There is nothing quite like a studio recording. The rooms are padded perfectly to keep the sound from bouncing around; there is a whole rack of different guitars and bass guitars all with vastly different sounds waiting to come out of them. There are amps and stacks placed all around the room, the floor is crisscrossed with cables and bits of duct tape and someone has spent hours making sure the drums are mic’d just right.
When I think of studio albums the first ones that always come to mind are the Beatles. Sgt. Pepper’s, Abbey Road, et al. These were studio albums that were made with state of the art equipment at the time and tirelessly worked over again and again until they were so perfect that they would forever sound amazing. Let’s contrast this way of recording music with the complete opposite side of the recording process; the home or in this specific case the bedroom recording. The name itself immediately brings about visions of quiet intimacy, of songs that are often recorded at the very edge of night when it seems as though the rest of the world is asleep and there is only this one being alone with their thoughts, quietly playing and singing so as not to wake the rest of the world. This is precisely the aura given off by the bedroom folk project O Memorie, the namesake of South London’s Joseph Ruddleston but which features global contributions with backing vocals by Janine Purce, Mairi-Clare MacLean, Natcha Chirapiwat, Florence Cullen-Davies and synths and guitar by Carlos Mario Boscio González Their haunting and intimate self-titled first release O Memorie is reminiscent of the Justin Vernon project Bon Iver, whose debut was recorded in a remote hunting cabin in Northern Wisconsin. With the very opening track on O Memorie, “O Memorie I” the intimacy of this project becomes apparent. We are at once enveloped by folksy acoustic guitar and piano as well as a mild miasma of overdubbed vocals that are both haunting and sweet. Next comes the severely lo-fi tape crackle on the confessional and powerful punchy piano laden track “Thimble” which sounds like something from the more experimental back catalogue of the late great Jeff Buckley. “Helen Hugh” starts out very straight-laced quiet acoustic and then in the vein of Amen Dunes grows morphs into something wonderful and strange. O Memorie closes with the restrained power and beauty of “Lost.” O Memorie is at times dark and haunting as it is bright and up-lifting. The songs are thought provoking and powerful. One need not wait until the dead of night to listen to them, as they sound just as good on an overcast afternoon.
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Terrace of the Elephants is an alternative rock band located in Bristol, UK that convened after an encounter in the pub, and have now evolved to the point of putting out a rather long eponymously titled album Terrace of the Elephants. Retaining a relatively simple sound, the band does a good job of layering their instruments in a delicate and melodic fashion, providing their listeners with an honest and comfortable approach to rock music. Although a bit rough around the edges, I think that Terrace of the Elephants is an enjoyable, easy listen that could be strengthened by a bit more originality.
My favorite thing about this album is, admittedly, the guitars. On just about every track, whether they be acoustic, electric or both, there exists a strong sense of melody and groove within the guitar parts. Additionally, I think that, for the most part, the guitars carried the melody through each song, which is both good and bad, as at times I felt that they over-shined the vocals. Normally I would be absolutely fine with this, however because the guitar melodies were as strong as they were, and the vocals were a bit lackluster, there was an odd contrast. To improve this, I think the band should work on more properly interacting between the guitars and vocals. In my opinion, the guitars should stay as they are— in my eyes, stronger vocal performances would have taken this album to the next level, as the guitars are already there. In my own experience, I have found that writing vocal melodies on the guitar can work, especially when the sense of melody that is found within the guitars is so strong. Honestly, I would love to hear an instrumental track from the band. As far as production, I have to say that it is pretty solid. The album sounded light with plenty of space and everything was clear. I really enjoyed the clarity and ambience that the background vocals on the album added to the overall sound, and the strong production in fitting those into the mix definitely allowed them to flourish. In the future, I would really like to see the band go in a more original direction— by this, I mean that, throughout the album, it sounded a bit to me like they were confining themselves to traditional song structures and rules, however at times I would also hear them really going beyond that. If Terrace of the Elephants really embraces their weird side, they could see a lot of success. The way that their music moves is very solid, so the talent is obviously there— I guess now it just depends on their direction.
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The now twenty-four year old singer/songwriter Emily Barnes began playing guitar at the age of 16 and it has ever since been her true passion. Barnes, from the tiny town of Johnsonburg, New Jersey has been traversing the country via a van she has christened Ralph. In just six months Barnes has played shows in over thirty states. During this time on the road Barnes wrote most of the songs on her sophomore release, Let in the Light while on the road.
This sense of wide open and unknown spaces acts as a thematic background for the songs on Let in the Light. She opens the album with her lone, beautiful vocals singing like a siren with a hint of twang. In her way Barnes is letting the listener into her record in a sense. Next “Uncertainty” opens with a gentle ripple of acoustic strums and in the background we hear what sounds to be a sink filling up with dishes, perhaps the flower cup of from which Barnes sings about here, the one where “all the flowers died” is in there. As “Uncertainty” slowly and sadly meanders its story draws you deeper in. Telling stories is what Barnes does best and what make her songs so powerful and what makes them stick with you. On the bouncy and uncannily irresistible and playful piano ballad “Not Good Enough for Me” she laments about a former lover “you’ve become a sickness that’s no good for my health,” then adds with wit and whimsy “You’re overrated, too complicated, dysfunctional and inebriated.” This playful side then goes back to a pin pointed seriousness on the title track “Let in the Light” on which she laments “we all need cracks to let in the light.” It is a powerful lyric and brings together the major themes of these songs, of characters who are teetering on the edge of a breaking point in their lives. On “Conviction” she sings, “smack dab on reality runway / sometimes I wanna be a runaway,” and “just give it up won’t you just give in” she seems to beg in this piano ballad, “and let love win.” Emily Barnes is more than just a musician; she’s a storyteller that sets the lives of her characters to music. Her sophomore release Let in the Light should be both required reading and listening for anyone who is feeling or has ever felt fractured by life. Barnes’ stories are culled from time spent on the road and taking in stories from many different lives. Her findings seem to leave one thing certain, and that is everyone, no matter where they live, is fragile sometimes, and that’s okay.
Empty Mansions is the first solo project for C.K. Flach. This is a collection of true Americana folk music. The songs touch on a variety of topics including racism, the confusion of uncertain times and the overall human spirit.
“Boxcar Dreaming” was by far one of my favorite tunes of the album. It was a soulful tribute to searching for direction in tough times. It reminds me of a classic ‘60s tune with a bit of a modern twist. The imagery of traveling by rail was an interesting metaphor for that feeling of uneasiness when you are just plain lost. Flach's voice and passion were showcased in “Tranquilized.” Again his solo talents and the ability to share so much emotion through his words came out in this song. The message was simple but very relatable. “Munich” would change the pace of the set just a bit, but again the focus is the story and pure poetry of the lyrics. From both of these songs it is very apparent that Flach understands the art of telling a great story. “Calamity” was another song I quite enjoyed listening to. The mix of the familiar nighttime sounds with the types of lyrics you might hear around a campfire hit this one home. Even something as simple as including the harmonica added to the song. The subject of the song was a bit sad but the overall song was enjoyable. “The Officer” would also see an interesting addition of unique sounds that added just enough extra to the story for the song. The sultry “Queen Caroline” was an unexpected addition to the more folk feel of the set. Flach has a talent of telling some pretty dark stories without them feeling dark or negative. It almost feels like a late night ghost story session your favorite uncle would tell during those long summer nights. Overall the album is an impressive mix of stories and meaningful lyrics. Each one is a stand- alone poem, but together they form almost a love story to changing times. There is a feeling of despair but also hope. The lyrics combine beautifully with every aspect of the music from the small details to the guitar back.
Horra is the combined efforts of Margo (vocals/guitar), Matthew (vocals/piano/synth) and flezadoza (guitar/bass). The band is a hodgepodge of genres that are often delivered with off-kilter humorous sensibilities. On their self-titled release Horra I enjoyed the levity in the music and it was easy to appreciate the melodies as well.
The band opens with “Funnel Cake” which combines atmospheric synths, light percussion, guitar and piano. The vocal delivery runs from fairly normal delivery to hyperbolic. On the next song “Necks” the mood is almost ominous. The lyrics are basically about how they hate snakes. A clear highlight was “Pencil Me In” mainly because the song has a very infectious chorus. The vocals mimic a sing-along. The other thing that I appreciated was the instrumentation. It’s quite subtle but also detailed. You can miss some of it if you focus too much on the lyrics. “Shwarma” is atmospheric and feels like it’s over before it ever really gets going while it slowly grows into an offbeat celebrations of sorts. The closer “Big Black Curtain” is a bit melancholy at times and is also another highlight. Perhaps the catchiest moment on the EP is during the chorus of this song. He sings, “One thing is for sure / It is uncertain / Nothing is secure / Life's a big black curtain.” The song is also the most emotionally resonant. Horra isn’t a full out comedy troupe. The songs have flashes of humor but nothing is overly silly or funny to the point where you should find yourself laughing out loud. The delivery at times is what feels comedic. Horra is an interesting group. I’m not sure they are fully dialed in on what they are going for but you can hear it starting to form. One thing I do know is they are at the best when they write catchy, fun and memorable melodies. It works with their style. This was a fun EP overall. This is a group that could go in a couple different directions on their next release. Keep your eye on them.
The Statement of Sound is a group formed in Chesterfield, NJ as a side project of artist Bob Carboni. Carboni has had a successful career as a rock artist, but wanted to venture into new territory with synth pop and create songs reminiscent of classics such as New Order, Joy Division and Depeche Mode.
Of course, Carboni also wanted to push things a little further than that and add a modern feel, along with warm rock undertones to these classic influences. For the most part, I think he does add his own unique sound to his very clear ‘80s influences. All songs on his five-track self-titled EP The Statement of Sound were composed by Bob Carboni and his wife Mary, who also provides beautiful vocals on some tracks. The Statement of Sound is looking to follow up this EP with a full-length album later on in the year, so watch this space. This short-but-sweet five-track EP opens with “Purpose.” A throbbing electronic beat with a ricocheting hi-hat opens up the track and a slow, steady bass rhythm grooves and moves atop the steady drumming. An array of noises suddenly converges on this initial straightforward combination, including whirring synth sounds and a reverberating, warbling guitar line. Out of the madness emerges Carboni’s ‘80s-esque pop vocals which echo and reverberate as he sings of how “We drive ourselves insane.” He is led out by an infectiously catchy synth arpeggio. I found some of the synthetic noises a little sharp and overbearing at moments, but the underlying melody and rhythm of the song was undeniably catchy. “Faith In Illusion” is a melodic piece driven by a tender piano arpeggio and the echoing guitar notes which reverberate in the corners of this deeply atmospheric track. Plinking synthetic bell rhythms combine with Carboni’s emotive vocals which lament that “Dreams only fade in the morning light / Can you wait for another night? / And love can be real if I give you all that I am / Just as time is only grains of sand.” Screeching electric guitar solos ring out over the jabs of synthetic string chords and dancing piano rhythms which fluctuate as does the frequently returning bell-based arpeggio which truly adds a glitzy, dream-like component to this song. “Youth” is driven by a dark and ominous synthetic atmosphere along with a biting rock riff and a pulsing drum beat. Moments of synthetic strings break up the tense atmosphere, as does an arcade style sound which runs up and down the octaves. Carboni’s vocals return with their emotive, tender style on this track as he sings of “Buying, spending, never-ending” and that one should “Take this world, and take it for free.” The track closes with the clanging of cow bell atop the beat, alien-esque synths with ominous undertones as a catastrophic collection of electronic noises converge into one jumble of addictive catchiness. The Statement of Sound’s first EP is five tracks of intriguing nostalgia with regards to the sound so reminiscent of ‘80s classics including most notably New Order, but it’s also an attempt to merge those synth-based influences with classic rock sensibilities. Atmospheric noises, punchy drum beats and an eclectic range of upbeat along with downtrodden and twisted tunes is an apt way to summarize this EP. Carboni draws on a varied range of styles and he succeeds at doing so
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Kyle Lukasewicz (guitar/vocals), Steve Zampano (guitar), Tom Lopes (bass) and Pat Kirby (drums) are Black Hole Heart. The band formed in 2016 and released an impressive three-song EP The View From the Floor EP. The band is a rock band through and through and I was reminded of disparate acts from Okkervil River to Foo Fighters. I thought the songs were well written but often preferred the more subtle sections of the songs. I thought they were more emotionally resonant and Lukasewicz' vocals sounded much more aesthetically pleasing when he wasn’t straining his vocal chords. The band opens with “Greetings from Point Breeze.” The music is pretty smooth and calming as the guitars are covered in a good amount of reverb. That being said the most effective moment in the song is right around the two-minute-mark where a layer of white noise and softly strummed guitar provide a canvas for Lukasewicz' most emotionally resonant lyrics. He sings, “I know I feel the pain / I know it don't go away / Walk around this empty house. / Tell me, where is your God now?” When the song starts to rock out he has a similar inflection to Dave Grohl. Up next is “Me, Lily, & Josh.” This is another success. It is however another case where I felt that Lukasewicz sounded better at a lower octave range. The first half of the song is quite beautiful and I enjoyed the way the piano combined with the guitar. On top of that the lyrics are great. He sings, “Hold on I took too much at once / I may have made a mistake / This is not how to cope.“ The band closes with “Pin” which I felt was a pretty straightforward rock song with elements of post-rock. Black Hole Heart is a band that impressed me for how little time they have been together. There is a lot of potential here and with a little tweaking I think they can take it to the next level.
Edgar Sopper began working on music in 2013. In 2017 he released Pain Filled Prisms. The album is extremely lo-fi with mounds of distortion. There are so many high piercing frequencies on this album that there should have been a warning.
He sounds dramatic when he sings and reminded me of an indignant goth who needs to let out his frustrations. The music itself can range from extremely dissonant and harsh to fairly palatable. He opens with “Wine For Water.” The melody is fairly catchy but there is so much distortion it’s hard to make out any of the lyrics or focus on anything else. The vocal harmonies often sound dramatic as he screams with plenty of pent up emotion into his microphone. Up next is “Down” where the music sounds as if it's about three rooms down. The track is again mostly distortion and Sopper giving an emotionally fueled vocal performance. He sings, “Hello, are you in there? Are you in '79 again? We wish you could go back home To be with your family.” “XYZ God” is where it all comes to a head. He melds various vocals and just sounds like a concoction of dissonant sounds as it progresses. “The Ink“ is upbeat and poppy and thought this was one of the highlights. One of the songs that showed his talent as a songwriter, He has a couple of inspired moments on “Collapse Relapse” and “Fog of Knives” benefits from a more mellowed out approach. Overall, a solid batch of songs. The most important thing for Sopper to do in the future is to start to understand how to handle distortion properly in mix. I promise you there is a lot he can do to make it distorted yet not drown out the other elements. It takes a little bit of understanding in EQ department and I think it could help. The vocals especially reminded me of a dramatic Marilyn Manson or NIN at its best. There’s a similar hyperbolic goth element to it that felt theatrical. Overall, Sopper has pockets of potential but has a couple of areas I think he can improve as he grows as an artist. I'm looking forward to how he evolves.
By definition, a fledgling is a baby bird that has just developed the feathers necessary for flight. In other contexts, fledgling people or groups are characterized by their inexperience and immaturity. For this reason, I really couldn’t think of a more ironic band name for this group.
We’re All Gonna Die is the February 9th release from The Fledglings, an Austin-based indie pop-rock outfit, currently playing under Ride A Mule Records. This album, though full of spunk and vibrancy, gives a mature look into these musicians’ everyday lives; the loneliness prompted by constant travel apart from loved ones on the track “Diamonds And Buckets Of Rust;” the senior, yet uncondescending examination of our contemporary culture of know-it-allness on “Babies With Rabies;” and the frustration that follows a failed relationship on “Your Only Regret (Devotion).” Somehow, these serious themes are cleverly masked by a colorful vibe that makes you want to jump or even slow dance along with every song. There’s an element of experimentation on this record that never goes too far. The sharp synths on “Your Only Regret” most definitely stand out, yet they mesh pretty well with the electric guitars, bass and drums. The suave, beach-y guitars on “Wrong Number Solicitor” bring to mind Johnny Rivers’ “Secret Agent Man” before the track suddenly drifts into a subtly psychedelic phase with flanger guitars and a slowed drum beat. The experimentation sets this band apart from other indie rock groups. Most of the eight songs on this album are intriguingly dynamic. The lyricism on “Babies With Rabies” is singer Wayne Stovey’s humorous poke at how everyone seems to be deciding what is right and wrong, while ironically secluding themselves from how others think as well. “Everybody’s wasted / Everybody’s free /Everybody thinks they know just how this world should be.” Perhaps, “Babies With Rabies,” is a metaphor for millennials who are just too young to have a clear idea of what they’re talking about. Rabies can represent a body of ideas that young people generally subscribe to that can’t really provide the answers for our problems, though we claim they surely can. “Babies with rabies / Dancing with no pants / Won’t you give us another chance?” The singing on this album is uplifting and fun. There’s certainly vocal chemistry between Stovey and vocalist Kat McNevins, as they really come together in every chorus to create a very complete sound. Listening to this album was a good time for me. I could see The Fledglings being a great band to see live because, well, almost every song had me dancing like a maniac in my chair. We’re All Gonna Die is worth a listen for anyone who enjoys The Mowgli’s, Grouplove or really any happy music in general. This one will put a smile on your face.
Permanence steps onto the scene with their debut “Northeast.” This grungy quartet emerging out of Scranton, Pennsylvania, comes together to compose a five-track EP. An entirely new band, with members that are currently in other collectives, or were once part of another musical ensemble, manage to sound like they have been playing together for years.
The EP opens with “Drive” a very short intro track with a very opener feel to it. As the song progresses, the song builds and speeds up to match the grungy style of Permanence. Although it is so short, this was one of the stronger songs on the EP, and it left me wishing there was more to listen to. “Demogorgon” follows, and comes in with feedback sounds and distorted guitar riffs. Very dark but emotional, this is my favorite song on the EP. Strong lyrical substance mixed with some intense screaming to complement the soothing vocals of the lead singer made this song strong and emotional. “Celadon” is a little more lighthearted and poppy without actually being “pop.” The lyrics are relatable, since everybody nowadays believes they are losing their minds. “Chemical” is pure punk with the intensity fluctuating throughout the song. From singing to screaming to singing again, this one was a rollercoaster. Not only do the vocals fluctuate but the guitar riffs and drums intensify and escalate to match the singing. The lyrics get progressively more visual, intense and violent. The final track, which has the same name as the EP, “Northeast,” was a nice punctuation. Feeling like the end is near, this song manages to feel very end like, making it the perfect final track. Catchy melodies, smooth vocals and questions about what has been asked throughout the EP coming to light in the lyrics leaves the listener satisfied but wanting another listen. Overall, for a debut album this was done extremely well. Although the sound is nothing groundbreaking or completely unheard of, the style of music was done well, and with their own Scranton twist. I expect to see more from Permanence in the future, it will be enjoyable to see the growth from their first EP to their sophomore project.
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