidence, as if extending a personal invitation to the listener. The song builds organically, culminating in a captivating guitar solo around the two-minute mark. Moving forward, "Away from You" captures the essence of '70s nostalgia, evoking a sense of timelessness. Memorable melodies intertwine with Hämmerling's vocals, reminiscent of Vashti Bunyan, as the soulful funk of the bass collides with smooth drums and guitars, creating a harmonious fusion.

"Friday" takes the funk quotient up a notch, incorporating a breakdown section straight from the pages of '70s groove. The infectious rhythm carries the listener from start to finish, encapsulating an almost idyllic feeling. Closing with "Burn on Through," the EP delves into the blues, where the organ, vocals, and structure weave a tapestry of melancholic beauty. Hämmerling's emotive delivery shines, revealing a more contemplative facet of her vocal prowess. 

​In essence, The Bar Car Band's High on Sunshine is an EP tailor-made for aficionados of late '60s and '70s sounds. With an unmistakable nod to the classics, the band infuses their own distinct charm, offering a thoroughly enjoyable experience. This EP serves as a testament to their ability to resurrect the spirit of a bygone era, inviting listeners to revel in the timeless allure of their reimagined classic sound.

Gunpowder Candy, the recording endeavor of Rachel Decker and George Dimitrov from Orlando's Oak Hill Drifters, unveils their latest offerings, "Laurel" and "Close Your Eyes," inviting listeners into a realm of musical enchantment. 

Embarking on the journey with "Laurel," echoes of Madredeus immediately resonate, enveloping the listener in a warm, inviting embrace. The song exudes a magical allure, with crisp classical guitars weaving a nuanced tapestry of sound. A delicate atmospheric backdrop enhances the guitar's ethereal quality, while the vocals gracefully float above the warm foundation, evoking imagery akin to clouds adorning a serene sky. Though at times slightly theatrical, "Laurel" captivates with its enchanting aura. 

In contrast, "Close Your Eyes" ventures into more traditional folk territory, exuding a melancholic and introspective ambiance distinct from its predecessor. With a minimalist arrangement comprising only guitar, bass and vocals, the song relies on subtle vocal nuances to shape its dynamics.

​It lingers in the mind, steadfastly holding onto its space until the final notes fade into silence. While the duo's musical prowess shines brightly in these two tracks, leaving listeners yearning for more, the limited availability of their catalog leaves a desire for further exploration. 

​With hopes for additional releases in the near future, Gunpowder Candy's enchanting blend of folk and classical elements leaves an indelible mark, beckoning listeners to immerse themselves in their captivating musical world.

Teffy D, a solo artist hailing from Arizona, unveils the diverse sonic appeal that is Greatest Hits. The album, a fusion of various genres and styles, offers a dynamic auditory experience that delves into a rich musical palette. 

The opening track, "Seaside," sets the tone with its funky vibes, anchored by a steady 4/4 beat, pulsating bass and intricate interplay of keys and guitar. The groove is undeniably solid, and the lead guitar stands out for its inventive and unique sound. "Soundwaves" cranks up the funk factor with a vibrant midi aesthetic, exuding dazzling energy that captivates the listener. 

The album unfolds with an array of funk, rock and related genres, with "Hang Time" standing out for its lush ambiance and exceptional electric piano play. "Winding Road" carries a motivational essence, evoking a cinematic quality with a subtle hint of ‘80s nostalgia.

Meanwhile, "Flow" injects a brass-infused dynamism, ensuring a thoroughly enjoyable musical experience. "Lonely Beach" perfectly encapsulates its title, emanating a sense of solitude and melancholy. Other standout tracks, including "Peaks," "Late Night" and "Wind Of Waves," contribute to the album's captivating charm. 

​With each listen, Greatest Hits grows on the audience, revealing Teffy D's multifaceted artistry and adept songcraft. The album stands as a testament to the artist's seamless navigation through diverse musical realms, delivering a collection of outstanding tracks that come highly recommended.

linktr.ee/teffyd