The band Vitamin Mines is made up of friends from the California Bay area. Their self-titled EP Vitamin Mines is the band’s first release together and they are grateful to have had so many rad musicians contribute to the tracks. The album was recorded at Nu-Tone Studios in the Bay area, and it was mixed and mastered at Trident Studios in Pacheco, California. The EP clocks in at just about 27 minutes long and consists of instrumental and vocal tracks. Vitamin Mines’ process goes pretty much like this; write, demo and record everything live because they like to vibe off one another. Some people who have listened to their music say that it kind of has a ’90s rock sound. Vocal contributions are made by multiple members of the band and the lyrics are mainly written by the two guitar players. Not sure if the band has any social media presence – but you can hear their music on Bandcamp.
“Follow Me to Hell” begins with an eerie guitar sound, sinister and creepy – an imaginative sound, as if you were about to enter the underworld itself. The rest of this all-instrumental song delivers a deep and rich sludge rock style, complete with minor chords and thumping, deep drums. “Symbolic Toxic Joking” opens a sound, like it’s from some goth-rock western movie – hmm, do they make those sorts of movies? The dark, foreboding style – that I thought was on the lighter side of hard alt-rock – is followed by some incoherent talking, a little funked up guitar rhythm, vocals and then more dark, minor chords. “6:26 AM” features a catchy and quick, bass guitar/bass guitar beat and some fuzzy, distorted guitars. There was something grunge here that I liked. Not like the trendy, radio friendly grunge, but maybe more like the lesser known, well written songs of Mudhoney and Screaming Trees. Next is “Teddy Bear” and it begins with the live sounds of drums, rather “tribal like” and an overall experimental style of playing. Alongside this is a snippet from one of the many lectures of Alan Watts, the well-known, Zen Buddhist philosopher, teacher extraordinaire. What was interesting about this song, is that the band mixed in a soprano or tenor sax (I think) – which I thought made for an interesting pairing, alongside the metal sounding guitar. “Shipwreck” has got a great, infectious guitar riff and solid rhythm. In my view, it was written or structured, like a classic alt-rock/grunge song. But this tune had a Jane’s Addiction, hypnotizing appeal to it as well. “Bestroy” fades in with an acoustic guitar, wind/flute sounds of the organ, with another retro organ sound supplying the song’s main melody – which I thought was remarkably rich and beautiful. Overall, the band’s quality and style reminded me of something I’ve heard before, like from way back, but couldn’t quite place my finger on it. I would highly recommend listening to this one. The last number is “A Touch of War” and it has a certain, old school ‘70s rock feel to it. Heavy with the bass/drum rhythms, it also features plenty of lead guitar action and more catchy guitar riffs. But then, at just under the two-minute mark, the band branches off into this dreamlike, celestial musical style – you could say in a Pink Floyd-ish, Steve Vai, Joe Satriani sort of way – but not so over the top like said artists. This last track also happens to be an instrumental and the band longest track. It ends very tenderly, with light keys, some random guitar playing fading in and out, and some children singing what sounds like a lullaby of some sort. Overall, I like this band a lot. I think their EP showcases a good mix of styles – not just ‘90s alt-rock – and especially the way they wrote the instrumentation parts.
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Sun Rae is an indie artist based in San Antonio, Texas who has also spent time living and working in Brussels and Los Angeles. Her new EP is titled Talk to Me and was produced with the help of long-distance colleagues in Riverside, California. She describes Talk to Me as “painting feelings of nostalgia and homesickness against poppy and colorful melodies, reflecting the growing pains that accompany trying something new, and how relationships change as people change.”
Recording took place in both a home studio and a local pro studio, with mastering by Francis Fitzgerald. Recording and mixing involved “many, many Zoom calls” to discuss the vision of the songs and to test creative ideas. “That Was Then” starts things off in a decidedly Todd Rundgren mode. Jangly electric guitar leads us into a minor key tune with a jazzy guitar-bass-piano arrangement. It’s got a beautifully recorded pro studio sound and plays like a hit single. Rae has an impressive singing voice with traces of Maria Muldaur and Rickie Lee Jones. “P.S. I Love You pt.1” features a Spanish-sounding classical guitar opening, moving into an acoustic small-combo sound. Rae’s voice here has an interesting bit of grit in the lower register while still sounding very sweet. The drums and percussion are terrific, with nice accents beautifully recorded. The song’s topic is obvious by the title, and Rae’s lyrics are the type that continue almost unabated, which each line leading directly into the next. Another hit-bound track! “P.S. I Love You pt. 2” interestingly has the same title and chorus lyrics as the previous song, but instead uses a disco beat in a folk-rock context with jazzy chorus-drenched guitars. As in the previous tracks, and even more so, Rae pulls off some really nice overdubbed vocals. Not my favorite of the three, but still solid musicianship. Overall this is a lovely and modern-sounding introduction to this artist and I definitely look forward to what she has in the future!
Cassiel is a brand-new indie/rap artist who is based out of Australia and first got his start halfway through 2021. He is releasing his debut full-length album Polar, an album that like its title takes on a kind of coldness. Throughout this release the artist tries to work off from the dynamics of the previous song, keeping the songs on this record seamless and cohesive throughout.
Polar begins with “Wish You All The Best (ft. Benji),” starting off to some intricate guitar riffs, synths and electronic beats. Gradually, you hear Cassiel’s vocal harmonies which add something extra to this R&B track. The beats and rhythms point to some old school hip hop and R&B back in the day. To the sound of more sparse guitar riffs, eventually, the beats enter for a more action-paced sound on “Deity Girl.” Next, the artist incorporates more guitar work.The song was upbeat. Up next is “Burn Your Roses,” where some Spanish guitars bring up a very fiery vibe. Dynamic chord progressions on the acoustic guitar follows through on the start of “Over Soon.”Next, some percussive beats arrive for a more revved feel. The music leaned into a R&B and indie rock vibe. Some keys and synths arrest the vibes towards the start of “What You Need.” This track felt very much like a slow burning number as it takes its time in unfolding with no rush from the artist at all. More contagious-sounding guitars come forward on “Left Of Me.” I This track sounded pop-oriented. Cassiel’s vocals here are autotuned which added a distorted robotic effect to the vibes. On “Frostbite,” some synths meet the start of this track alongside some grooving electric guitar. Next, some beats gain traction for another slow burning number. Cassiel’s vocals work in mood and feeling. On “Goosebumps,” more warm acoustic guitar comes in here. Another song about heartbreak, the artist’s vocals are tinged with regret and longing here. Cassiel’s chill sound continues on “Forget,” mixing hip hop and pop rock. The album culminates in this soulful-sounding closer. I thought these tracks had a great pop element to them. With some huge beats, upbeat tunes and infectious harmonies, I thought each of these tracks definitely had a dance-worthy vibe to them. Cassiel’s vocals have a way of taking in just the right cadence to either express dealing with heartbreak, unexpected loss or a fracture in a relationship. The artist shows a lot of potential and I look forward to hearing more from him.
Hailing from Canberra, Australia, Ivan Bullock has been a solo musician and apparently s community-founder for underground and experimental music in the area. Bullock is a trained classical violinist who started to make music under the moniker Minorarc around two decades ago. Bullock states “The music shifted from synth-heavy dark electronica, into a new world of progressive metal and post-rock.” That’s very on point and you can hear this on the two full LP’s he released entitled Untold and Overburden.
I started with the album Untold and it begins with “Victims of That Before.” You are greeted with ominous sounding pads and clean delayed guitar with dramatic spoken word. It reminded me of sci-fi movies like Dune. That thematic introduction continues but the vocals changing to something melodic started to unveil the song. Piano comes and goes, drums feel like they are warming and occasional metal guitar is present. There are a lot of builds and sometimes the music locks into groove but Bullock isn’t afraid to tear it down. The drums sounded electronic and programmed to me but still worked well with the music. As the album progresses the mood that is established on the first song persists. “Dichroic Shadow” contains syncopated bass, what sounds like choral pads and clean and glistening piano. There are some cool grooves on this song. I loved what was happening between the guitar and piano especially around the four-minute mark. “Palace of Crystal” showcases more than a structure which has a lot of changes. Bullock will lock onto grooves but often takes out the percussion not too far in. There’s no hook of chorus and I thought this approach worked with this music. “Deluge” is a very ambient song. There’s a new vocalist on this song who I surmise is Bullock but this isn’t quite singing. He says single words in a dramatic way as if he is a villain in a movie. “Crossed Inclusion” is next and there’s some wicked guitar work on this track. The piano and pads play around together as if it’s one instrument. “A Lull Short LIved” felt a little lighter in mood compared to the other tracks. It still sounds dark but there’s also more of a warm melancholy which feels tranquil and new age-y but not in a bad way. “Three Year Untouched” felt a bit menacing. I think this was coming from the bass drum and guitar work. It creates an interesting juxtaposition. “The Bane’s Remnants” has one of the best grooves on the release. I was getting NIN type vibes on this song. “A Precipitation’s Gaps” is a solid hybrid with many dynamic moments while “Inheritance Devoid” is a cerebral and hypnotic song with an engaging bass line. Last up is “A Breath’s Short Plane” which was a fairly airy and ambient song to end the album with. Bullock mentions this about Untold, “Musically, its aim is to depict subconscious foreign landscapes, worlds within dreamy storms, drowning and ultimate loss.” I’m guessing the same is true about the companion album entitled Overburden which he describes as a supplementary side dish. Suffice it to say if you enjoy Untold you will like Overburden as well. Overburden starts with the title track “Overburden.” There’s a very cool repeating piano melody as the song starts that feels pensive and cerebral. It eventually subsides and leaves you with heavy pads, trickling piano and bass that chooses the specific notes to highlight. As with many songs, once the distorted guitar is introduced things feel much more heavy. On this song distortion drips from chords while a couple different leads create the focal point The hard panned lead guitars worked really well in this case. You feel like you are in an alien subterranean cave on “Palace of Silt” and yes I couldn’t help but feel I was in a sci-fi type movie as arpeggiated synths and pads make it all about the mood. “Whitewash” was one of the highlights on the album. I thought the grooves were great but there are a lot of different types of energy on this song and an almost endless supply of changes which felt seamless. “Slowlight” felt like a comedown after the storm. It’s more of a relaxing and serene tracks which lets your mind at ease. The grooves come back with “Monolith of Clay” and more overt post-rock vibes comes from “Eroded Seam.” “A Different Path Between Fractures” was a slow burn. There are some cool things going on here. The metal guitar almost sounds like it’s interrupting the other elements saying something like “Hey, look at me I can come in at any time and cause a disturbance.” The threat always seemed to be there. “A Brief Afterthought” bubbles with energy. The sub bass synth line on this song was cool but more so how he deconstructs the sounds in this song. Last up is the ten-minute epic “A Longer Afterthought.” There’a a lot to cover on this song but I will say it’s a roller coaster ride. The transitions between the synth parts, the long ambient sections and other moments made it feel like a condensed song showing all the different sides to the artist. These two albums definitely felt like one and the same. Bullock utilizes the same palette of sounds to create a cohesive and very satisfying listening experience. There’s a lot to explore so take your time and take a listen. Recommended.
Boston’s industrial/synth-pop artist FRUITBAT is led by Hannah Lowicki. Growing up in suburban New Jersey and now living in Boston, her sound takes from the industrial scene around her and imbues it directly into her music. Lowicki has contributed to many projects in the past. On the side, she likes to create creative mashups of songs you’d never think would go well together. This unlikeliness shows in the way her music unfolds – putting two things together you’d never thought would sound great but ends up working out. And her music at certain points does sound like a mashup. On her debut self-titled EP FRUITBAT, the artist leans into a very chaotic sound, at times wavering toward dissonance. This dissonant factor feeding into the wake of noise folds and unfolds within the sound as Lowicki weaves in her vocals with wonderful artistry. FRUITBAT is a striking release worth spending some time on.
FRUITBAT gets started with “TAKING CANDY FROM A BABY,” where lowly rumbling bass lines slowly grow in traction in the background. Next, some percussive beats arrive. Lowicki’s dream-like vocals sound out. There is a touch of dissonance to the sounds once the synths come in. The mix of electronics and live instrumentals makes for an effective combination. Raging guitars arrive for a definite and searing sound on “4LOKO.” The vibes are a whirlwind of noise. As more dissonance came in, I was getting very industrial vibes. Lowicki’s vocals here are autotunes. This effect gives her voice a robotic quality. On “SWEETS,” the sound of bongos cut in and out of this recording. Next, more chaos and noise ensue for a revved feel. Lowicki’s vocals are executed in a rap sequence. This really seemed to work here. Some synths enter the picture for a glitch-y and very industrial vibe on “PICTURE.” The fuzz factor in the backdrop was very heavy. Lowicki’s vocals are then unleashed, sounding a little buried in the mix. I was getting some grunge vibes here as well. This gritty song seemed like a great way to send listeners off. Lowicki mixes in a combination of natural instrumentation with digital fare on this release so that the sound we get ends up being very effective. A mainly electronic project, Lowicki is able to work in a lot of interesting sounds and modes. At the very same time, this is through and through her own undertaking, and this shows in the unique way the music uncoils before us. I look forward to seeing any more new projects from her soon.
John Glass is a solo act in Carrboro, North Carolina. Glass has only been making music for three years and he recently released Life is Hard. The EP contains five songs and covers a lot of ground. It was also engineered by Matthew Tarr.
It starts with “Brick Talk.” It starts with a distorted arpeggiated synth. Other electronic elements like pads and electronic percussion come in and give it an airy and mechanical quality. I was expecting Kanye West-like vocals on this song. The vocals arrive and the hook arrives. I think the most interesting part was the way the ghostly vocals weave with the rapping. The first time I heard it my brain had to adjust because there was a lot going on but on my second listen it clicked better for me. It’s a cool opener that felt original and unique. “God of the City” arrives with an ’80s sounding electro beat. The vocals are more spoken. Electronic elements like synths buzz about and eventually there’s a hook of sorts. As the song progresses there's never mutation and evolution of the sound. My attention seemed to be focusing more on the instrumental aspects of the song. “02GREEN” was a song where I thought the groove was inviting and calming. There are airy pads and notes which glide back and forth to each other. I really liked the vocals on this song which were catchy and often infectious. Similar to other songs there’s a lot of changes and transitions which keep you engaged. Lots of starts and stops as well as melodies that come and go. “Killa Killa” is much more aggressive and abrasive than any of the other songs. I liked the vocals on this song which is a hybrid mix of rapping and singing. The hook is again top notch. There’s a buzzing slight dissonant synth, heavy percussion and more over this anthemic song. I loved how the artist incorporated what sounds like a police siren towards the end of the song and how it transitions back into the chorus. “IWILLALWAYSLOVEYOU” is last. The same vocalists on “God of the City” seem to be back. The vocal delivery is similar. It’s a dramatic spoken word at first and then sounds a bit like the band The Postal Service. It felt like the most emotive and heartfelt song out of the batch and I loved the female vocals towards the end of the song There’s a lot to appreciate here and considering Glass just started making music this release is very impressive. Glass thinks out of the box and that’s one of the best qualities you have as an artist. I look forward to hearing where he goes from here.
DefendDefend is a four-piece composed of GIO (vocals/bass), Dan N. (guitar), Mark U. (guitar/vocals) and Alex C. (drums) from central Jersey, spread across Union county. They mention “All four of us are completely different in our musical backgrounds.” That makes sense to me because on their release Summer War there are a number of different styles.
I’m in my fourth decade of life and some genres as you age do make you feel old. Pop-punk (which is one of the main genres on this release) for instance seems heavily geared towards people who are coming of age. This EP has a similar quality. There are subtle and not so subtle things in the music that in my opinion will make this resonate with a younger audience. The band starts with “#CALIBOY” and off the bat the band goes into killer grooves. They don’t seem to be running short of ideas. The song is largely instrumental and the vocals don’t come in till about halfway through. It reminded me of two groups. Les Savy Fav and Fucked Up. The vocals are dynamic and delivered in a lot of different ways. “Static” starts with a number of solid grooves. The vocals are spoken word and a bit dramatic sounding at first. As the song progresses it proves to be versatile and unique. Lyrically, I interpreted the song to be an uncontrolled mind. The vocalist sings “Staring into empty space / Ruminations all erased / Train of thought is off the rails / In my mind I hear just.” In all honesty it sounded like the thoughts of a person who might benefit from meditating. “Red Star” starts with a killer groove. I loved the guitar work but the whole band crushed it. There’s some death metal like screaming, the song gets faster and rides a lot of kinetic energy. The vocals are intense as in the other songs. “Summer War'' is an atmospheric song and perhaps the best example of utilizing two vocalists. The song gets fast at points and is a fun ride. I loved some of the transitions as well such as the military like snare drums and chanting vocal harmonies towards the end. The band is really talented. The album did feel coming of age to me but more like a cathartic and aggressive response to the situation. This day and age it felt very appropriate. This was a solid release and I surmise this is just the beginning for them.
Winchester 7 & the Runners is an indie ukulele-led rock outfit consisting of Winchester 7 (vocals/ukulele), Phil Voorhees (bass/synths) and Jack Kane (drums). The band says that the sound on their latest album Catacomb Songs is a departure from their more upbeat fare. The lyrics to their songs have a more somber tone with many of their tracks clearly pandemic-influenced. Though the band says that their approach this time is more serious, I felt that the music still felt very upbeat and fresh. It is hard to resist the sounds of the ukulele as its clear and lucid notes adds more range to the band’s sound. And it is clear the trio delivers some great tunes in the indie garage rock, alternative, classic and surf rock veins.
Catacomb Songs begins with “Dead Celebrities And New Beginnings.” To the rhythm of the ukulele, the band’s sound comes through here. I was getting some beachy vibes from the vocal harmonies. This track felt very sing-along worthy. Some revving bass and synths reel in the sounds on “The Song That You Sing.” Winchester 7’s vocals are attached with great attitude and sass. It is clear the band pays odes to classic rock here. I thought I heard notes of The Beatles and The Beach Boys in their music on this number. Next is “Up On The 13th Floor.” The tune here had a sauntering groove. Again, the classic rock references once more came up. Some more of the band’s mellow vibes come through on “Ever Said.” I was enjoying the instances of the ukulele on this track. It definitely added a resonating appeal to this piece. The combined vocal harmonies also gave off a warm and intimate vibe to this surf track. More striking sounds from the ukulele come through on “Riding High Again.” I thought the energized percussion added a certain touch of pizzazz to the overall sound. This was another upbeat number from the band. Starting off with some revved bass, the wall-to-wall sounds are very contagious-sounding on “Arcade Days.” The fuzz level is very high. I loved how noisy and chaotic everything sounded, giving up a very classic rock vibe. On “Beneath The Moon And The Stars (Extended Version),” more of the band’s upbeat energy arrives here at the start of this song. The fuzz-heavy instrumentals in the background back Winchester 7’s vocals to great effect. On “Head On (Bonus),” synths and drums enter for some more lively effects. Here Winchester 7’s vocals are more subdued. I was getting some straight-edge rock fare here. Heavy percussion highlight “Beneath The Moon And The Stars (Bonus) – PJ Gowan & Stardust Studios Extended Mix.” The remix seemed to be more upbeat and energized than the original. The band shows off more of t feel-good vibes with this remix to close off their album. The band packs into these seven tracks and two bonuses great energy and surprising warmth. The ukulele is a unique addition and the band is able to highlight its sounds generously. I thought they did a good job here and look forward to seeing where they go from here.
New York native now Alabama resident Joe DeVita has been performing throughout the United States for approximately 18 years in a variety of contexts from jazz combos to singer/songwriter and experimental, live looping performances. DeVita's music has been featured on radio and publications internationally including BBC6, Wyoming Public Radio, as well as jazz magazines in Russia. His latest release was recorded, mixed, and mastered at The Monastery, in Birmingham, Alabama, using the DAW, Reason.Thematically, this album is a running narrative of falling in and out of love while exploring the path of self-discovery. Sonically, the album is reminiscent of Blood on The Tracks and Grace.
“Preamble” starts the album off with a beautiful, piano melody – slow with a bit of melancholy. In the song’s second verse, some added ambient-like synths join in. I would say, this tender soft ballad that features reassuring lyrics, feels like a love song. Next up is “Traveling Song” and it features a stripped-down sound, with just the acoustic and DeVita on vocals. The lyrics point to the anticipating feeling of “coming home” centered around a happy rhythmic melody. “A Love” is an all-instrumental track that delves into experimental, ambient sounds. Heavy, warm bass tones play the backbone, while synths weave in and out of time. “Left” is another acoustic number that features a rambling rhythm. After a bit, the bass comes in but in a very subtle way that is barely audible. After the second verse, a fuzzy guitar comes in, along with synths and a marching beat on the snare. I liked how this one enfolded slowly, as well as how the instruments became louder towards the end. Overall, this tune had an inspiring feeling to it. Moving onto “I Speak to the Wind” you’ll find DeVita singing a cappella. He sings “This won’t work / The hounds won’t feed” “the bed we shared is a relic now” and “I speak to the wind more and more, with each passing day but it never stays.” I think this tune expresses the theme of self-discovery very well, where DeVita may have had a “a-ha” moment of realization while he was crafting this song. “Sky” is a tender and emotional piano tune, with a gorgeous melody and a little bass accompaniment. Lyrically, there are few words sung and I thought it was De Vita’s most vulnerable tune on the album. It was also one of my favorites. “One Step Beyond” fades in slowly, with a deep foreboding sound of synths and a gentle, rambling acoustic. DeVita’s vocal here is a very high tenor, and the words have mystery and metaphor to them. I recommend listening to this song for its unique arrangement of instruments, the song’s storytelling quality and DeVita’s voice. Next is “Limbo,” one of the longer songs on the album. This all instrumental takes on a Latin-lounge/World/tropic summer kind of feeling in the first half, and then breaks away going into an experimental/ambient/techno jazz style – I’m not sure how else to describe it. After this, DeVita returns the song back to its opening measures. A lot of instruments being played here – it was refreshing to hear this kind of song alongside the other tracks. The album’s title track “The Cave of The Heart” is perhaps DeVita’s most experimental on the album. The synths start things off (which were bouncing back and forth between my ears at first) and then another layer of heavy, ambient synths come in. In the background, are some words being spoken, but they were too faint to distinguish what was being said. Later, a soft bass beat joins in and the song crescendos into a climatic end before dropping off. I thought this tune had an inspiring vibe to it. On “Glimpse” DeVita sings, “I don’t belong here / I never did / Why should I sit here and wait for a glimpse of you” suggesting that his relationship has taken a detour and the love he once knew with someone else has ended. The piano melody is sad and melancholic, but the sound it makes is very warm and inviting. Another vulnerable and tenderly written song I would recommend listening to. The last track is called “Vapours” and stylistically, this tune showcases a little bit of everything – ambient, acoustic, alternative and experimental. I felt DeVita’s words were some of his best on the album – you can really tell that a lot of care and thought went into this song. He gives in by trusting that love is a powerful force that we don’t need to be afraid of – “By my side / Lead me if you want / I’ll jump on in with everything I’ve got / If I land on the rocks, it’s the only death I want / Your hand in mine.” That’s about all that needs to be said in this moving love song. Joe DeVita’s The Cave of The Heart, takes listeners into those dark places within one’s heart, weaving a narrative of love gained, and love lost, and eventually, coming to a place within us that discovers there is existence beyond the shadow of another. Comparatively speaking, no one band or artist came to mind, although DeVita’s gorgeous tenor made me think of Neil Finn’s from the Australian band, Crowded House.
Rochester, NY’s Agaaze is a 19-year-old multi-instrumentalist who just released his debut EP A Portal Inside, which takes listeners on a journey filled with vibe-y electronica, blending an assortment of sounds from electro-pop and neo-psychedelia. On this album, Agaaze features different instrumentals from heavy synths, piano and some featured guitar work as well as vocals that definitely feeds into the ambiance.
The EP gets started to the array of beats that sound catchy and upbeat on “Day Dreaming.” I could hear synths, keys and other digital fare highlighting the sounds. There was a whole lot of atmosphere to this electronic number. I was getting funk vibes as well that gave this track a very fun twist. The guitar solo on this number was also really good. The sounds on “Take It Slow/Personal” are more mellow and laid-back The glitch-y beats gives off a rather space-age quality. Once the ambient vocals arrived, I was getting more of Agaaze’s sounds here. Beats and electronic riffs surround the sounds on “Passion Blind.” Agaaze’s vocals come across very airy and reverb-drenched. He seems to experiment more on this track as the vocals appear to pay ode to the spoken word format. On “Set Me Free,” some more atmospheric synths settle into this track. The keys and synths draw you in closer to this moody and ambient song.. Overall, the vibes feel very moody and dream-like. On “Tidal Waves,” the sound of water cascading all around surrounds this track. The sound of percussion lights up the sounds. adding to the ambiance of this song. This proved to be a pure instrumental interlude from the artist. The guitars also sounded great. The female background vocal harmonies on “One Shot” gave off an airy vibe. I also enjoyed just how mellow everything sounded. Percolating percussive beats grow in traction on “Enter The Portal.” More of Agaaze’s easy-going vibes come through once his vocals could be heard. Feeling very relaxed, I thought the artist continues more of his electronica vibes on this ambient send-off. This was a full-on home-recording, which Agaaze recorded in his basement. The artist handles everything himself from the writing, recording and producing to the mixing and mastering. And you can see that this attention to detail has paid off. A Portal Inside doesn’t feel like a home-recording at all. I thought the artist shows a whole lot of potential here and I look forward to seeing more of his work soon. |
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