The Connecting Dots is based in Stockholm, Sweden, and the core of the band consists of singer Helena Sundstrom and guitarist Johan Borg. Their debut album Oblivious Beatnwas written quite quickly “in a kind of stream of consciousness mode.” The band’s idea was to not over-do or over-think anything and their belief was that the album is very much its own entity. The songs were actually written in the same order they appear on the album. The entire album was recorded in Stockholm and Trollhattan, Sweden, mixed in Stockholm and mastered up north in Sundsvall. The band is influenced by artists like David Bowie, Prince, Lana Del Rey, Big Star, Blondie, The Jesus And Mary Chain, Kate Bush, Eurythmics, Suede and Roxy Music. Musically, the group relates their music to bands like Chromatics, Cults, and Beach House.
The opener “So Beau Monde” has got a unique take on mixing up styles and sound of the past and present – I can really hear the Blondie, ‘80s new wave, Lana Del Rey influences already. “No Rules” ramps ups even more great ‘80s synth sounds and melodies. This one also mixes up some darker, shadowy sounds of post-punk bands like Joy Division and The Jesus and Mary Chain. Next up is “Details” and this tune seems to deliver the trademark single recipe that you might hear on the radio – at least that’s how it sounded to me. A lot of great echo effects on Sundstrom’s voice and synth sounds as well. “Night Driver” has got a great beat and it “feels” like the night, as if you can imagine a rainy, dark street and the city hums with a presence. Borg’s guitar on this number is pretty fabulous work I’d say. “Sleepy City” offers a lighter and brighter sound, more in the style of Del Rey or Kate Bush, but there also seems to be some old school sensibilities here too, like some influence from the ‘60s have rubbed off somewhere. “In the Movies” has got a fantastic bass line, smooth and cool, and the song’s melody has got a romantic feel to it as well. This one reminded me very much of Roxy Music and I like the band’s break and outro at the end. “Golden Chain” offers the listener a song that’s just a bit faster in some parts with breaks and more dynamics overall. I really loved Borg’s guitar (some brighter sounds reminded me of Johnny Marr), and I also liked the deeper, bass beats. It would be interesting to see if the band would do some sort of house/electronic mix, but faster – I can hear it in this song. “Pure Horizon” has an optimistic feel, dreamy, but also it has this post-disco/electronic flair that sounded so good! The distorted treatment of Sundstrom’s voice and house beat reminded of Garbage’s second album, and the lighter, dreamier synths gives this tune a great dynamic, too. Moving onto “Out of Our Hands” you’ll hear a driving, thumping beat and plenty of great synth sounds. I was fond of this one for its harder driving pop sound. I thought the last number “Cairo, I’m Leaving You Know” was a bit of a departure from the rest of the album. I’m not sure if it was the song’s beat or the way the song was written, but it had a very unique structure that seemed to set it apart from the other songs. I don’t know, I guess I just liked the way the duo transitioned from verse to guitar breaks – there was just something about it that I couldn’t describe into words. Overall, I tend to agree with this Swedish band’s take on their debut – their songs are not overdone, and they do seem to join together as if “in a stream of consciousness.” Perhaps, you may think the songs sound too much alike but, I’ll be listening to this band again. I enjoyed their sound a lot and thought it was quite refreshing. Oh, and for those who like that classic vinyl sound, The Connecting Dots have put one out, and it comes with lyrics too!
0 Comments
Hey Dude is the recent release from Dirty Lenny. The artist has been making music since the early ’90s and has worked with an impressive array of people. Hey Dude however seems to be a complete solo effort from the songwriting to the mastering.
There are seven songs and a couple of different styles that he flirts with including electronic and rock. One thing the songs have in common is their accessibility. The songs have a good amount of hooks but I also found the melodies on the verses inviting as well. The first song called “Wait” is one of the more upbeat and funky songs. It reminded me of the more funky side of David Bowie mixed with Parliament-Funkadelic and early Primal Scream. The song is a blast and one that could easily fill a dance floor. “The 21st” is still funky but more chill and atmospheric. It’s really smooth and sleek going down. The groove is great but it’s really the melody and vocal delivery that brings it home. As much as I enjoyed the previous song “Good Boys” felt like a highlight. The song is more rock based and uses dissonance effectively. I thought the vocals felt natural and he really nails the cadence and inflection. “The Last One” is way more intense than anything previous on the album. The mix between the arpeggiated synth and pulsating percussion create an influx of energy. As the song progresses it somehow gets more intense and the horn solo quickly became my favorite part of the song. That being said the vocals are again on point but this feels like another different approach. “Off” has a soulful, bluesy vibe but it’s not implemented in a traditional way. There are unique sounds and textures which made the song intriguing. “Big Brown Circle” is very atmospheric and arguably the most single worthy song while the closer “Bad” takes away the pads and instead creates a tender, borderline sensual and intimate performance. My only critique was the vocal delivery seemed to adapt to the song. It’s arguable whether this is good or bad or somewhere in between but when it does it’s hard to recognize the signature properties of the vocalist. Take for instance a singer like Thom Yorke or Jack White who no matter what the song is like approaches the vocals in a similar way. Their vocals are instantly recognizable. Overall, I thought this was a great collection of songs. The top notch songwriting didn’t go unnoticed. Recommended.
Here In My Great Escape is the debut EP from Hampshire, England native Darryl Gray. It’s a fully solo effort with Gray writing the songs and performing all of the instruments. He handled the recording, mixing and mastering in his home studio.
Gray describes the songs as an “introspective journey of love, loss, and finding your way.” They are, as he says, his “stories of 2020.” His lyrics reflect melancholia, confusion, even ambivalence. For instance, from “Flashbacks”: “Here in my great escape / I feel at home in this lonely place / Here in this empty space / I spend so long giving chase / To dreams that only fade.” Or, in “Midnight”: “I want so many things / Most of all I just want rest / To forget about the world outside.” I’m with you, brother. The music is indie rock with a pop feel. The tracks are guitar-driven, typically a few layers of electrics with some airy synth parts to fill out the sound. Melodically, Gray’s written some hooky choruses which will stick with you with little touches of backing vocals here and there that add a little sparkle. For harmony, he’s stuck to the standard major and minor chords. The breakdown on “Midnight” does take a little bit of a different turn, which was a nice shift. The album, as a whole, works. Gray peaks on the acoustic-driven “Lord I Know”. His vocals have a little extra emotion behind them, and the synth counterpoint and ooh-ing backing vocals give it a haunting feel. That leads into “Keep Running,” another highlight which starts us slow but kicks into a driving indie-rock chorus. The panning effect on the outro was a nice touch. If there’s a part of the album that’s underwhelming, it’s the drum parts. Gray’s used “out of the box” patterns for the tracks, and, while they’re fine for timekeeping, they don’t add much interplay or texture beyond that. I’d love to hear the result when he collaborates with a drummer. It would help elevate the songs even further. That extra set of ears may help elsewhere, too. This is all part of an artist’s journey. Gray’s well on his way with Here In My Great Escape, which is a solid debut offering. Give it a try!
A Wound Worth Mending is the third EP release from Austin, TX quartet ThemThatKnow. The group features a standard four-piece lineup: guitar/lead vocals (James Archer), lead guitar/backing vocals (Nick Reiter), bass/backing vocals (Shane Hawkinson) and drums (Mike Kosacek).
They feature a standard rock lineup, but they play more than “just rock.” Across the five songs, they touch on several different styles, melding country, blues, funk and reggae influences under the rock umbrella, much like a good Rolling Stones record. Also like a good Stones record, the basic tracks were recorded together as a band, and the interactions among the band members help give the songs presence and life. This is particularly apparent in the ending section of “Alone Together,” where the band executes dextrous tempo changes. The tracks are nicely produced; don’t miss Laurie DeRouen’s excellent backing vocal on “Alone Together.” The tracks make good, occasional use of studio wizardry (such as delays and reverbs) to help transition between song sections. For mixing, guitars are panned hard right and left; the separation allows us to hear--and appreciate--the interplay between Archer and Reiter’s lines. On the beginning jam for “Ice Cold Water” they use the same mixing technique, but with Kosacek’s percussion parts. It’s a nice effect. Each of the five songs finds the band exploring a different style. The opener “Old Town” is straightforward rock with a bit of a Tom Petty vibe to it. The grove and humor on “Methamphibian” could have come from a They Might Be Giants/Barenaked Ladies mashup, provided they got R.E.M. to sing on the chorus. My favorite was the third track “Ice Cold Water” which starts as a funk instrumental driven by Hawkinson’s double-stop bass groove. The band transitions into a sing-along country-rock tune that features a terrific harmony vocal and clever lyric. The band lets it all out on the final track “Number.” They meld the verse’s reggae feel with a rock chorus, much in the way of the Police, although the vocal sound and lyrics are closer to Michael Stipe than Sting. The last minute or so is a War of the Worlds-like meltdown with a few bars of an extra song hidden inside. It’s an unexpected and delightful turn. A Wound Worth Mending is a gem that displays a band in control of its art. The writing, playing and studio work is professional, but not over-polished to the point where the music’s life is buffed away. Give it a spin and enjoy--the amalgam of styles makes for a fun listen.
Matt Tyrer is a singer/songwriter hailing from the West Midlands, UK. He has been gigging across the UK for several years and has released two previous albums (The Purest Light (2015) and I Love You, But You're Not Helping (2017), and the proverb 'Third time lucky' comes to mind when scrutinizing his latest release. The album entitled Shape of the Sky contains eleven songs and is by far Tyrer's most sophisticated work to date.
The opening track, "Get in the car," with its driving harmonica solo, really sets the tone for the dark and chilling tone of the album. Ciprian Bolea's (violin) contribution is a real standout, giving the blues-influenced song an interesting Celtic folk twist, which blends together exquisitely. The song's sense of urgency is matched by Tyrer's lyrics and vocal delivery, with the chorus "Honey get in the car / Gotta get away / Before the world comes crashing down" delivered so compellingly that it is almost impossible not to sing along. The second track, "Labyrinths," is a striking contrast to the opener, with its 80s-inspired electro-synth beat and xylophone percussion, such a dramatic change in the musical style, I am unsure it works well, but you can't help but commend Matt Tyrer's risk-taking. Tyrer's exploration of the mind in the song's lyrics stands out on "Labyrinths," and his philosophical and inquisitive nature is a consistent theme throughout the record. "The Town Is Strangling Me" really gives you an intimate insight into Tyrer's psyche, with the personal and sincere lyrics fusing beautifully with Matt's emotive and skillfully layered vocals. And as a result, it is bound to resonate profoundly with any listener. The next track, "Chernobyl Wolf," is the most poppy and upbeat effort on the whole record in terms of instrumentation. But the dark-themed lyrics act as an intriguing juxtaposition, as the song explores intense issues of morality, with the story of a wasteland backdrop after a nuclear fallout. "Chernobyl Wolf" comes to a spine-chilling conclusion with a Kessler Syndrome-inspired emergency broadcast voiceover by Edward Scott. The sea-shanty-influenced fifth track, "After The Garden", further showcases the various genres and themes that Tyrer explores on this record. Yes, that's right, from 80s electro-synth to sea-shanty, I personally don't think the transition works, but it's a bridge I doubt has ever been crossed before! The sixth song, "Another Day's Another World," is the most optimistic effort on the album and a vital lifter halfway through the album. Lyrics such as "For a moment, I standstill, and we're free" really give this track an uplifting quality and demonstrate positive Tyrer's side. Melancholic number "Waters Rise" has a "Badly Drawn Boy" feel to it in terms of chord progression and instrumentation and shows Tyrer at his most vulnerable, and this is when he is at his best. The light tones of acoustic guitar and piano act as a fitting supplement for Tyrer's vulnerability on "Waters Rise," I just wished it had a more significant orchestral section and production to take it to the next grandiose level that it really deserves. "Further Than I Deserve" has a real "John Lennon-Instant Karma" meets "Nick Drake" vibe to it; again, the violin work acts asaccompaniment, and if anything, I wish I heard more of it on this song and throughout the album, as it works as such fitting and compelling support for Matt's voice and lyrics. The next track, "Empty Vessels," is a menacing number and slows down the record, as Tyrer candidly reflects on his past actions and imperfections and refers to himself as an 'empty vessel.' It's a song that builds up to a spectacular ending, largely thanks to Matt's sharp and potent guitar work. The penultimate song, "Take Me Home," continue to further the notion that Tyrer is not afraid to tackle hard-hitting topics, with the subject of mass displacement, an exceedingly prevalent issue in today's society. The powerful narrative is accompanied brilliantly by Tyrer's delicate piano performance, making it a real highlight of Shape of the Sky. The song finishes with the same broadcast voiceover as heard on "Chernobyl Wolf," giving the record some continuity. The closing song "(Let The) Ice Winds Blow." has a stunningly uplifting and pure sound to it, which empowers Matt to again tap into his vulnerability effortlessly, a really impressive feat. And the closing line "Your Heart I will win" is an excellent example of this song's uplifting quality and leaves you wanting to hear more. Overall, Shape of the Sky is a dynamic, daring and striking record, akin to early "The Mountain Goats," with its consistent dark and minimalistic tone. Tyrer's songs are built on strong, personal themes, and such openness really allows a relationship between Tyrer and the listener to develop. Matt's ability to permeant catchy hooks with deep-meaning lyrics and chilling soundscapes is ambitious. The boundaries pushed by Tyrer in the diverse genres he experiments with are exciting, if not at times slightly disjointed in terms of the overall flow of the album. But that is a minor criticism in an all-around enterprising gem produced by Matt Tyrer.
Encoded in Dead Air is a recent release by Dean Hamilton. Hamilton has been playing and recording his music for the last fifteen years but this is his first release that’s presented as a full length. The concept for the music piqued my interest. You can read more details on his Bandcamp page but briefly put this album is about signals that are transmitted from towers.
The songs are instrumental and lean towards the longer side. I thought the most obvious genre was post-rock. There were a number of songs that contain the staples of the genre including gloomy tones over samples, long drawn out meditative sections and epic crescendos. The first song is called “The Carrier Wave” and it starts off very moody with sustained pads and other elements creating this meditative yet dark atmosphere. As the song progresses it slowly builds with more elements like arpeggiated synths that move very fast before slowing down and fading out. There’s a brief breakdown and finally heavy rocking around the five-minute mark. The song contains some menace which I love. “Deadman’s Switch” is definitely a little prettier. The guitars are lo-fi sounding but clean and this scrambled radio transmission reminded me of classic Godspeed You! Black Emperor. There's some rocking on this song that is very hypnotic and brought another band to mind - Swans. “Simulcast” is still dark and moody but this is the first time we hear triumphant and hopeful sounding riffs. The centerpiece of “All Spectra” which is a little over nine minutes long. There are so wicked riffs and a number of epic crescendos. “Soulscape” is the most ambient sounding track and to my ears probably the most original sounding song in the batch. Last up is “Dialogue Of Decay” which is absolutely a slow burn but also contains some inventive soundscapes. There weren’t many surprises good or bad on this album but there are some great songs. Fans of Mogwai, Godspeed You! Black Emperor, Swans, Explosions in the Sky and other like-minded bands should find this accessible upon first listen. Recommended.
Getaway Tricycle was a band that formed in 2010. They are from Porvoo, Finland and recently released It's Just The End Of The World. The band explains: “The album's theme is not that much about the actual end of the world, but about one's inner world that has to be blown to pieces for a fresh start. On the other level, the album tells a story of a young mind with strong (prejudiced) opinions developing slowly into a more tolerant old soul.”
There is definitely a mix of styles with this release so let's’ get into it. They start with “Good Girl” and it is a fairly rocking song that’s heavy and dynamic. It felt like a single worthy song especially when it gets more intense towards the middle. “Disposable Town” is strummed on acoustic guitar and fairly sparse overall. It sounded good but almost like a different band than the first song. “Sorry, Suzanne” starts with fantastic whistling and overall some great vocal melodies. It’s lush and there are some notable vocal harmonies and it is definitely one of the highlights. They get closer to where they began with “Just Sing” while “Fatso Punk” is a fun song that did feel more punk infused that contains explosive energy. “It’s Just the End of the World” is another highlight. There are some guitar patterns which hit the bullseye and there is a smidge of spaghetti western on this song. “Another” is an adrenaline inducing song that fits more into hard rock. They slow things down with “Endless Road” which is reflective and they keep that pace with the closer “Last Words” but it ends with an epic crescendo. This is a good album from beginning to end. The band has a ton of talent in the technical department and the songs felt accessible. Recommended.
The City Remains is a collaborative project between Liam Kirkpatrick and Paul McCallister based in London and Dublin. Kirkpatrick wrote these compositions “…during a time of travel, change and upheaval.” Like David Bowie’s Alladin Sane, each of the ten songs here are tethered to a different city: London, Dublin, New Orleans, New York, Buenos Aires, Berlin and Washington. Kirkpatrick and McCallister pose the musical question: “If a city's buildings could talk, what would they say? What stories would they tell?”
Most instruments were played by Kirkpatrick and McCallister with recording and engineering by Frank McGing at Asheville Studio. I never thought I’d get to write this, but mastering was performed by Steve Rooke at… Abbey Road Studios! (Need I mention another group that worked there?) The sound of the album is clean and jangly, with especially nice clarity on the vocals. My first impression is that these songs were accessible and very much of a piece with each other. I did feel that they were perhaps too homogenous, but that often passes with more familiarity. I’d categorize these tunes as gentle folk rock tinged with melancholy with more than a touch of Irish traditional in the arrangements. “Dream When You’re Blue” starts us off with jangly electric guitars and spot-on vocal harmonies. It’s a somewhat sad tune with an upbeat conclusion: “I try my best but sometimes life isn’t enough / No matter the good intentions / no matter how much you love… dream, dream, dream when you’re blue.” Though a nice tune, the boys rely a bit heavily on the main riff, which never seems to go away and becomes a little annoying by the end. “How Far Did You Fall” has a rich, ’70s folk rock feel with lots of stringed instruments locked into circular melodies. “Buenos Aires” slows things down with lead vocals that aren’t afraid to show a bit of strain, and are thus quite effective. “Echoes” feels more intimate with close up vocals and gently picked acoustic guitar. “These are the echoes of a different time / these are the echoes of a different kind of life.” The instruments build slowly to nice effect. I get the impression that the album’s theme is mostly contained within this song. “The City Remains” starts out quietly like a James Taylor acoustic tune; I seem to connect with these guys the less they fill up their tracks, and this one is stark, simple and lovely. “Time moves on and people change / but one thing’s for certain / the city remains.” Additional guitar here is credited to Enda Breslin. Album highlight! “Everything Is New” returns to jangly pop with nicely complex chorus harmonies. “Trophies” is another acoustic and vocal tune about intimacy: both the emotional AND the bedroom kind. The twist ending where the narrator’s woman “lies with another trophy in your bed” is a little obvious, but I get the pain. There’s a great transition to the next song “Ring Hollow” which has a Fripp-like fuzz guitar pad and another really nice vocal arrangement. “Last Thoughts” are indeed that, with some of the cleanest vocals yet. Kirkpatrick’s sentiments are not earth-shattering but they’re definitely universal: “Did you find someone to love? / Did you find someone to trust? / Well it sure wasn’t me.” The boys deliver a tasteful arrangement and mix to take us home. There’s some very nice songs here, and a couple that weren’t my cup of tea. Next time around perhaps the boys might try upsetting the apple cart of their chosen style now and then just to see what happens, but until then this collection will do quite nicely.
Australian trio EVOLETAH has returned with Run with the Hunted, the follow-up to their 2014 disc We Ache for the Moon. The group consists of Matt Cahill (vocals/guitars/drums), Benjamin Johns (piano/keyboards), and Michael Shanahan (basses/acoustic guitar). This is a jazz-trio setup, and that is the starting point for much of the music on the record. If you had to file this on your shelf, it would land somewhere between Norah Jones (for the jazz feel) and Van Morrison (for the variety), only Run with the Hunted is a bit darker and more introspective than either.
There are layers and textures throughout Run with the Hunted. Each song has a very well-thought-out arrangement. Shanahan interweaves electric and acoustic basses so seamlessly that I only noticed when I tried to. Johns has tracked in pianos, electric pianos and organs, each with its own voice; his playing stands out particularly on “Boxing Shadows.” Cahill’s drumming is tasteful, even melodic, everywhere. His vocals fit the music perfectly. Sonic surprises are sprinkled throughout the record to delight the listener. Cahill has written lush string arrangements, ably played by Charlotte Baker-Simpson (violins) and Sam Sheffield (cello). There are trumpet and saxophone parts too. The album features two guest female vocalists (Heather Christie on “Look Before You Leap” and Shanna Ransley on “A Still Heart”), and their performances are impeccable. In an added bonus, Cahill breaks out the E-Bow, which would make The Edge proud. No matter which track you decide to play, you won’t go wrong: there’s not a dead spot anywhere on the record. If you choose to play it in order, you’ll enjoy a nice progression of feels--while EVOLETAH starts with a jazzy swing on “Beguiled,” they finish in more of a rock vein on “Hell or High Water.” The transition is smooth and natural--again, you wouldn’t notice unless you tried to. In an added bonus, the band includes two mixes of “Haunted.” You can decide which you prefer; for me, the Seance Mix was the choice with the acoustic guitar solo really popping. EVOLETAH’s Run with the Hunted is a terrific collection. Each listen uncovers new layers as part of a beautiful overall sound. Give it a spin! EVOLETAH 'Run with the Hunted' from EVOLETAH on Vimeo.
Lost In Paradise is the latest from The Fivers. The three childhood friends have been prolific since 2018 releasing a good amount of songs since then. Their latest isn’t a huge departure but they certainly seem to be getting tighter and their songwriting is better than ever.
They get going with “Hold Myself Away” and it features clean, reverb laced guitars, a prominent bass line and a steady beat. It felt immediately accessible and I thought the hooks were memorable upon first listen. I thought it was a very strong opener. There is a wave of calm that washes over you when listening to the lush and groove based “Keep Me in Your Reach.” The song progressively rocks more during the chorus. “Waste My Time” is a highlight and starts with a killer drum beat and melody. It’s upbeat and more prog rock infused than the previous songs. The band really changed things up with “Walk Out With Me” which contains a more acoustic guitar tone. It’s a warm song with reflective and nostalgic qualities. “Lost In Paradise” is a catchy tune and they go back into more of their signature sound with this tune. “Face Forward” and “Someday Soon” deliver the goods as well. Last up is the slight Mac Demarco infused “What I’m Told.” The band is in top form. They sound great but I think hitting a studio should be something to think about with future recordings. Overall, this is a really good release and I look forward to hearing more from them.
Become A Fan
|
Critique/insightWe are dedicated to informing the public about the different types of independent music that is available for your listening pleasure as well as giving the artist a professional critique from a seasoned music geek. We critique a wide variety of niche genres like experimental, IDM, electronic, ambient, shoegaze and much more.
Are you one of our faithful visitors who enjoys our website? Like us on Facebook
Archives
May 2024
|