Chad Carrier is a seasoned musician who got his start back in the ’80s. Since then his list of achievements is prolific. Carrier had airplay on MTV when they used to be the biggest thing in the world, was signed to Capitol records and has been in many successful bands. Today however we are concentrating on Not Alone which is a thirteen-song album.
The album begins with “Die on the Hill” which has a strong country, folk and bluegrass quality. It’s got an appealing drive and I loved the rolling drums on this song. The song is a fun, playful and solid introduction that got me interested in hearing more. “Silence” is more subdued and revolves more around acoustic guitar and vocals. It's a warm and inviting song and some of the vibes felt similar to Cat Stevens and Grateful Dead. Once I got to “Devo on Dope” I got thrown for a loop. It definitely seems to be inspired by Devo but the fiddle gives this country flavor and to throw more at you Carrier sounds similar to David Bryne on this song. This was a very original sounding song. “Not Alone” was an emotionally resonant song with lots of positive messages and a warm canvas of sounds that provide a sense of solace. “Bootstrap Cantina” was another interesting one. It felt like a tip of the hat to Johnny Cash and the vocals seem to have an affectation to fit the mood of the song. It's dark in the same way a Johnny Cash song is but still good fun and something you can sing along with. “Check My Soul” was a catchy song that felt theatrical to me. I was picturing a grand performance in Las Vegas with this one. “Hanging Out in Hollywood” is more cinematic and definitely a darker song. There’s a sense of tension here which is menacing. “Death and Calling” is fun. I loved the almost childlike sing-along quality juxtaposed with heavier lyrics. Continuing with a child-like sing-along quality is “Laughing” but even more so. Out of the remaining songs I thought “I Wanna Hurt” and “Bubbles” were highlights. Carrier’s tone throughout this album is a little hard to pinpoint. Some of it felt playful, some of it more serious and some that were on the line. Regardless, the album has some great songs and it’s obvious why Carrier has been able to make a living as a musician. Recommended.
0 Comments
Gary Adrian (bass/pedals/vocals/keyboards), Brian Mueller (guitar/keyboards/mellotron/vocals/ /loops) and Stephen P. Rogers (sonic analyst/voice of reason/vocals) are North of Tomorrow. The band from Phoenix, Arizona recently released their second release entitled Something Unexpected. It features musicians from Italy, England, Brazil, Spain, Germany, Nashville, Philadelphia, LA and Montreal according to the band and they mention it “will be loved by the fans of Peter Gabriel, Radiohead, Gorillaz, Foals, David Bowie, Pink Floyd and others.”
The album opens with “New October” and right off the bat the song has a rich assortment of instrumentation from reversed sounding synths, xylophone and more. I actually was reminded of Peter Gabriel. The song is lush and atmospheric but still feels kinetic. I loved some of the grooves on this tune as well as the vocal melodies. It felt like a very strong start and I was excited to hear more of what lay ahead. “It Could Have Been Me” has an off kilter funky beat that starts the song. It sounded a little like Primus but with a darker sensibility. There’s a good amount of dissonance at some point, some of it explodes into ’80s lead guitar. The song felt all over the place but in an interesting way that still managed to feel cohesive. There were some very experimental transitions and it was all on board. I was getting more of that Peter Gabriel flavor on “My Sweet Spot” in a number of ways - the instrumentation but also the hook in this case. I think this song felt like a single because of how pronounced the hook was. The band continues with songs that burst with instrumentation such as the lush “SuperExtraordinary” and “Shakey Bones” which contains some exceptional lead guitar with a jazzy canvas. “We Were A Heart Away” contains a number of vocalists, orchestral sections, rock sections and just an incredible range of exploration. One of the most danceable songs was “Lean On In” which also felt playful and fun. As the album progresses the band continues to fire on all cylinders. I can’t say there were any lulls but there were some highlights. “At First Blush,” “Pray For Rain” and “Something Out of Nothing” were standouts to my ears. This is the type of album where words can’t capture the scope of the songs. The band explores crevasses that demand a lot of work and an attention to detail. This was an incredible album. Highly recommended.
Kabinyo describes himself as “a producer-artist based in Atlanta, who has gained a following producing hip-hop, vaporwave and synthwave tracks that draw from an eclectic range of inspirations.” Looking back at his discography, he’s released a bunch of projects since 2019 or so, but this most recent one might just be his most complete album to date. Titled No More Chasing Ghosts, this new effort takes inspiration from the ending of a relationship and is an excursion into the murky waters of grunge (“Need It Still”), house (“Lift Your Soul”) and perhaps even industrial (the first part of “I Am Collins”).
I really think Kabinyo couldn’t have chosen a better title for this haunting LP. There are definitely all sorts of genres that Kabinyo attempts here. It’s kind of like he’s having an identity crisis whenever he thinks about his ex. Within the course of 35 minutes, he pivots from ghostly bass synths and dense trap beats to ethereal vocal sampling and beautifully orchestrated strings. “Ghost World (Intro)” and “Roma” do a magnificent job with setting up the darkness. They are also by far the most hip-hop oriented tracks on the album. The flows from Chris Messan and Slim Spitta sound really catchy as well. After a brief interlude comes “Need It Still,” which I thought was the grungiest song on the album, but not in the traditional distorted, overdriven sense. Aside from the snare drums carrying some real bite, the rest of it is much more relaxed in its production. I’m sure that a myriad of different guitar pedals and effects were used to create the wavy sound this song has. Think of it as a sort of instrumental take on “Come As You Are” by Nirvana. In other words, it’s not only incredibly moody, but it’s also the record’s strongest track. “Bitterness” dials down the moodiness in favor of a sizzling R&B groove. Alyssa Jane also happens to be a powerful singer. It’s hard to picture this song sounding as good with a different vocalist. “Sapphire” is also stunning. I particularly got a kick out of how menacing its bass synth is as it’s underpinned by house-influenced percussion. However, I’d like to know why it’s called “Sapphire.” Going a bit further into the tracklist, the militant “I Am Collins,” borrows elements of industrial music. While the track’s harshness fades a bit in the second half, the haunting aura essentially remains the same. Finally comes “Why Won’t They Talk To Me” featuring Noon and Audrey W. I picked up on hints of beabadoobee and The Sundays when listening to this a few times, particularly when the woman is lamenting, “Why won’t they talk to me? / I thought I was happy.” Combine that with a melancholy acoustic guitar line, and you have yourself a decent song. Its only flaw is that it runs on just about a minute too long. Overall, if you would like to hear a hip-hop focused album that melds all sorts of other genres with one another, then No More Chasing Ghosts is for you! Very much recommended.
Tin Fossil is the project of a guy from Tennessee with too many guitars and, who only recently, got serious about songwriting. The self-titled four- song EP debut Tin Fossil came out last November and was recorded mostly at the artist’s house. Featuring guitars, bass, drums and vocals, otherwise known as the basics, is a blend of Americana, alternative, pop rock and indie pop. Occasional piano or keyboards can also be heard in this short recording with nice hooks and harmonies. I’m guessing fans of Wilco, The Avett Brothers and maybe a few others like them, may like Tin Fossil’s work. The first two tracks “Lost Highway” and “I Got Love” have videos to go with the songs on YouTube.
To start off “I Got Love” offers a hooky bass line, two heavy guitar sounds and a fun, pop rock rhythm. Lyrically, this song’s about offering love to someone who’s in need or they are your lover. There are some added choir-like backing vocals that give the song an uplifting, inspirational feel. Next up is “Lost Highway” and this one takes a detour into the Americana/alt-country rock genre. There are some nice vocal harmonies here that deliver a positive message - “Just remember that the darkness fades in time / sky’s a little cloudy but we’re leaving it behind / just gotta keep the wheels between the white lines / down the lost highway.” Sometimes life throws you a bunch of bad stuff your way, but keep your head up and your eyes on the road because life always changes. “A Night Alone With You” features Tin Fossil on the acoustic, fantastic vocal harmonies and piano. This is a sweet rock ballad, with tinges of classic ’70s soft rock style - I want to say, it reminds me of a song by Badfinger? But those guys were a bit earlier then the ‘70s soft rock craze that happened later, post Beatles-ish type bands that came out then. Anyway, a great song here - really sweet in so many ways - featuring lyrics that are simple with no fluff. The next and final song, “What If” is even sweeter. This one features the acoustic, vocals and accompanied shaker percussion, drums, bass, strings and piano joining in a bit later. This song does indeed ask a lot of “what if” questions, but I think that’s the song’s strength. It’s a hopeful and positive love song with a loving echoing piano melody towards the end. Overall, Tin Fossil’s debut is a good primer to this artist’s varied talent. I hope to hear more.
Yonas Campbell is a new singer/songwriter based in North London. Previously, Campbell had released his debut EP, Another Side of Paradise, a four-track release, which had a good review on Pitch Perfect. Now the artist is back with his latest single “Chess, Love & War,” which is a departure from the acoustic, folk sound of his initial release. Here, Campbell dives into a great indie rock/pop rock sound that recalls in my mind both The Beatles and Paolo Nutini. In the end, it’s Campbell’s great vocal styles that really spoke to me.
Just under five minutes, “Chess, Love & War” is an exploration of a couple’s relationship during New Year’s Day. Grabbing hold of the opportunity to turn their relationship into something more, things don’t end well and the track delves into how the couple tries to work out their relationship. An indie track that rocks out with poppy embellishments and hooky riffs, Campbell’s sugary vocals are the catalyst to this track. A smooth blend through and through, I loved the dynamism of this track, with lyrics that delicately talks about a couple’s topsy-turvy relationship with moving music in the background. This is a combination that can’t be missed! From beginning to end, this track has all the makings to become a hit. If you’re a romantic at heart, give this song a go. You won’t regret it!
Stupor is the debut album of English singer/songwriter Ellis Bloom. Clocking in at just under 55 minutes, this latest effort is quite the odyssey of blues and folk occasionally blended with trippy psychedelic guitar licks (the psych elements really only appear on the first and last tracks, though). It’s entirely self-produced with the help of Logic Pro X, a microphone and an audio interface. Bloom says he wrote and recorded all twelve of these songs on his debut while he was a carpenter working in theater for over five years.
Picture this: you’re on a tropical Hawaiian island, lounging in a chair by the beach while drinking papaya juice from half of a coconut shell. Stupor is the album you’d listen to if you were spending your vacation idling under the sun getting a nice tan, or perhaps lying in a hammock, feeling the ocean breeze rush through. The instrumental, “Sea Salt Spray,” does a remarkable job of conveying such island relaxation, complete with big drums imitating the crashing of waves. Besides the instrumental, there are some quality tunes buried in the haze of atmospherics and reverberation. “I’m Told” is a Jefferson Airplane-meets-early-Pink-Floyd style song, and what it doesn’t boast in strong melodies, it makes up for by having guitars collide with thick coils of bass. This perceived effect is definitely meant to put people in a trance. Other enjoyable songs include “Pink Strawberry Lemonade,” “Not That Kind of Fine” and the Bob Dylan-esque “I’m Gonna Get By.” All three of these pieces feature Bloom’s harmonica playing as well. Later on, the album transitions to a noticeably mellower sound. “Cleaner than Smoke,” for instance, is perfectly appropriate for a smoke-filled tavern. The closer, “Hold It Down,” is arguably the greatest number on Stupor. Starting off slow and low, its electric guitar picking gives way to some galloping tom drums and hushed vocals, yet rather than building up in intensity, it seems to go back to being quiet again. It’s honestly quite cool, and yes, psychedelic, to hear Bloom playing around with dynamics. In a way, I’d argue that Stupor’s last song “Hold It Down” being so restrained is emblematic of the parent LP as a whole. It’s an album of both relaxation and restraint. It never gets truly stormy, so that’s why it works so well for a sun-kissed Hawaiian beach. Musically, it may be ideal for that sort of situation, but it’s also quite nondescript in the vocal department. While it doesn't reinvent the wheel, Bloom’s 2022 debut, Stupor, is an otherwise pleasant exercise in tranquility. Recommended.
My Giddy Aunt is a band from Melbourne, Australia that recently released their debut EP entitled All Things Come In Time. The band was formed in 2021 and obviously got to work quickly. I was impressed by how seasoned this band sounded. They mention that they have been compared to artists like Cousin Tony's Brand New Firebird, Gang of Youths, Sufjan Stevens, Phoebe Bridgers, The Smiths and They Might Be Giants. I will throw in my perspective as well. There’s something bright and positive about their music that felt aligned with a band like Passion Pit and The Flaming Lips.
The opener is called “Acceptance” and starts with just guitar and vocals. I thought the lyrics were great and the vocal harmonies sounded on point as well. The song explodes with a cathartic release with horns, percussion and much more as the vocalist sings “Acceptance” with confidence. We get a slick groove on “You Lost” which is also quite comforting and inviting. The vocals are where it’s at but the subdued elements with a more robust and funky bass line works on multiple levels. Some of the dynamics grow subtly. It reminded me of one of my favorite groups - The Boy Least Likely To. “Sunk” might be the highlight. I loved the groove here and the faster motion of the music. There was a ’70s quality with the music. The vocals are quite beautiful especially when the harmonies kick in. I thought the bass work was again very strong but above that is just the tight performance and their ability to create a song that feels like it’s lifting off to the stratosphere. The instrumental break on this song right before the two-minute-and-thirty-second mark is incredible. “All Things Come in Time” reminded me of what was happening on the indie scene around 2005. I say that as high praise. One of my all time favorite bands is Broken Social Scene and those were the vibes I was getting here. They close with “Not Mine Anyone” which is a lush and intimate song. It’s delicate and feels like it could break at any moment which is why it works. The vocal harmonies are on a different level on this song. I loved this EP. This is an incredibly strong debut. Highly recommended.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Jonah Ocean Swimming 3.9 Joshua Rector Jahishua 3.8 Great Wide Nothing. Hymns for Hungry Spirits, Vol. II 3.8 Selohrae Mind Games 3.8 Michael Dean The Michael Dean EP. 3.7
Two is the latest synth-pop album from Mike Dasher. He wastes no time getting started, throwing himself fully into the intro track — “Frightening” starts with a punchy beat and hypnotically catchy synth line. I was bopping my head before the vocals or guitar came into play, but the acoustic instrumentation was really just the cherry on top of a cake that was already delicious. I love the bass guitar tone on this track, and the wispy, washed-out vocals perfectly contribute to the psychedelic sound that Dasher has crafted. Then, when you add the summery, sparkly electric guitar twangs to the mix, you’ve got a feel-good indie-dance banger that’ll have everybody on their feet at the party for introverts (sounds like my kind of gathering).
“Leave The Light On” treads nostalgic territory, wearing ‘80s influences on its sleeve with the flanger-driven guitar that would be fitting in an early Smiths’ track. Even Dasher’s emotive, evocative vocals are reminiscent of Morrisey. But Dasher brings something new to the table — there’s a quietness and intimacy to this track that feels very much unique to his sound. I do love how washed out his vocals sound — I know I’ve already mentioned that, but it’s worth repeating; the effect on his vocals really adds to the trippy, otherworldly vibe of his music. There’s a mix of somber tunes and pop bangers on this record. Another dance-worthy offering, “Feet to the Fire,” actually manages to be both a pop banger and a somber, sullen piece. Yes, the chord progression and heart-wrenching vocals carry a sadness to them, but the punchy, enigmatic beat somehow cancels out that energy and still incentivizes listeners to move their feet. Again, it’s a pop banger for a small gathering of like-minded introverts, but there’s no denying that this is music for the downtrodden who still want to move their bodies — shake off the blues. Two closes with “Widen.” A song that feels so much more uplifting than its predecessor and yet still carries an edge to it — a slight sinister darkness. I love the crunchy guitar and, yet again, the catchy, booming beat. There are some fantastic riffs and vocal hooks on this head-bop-worthy album closer. Mike Dasher certainly closes the record as he starts it. There are no low notes on this electrifying, multi-faceted offering.
Wilburs is an experimental band, and I use that label because they’re musicians that refuse to be pigeonholed in a single genre of music. They’re not out there selling out or trying to replicate tired, banal formulas — they’re trying to create something fresh and intriguing. And they’ve done exactly that on Wilburs II. It’s an alternative rock album, but it’s also an acoustic album, a DIY album and a little-bit-of-everything album. It’s an album for those who love bands that do things differently.
The self-titled intro “Wilburs II” sets the scene with synth keys that plink ominously atop a cracking static loop. Occasional vocal harmonies dart in and out of view, adding a beautiful splash of melody in this avant-garde opening to an album — an album that refuses to settle on any particular sound or style. Sharp synth notes jab here and there, adding to the cacophony of various instrumental elements in this brief but intriguing intro. And I was baffled by the transition into a beautiful acoustic rock track called “Mundane Becomes The Everyday,” which sounds like an entirely different band. I love the chord progression and vocal hooks on this easygoing rock output — the synth/guitar whirs towards the end gave the otherwise-folk track a surreal, alternative feel. There are so many twists and turns on this album. “Gold” is driven by a rolling drum beat, steadily strumming rhythm guitar and lead guitar that matches each solitary, spaced-out vocal note. There’s an abundance of intriguing sound effects and strange, alien synths; especially in the climax, which has a calming calamity to it. The crescendo is both wild and guitar-driven, and yet something serene and beautiful. “Requiem” is one of — if not the — best song on the album. That might seem strange to say when it barely scratches the minute mark, but it’s such an instrumentally colorful and complex track. I actually had to give it a repeat listen to make sure I reviewed it in the way it deserves. The heart-breaking piano chords, math-rock guitar solo and overall melody are all sublime. But the best part of the track is the drumming. Wow. There’s a precision and level of detail to the drum work on this track that blows me away — and the tone of it feels so present. So visceral. What an interlude. And it leads perfectly into the electrifying closing track, “Something I Won’t Fix.” A fast-tempo, clean electric guitars and crooning vocals suddenly transition into chaotic and arena-filling guitars, as the explosive choruses, laden with vocal screams, emerge in short sparks of fury. It’s a surprising but impressive outro to an album that, as a whole, deserves the same descriptors. |
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
|