Every artist has a goal — an aesthetic to portray. Ways of Seeing aims to deliver beauty. Sometimes, that comes in forms of brutal loudness, and sometimes it comes in a fragile package. On End Comes To Light, this is apparent from the opening seconds of “Intro.” A gorgeous one-minute track that opens with a building synth piano passage; an an atmospheric arpeggio so transcendent that I was blown away when distorted electric guitars and manic drums exploded into the mix. It was a pleasant surprise, and what impressed me most is that it took nothing away from the beauty of the song. As mentioned above, that’s clearly the main goal for Ways of Seeing — whatever instruments or melodies are employed, the songs have to be beautiful.
This trend persists on “Who Do You Love?” Driven by a twanging guitar passage and a rolling drum beat, there’s a frantic but restrained energy to this track. I really love the little sax flourishes peppered throughout the track. And, of course, the tender vocals are absolutely sublime. They crone cautiously atop swelling strings and a forlorn but ever-hopeful melody. It’s hard to tow the line between somber and joyous, but this second song definitely achieves a pleasant marriage of those two moods. It’s neither happy nor sad. It traverses varied emotional terrain. The synth and drum switch-up was a fantastic surprise too; I loved the intimacy of the electronica, and the drumming really reminded me of something Kevin Parker might produce on a Tame Impala record. I say that in the best possible way. So, an electrifying start to the album, but does it stop there? No, the release is littered with highlights worth mentioning. “The Fall” is a taste of something a little different. Gentle, much like most of the album, but Ways of Seeing enters blues territory with a dark, brooding guitar line that would fit into many western films. The deep, husky vocals, acoustic guitar, and punchy beat that emerge during the chorus creates a sound that feels elating and hopeful; there’s a moment like that in almost every song on this eclectic album. Even “Sunlight (when it’s over)”, which feels like a harrowing piano piece from a superficial glance, harbors joyous depths that transform this ballad into a shining, contented closing track — that becomes apparent when the chorus bursts into view, offering such a cathartic release of emotions. The drums, brass instrumentation and chord progression in the chorus are so satisfying. And that sizzling, fuzzy guitar? Wow. Love this song. What a closing note.
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The Been Reals is an indie rock trio from Illinois and the members consist of Eric Marsh (guitar/keys/vocals), Tim Essington (drums/backing vocals) and Joe Coia (bass/backing vocals). Together they make the sort of raw indie type of music that we grew up loving in the ‘90s and ‘00s on their self-titled EP The Been Reals. At the same time, I can really see the band putting across their own style as they don’t really sound like anybody. I liked the fact that their tunes are upbeat and catchy.
The Been Reals open up with “Enjoy The Show,” where finger-picking on the bass lights up the sound alongside some drums. Next, the keys slide in for a melodic vibe. Eventually, the guitars are given their own spotlight. Once Marsh’s vocals came in, that was when the music really came together. The band had a great indie and alternative vibe. There was a rawness to their sound that I thought was great. The opener proved to be an upbeat introduction to the band’s sound. I thought this was a great way for the band to open up the record. More groovy bass lines settle into “Early Or Late.” Next, some warm instrumentals and Marsh’s vocals that are sung with a smudge of attitude grabs hold of you. I was loving the sunny energy of this track. I was also getting some classic rock vibes that recalled a sound from the ‘60s and ‘70s. On the baroque pop “Refresh The Page,” I also detected some jazz and lounge vibes. Next, the music opens up for a more hard-hitting and driven approach. I loved the immense energy the band shows on this song. I thought the guitars also sounded great. “Summer Song” starts off with a jaunty beat and some dark dynamisms. I heard some spaghetti western vibes on this track that reminded me of a Tarantino film. On “Lost And Found,” some guitars and drums settle in for a vibrant vibe. Marsh sings with tons of feeling as this anthem takes flight. Some reverb-drenched guitars roll in alongside some sauntering drums. The sound was very straightforward rock. I think Coia does a really good job on the rhythm sections here. The bass offered a groovy and funky approach. The band really rocks out here, which I found was a great way to end the album. Each member of the band offers different flavors to the sound and I think it’s their great chemistry that ties the music together. The players all jam out like good friends who've been playing together for a long time. If you’re looking for some upbeat and feel-good tunes, then The Been Reals is for you.
Reap The Light is an American hard rock/metal band that formed in late 2020. They got to work quickly and released Deliver Hell which is a full-length album. On their Bandcamp page they mention “The songs on this album are about overcoming depression, anxiety and loss. It's about overcoming all these things with courage and confidence. The album is about screaming in the face of evil, adversity and challenge!”
Before I even listened to the music I thought this was going to be a metal album. In the ’80s there were a lot of animated album covers from bands like Megadeath and Metallica and this looked very similar. Once I heard the music it all made sense. This was the type of metal that I would say was at its height in the ’80s and early ’90s. In fact the vocalist unequivocally sounds a lot like James Hetfield. The album starts with “Burn in Hell” and you are greeted with heavy hitting drums, distorted guitars, a steady bass and eventually expressive vocals where he sings “The stage is now set / Your sheeple are all here / Not knowing where they are / Led by confusion and fear.” There’s a good amount of energy on this song and a couple of incredible transitions. I loved the breakdown but oh man the doubling in speed around the three-minute-and-thirty-second mark is incredible. The next song is “Fade to Black” and it sounds like a female vocalist. I wasn’t expecting that but it gives the band a completely different sound. The vocalist sounds great and soars. It’s a deceptively catchy tune and the forward moving momentum is undeniable. “The Reckoning” sounded like there was a different vocalist as well. As the album progresses I thought there were a number of highlights. The title track “Deliver Hell” is undeniable and digs deep into an ’80s metal vibe including the ever popular falsetto scream. “If I Gave A Damn” keeps the energy. I thought I was listening to a different artist when “Hollow” came on. It has nothing to do with metal and is an acoustic piece with orchestral strings. “Dark As Night” and “Run Israel Run” get back into their signature sound. “Descend To Madness” is the centerpiece in a lot of ways. It’s dynamic and has a long ambient section with thought-provoking and haunting orchestral tones. “Victory Is Near” is a strong closer. With the exception of “Hollow” this is a cohesive and well put together metal album. It’s obviously a tip of the hat to early metal and the band pulled it off. Suffice it to say fans of the genre should appreciate this.
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Melissa Grey (theremin/guitar feedback), David Morneau (trombone) and Robert Kirkbride’s (guitars) recent release Always Becoming is a four-song EP that combines unique textures and colors in a cohesive loop. I happen to love EP’s or albums that do this kind of thing. In this case I thought they executed this beautifully. The cohesion between the songs is so seamless it rivals some of the best ambient releases I have heard. On that note although this release doesn't have a lead instrument I feel like classifying this music ambient doesn't quite capture it.
The first song is entitled “Being.” You are greeted with delicate guitar picking which grabbed most of my attention. There are other elements that create a light and airy atmosphere. Everything feels subtle but ever moving. The attention to detail was impressive. It’s also fluid. The first significant change comes around the two-minute mark into this almost techno beat. It starts to feel cosmic and alien and I was reminded of Aphex Twin in some regards. “Always” feels like a natural extension of “Being.” The guitar pattern is similar but different elements are accompanied yet still feel like they are part of the same palette. As the song progresses it grooves because it is more stabilized with ascending parts and syncopated trombone parts. It feels ethereal and ephemeral. “Ever” changes the mood slightly into perhaps a more pensive and melancholy mood. At the same time there’s a relaxing serenity to the music. Some of the sounds mimic the feeling of being in a mythical forest. That was at least the image that kept popping up in my mind’s eye. The most dynamic piece is the last one entitled “Becoming.” It’s also the most ambitious piece of music. I was reminded of bands like Mogwai and Local Natives on this song. The percussion is most prevalent here. There are some incredible grooves on this song and I loved the way they utilized builds which were not overly predictable crescendos. The song comes to a satisfying conclusion and I immediately felt like this was such a seamless experience. As I was listening to the EP I was looking at some of the beautiful artwork that was created by Robert Kirkbride. It’s a visual aid in some sense that connects you deeper into the music. I loved the aesthetics of this whole experience. It’s undeniable art that has an ineffable quality but makes sense at the same time. I do recommend listening to this on a hi-fi system to truly capture all those details that make up so much of this work. I thought this was an exceptional EP that was able to present ambient and experimental sensibilities in an accessible way. Highly recommended.
Adam Fleming is a indie/psych/folk songwriter from Dublin, Ireland who recently released his debut album entitled Taken Seriously. Fleming explains “My music is inspired by the more introspective and weird music of the great ’60s songwriters (White Album, Something Else by The Kinks, Syd Barrett and Richard Thompson) and also more contemporary artists like Elliott Smith.” Fleming was also nominated for Folk/Acoustic Artist of the Year 2022 by Radio Wigwam.
The album opens with “The Silent Answer” and as an Elliott Smith fan I picked up on those vibes right off the bat. I loved the guitar picking on this song which reminded me of Kurt Vile. Although guitar and vocals are the center of this song the drums, vocals, harmonies and other elements that are added make the song feel bright. Great opener. “Victory” starts with a sustained hum, guitar and vocals. The slide guitar and other elements which come create beautiful dynamics. Fleming hits it out of the park in terms of the vocals. I was definitely enjoying the warmth and inviting music. “I Can See The Sun” starts with such an inviting melody. It feels like the warmth of the sun and when the rolling brush work enters that song has an airy quality. I also thought the psychedelic sounding synths were an interesting element I wasn’t expecting. Fleming has more success with the more melancholy and introspective “Dress Rehearsal.” This song sounded somewhere between Father John Misty, The Beatles and Elliott Smith. Fleming sounds fantastic with some melancholy in his voice. The song blossoms with orchestral elements which made this song feel like a clear highlight. “I Wish I Didn't Know” brings up a mood which mixes emotions. I was getting a sense of gratitude here. I was yet again reminded of a warm song at dawn. “Taken Seriously” is a little more dissonant and contains a sustained drum guitar. It’s a hypnotic song and grew on me the more I listened. “Time Passing By” and “Bedroom Curtains” continued to reinforce the signature sound as well as the talent of Fleming. Another high point was “Another Mind” but “Old” might be my personal favorite. The banjo on this song was fantastic and similar to previous songs the way the instruments unfold adds so much to the dynamics. I loved this album. It’s raw, organic and feels real. The emotional connection isn’t something you need to search for. It’s right there in front of you to be grabbed. Highly recommended.
Located in Kansas City, MO, Fresh of Breath Air is a four-piece independent rock band that recently released thoroughly depressed everyone then happily left. They describe the music as “Indie rock music with unique jazz flavors and an occasional violin. Sometimes it's a little psychedelic, sometimes it's just music that makes you feel.”
The first song is entitled “blue” and starts with a solid, relaxing groove that’s a bit bluesy but rock based. I liked the vocals right off the bat. The song picks up some energy and I thought the vocal harmonies sounded good. I loved the violin solo and overall it was a nice mid energy song that felt accessible. “chips” ramps up the energy and tempo. It’s a phaser infused song that’s funky and gets your adrenaline pumping. If the song were any faster it would sound rushed but they find a nice groove. The song contains a well implemented breakdown which finds its way back to verse. “moon” is next and a little deeper into emotion. It’s more reflective, a little melancholy but arguably the highlight on the EP. I loved how the song picked up energy. The music reminded me of one of my favorite bands from the early aughts called Band of Horses. I thought “feather” was another highlight. The piano and Pink Floyd-like guitar work together to make a kinetic groove. We have a different singer on lead who sounds great. The vocal harmonies sound fantastic. Some of the lyrics resonated with me. In particular I thought “Reach your little hand back / See what you might find, I can / Paint a vivid memory / She looked just like you / Turned on the bright lights / You’re making me blind, but I see / Through all your shadows / Your thinly veiled lies'' was an an example of exceptional songwriting. The jazzy instrumental break which turns into an intense crescendo might be the defining moment of the EP. Last up is “leaves” which I thought was the most beautiful song. The rolling toms and guitar sounded fantastic. On top of that the vocals were emotive and expressive. I was getting a very ’90s alternative vibe with this song and it contains an epic outro. This is a solid EP from beginning to end. There’s no denying the band's chemistry and talent. I look forward to hearing more from them in the not too distant future.
Daniel Marcus Clark is a musician, composer and writer currently based in Bath, England. Originally training in Jazz and Storytelling, Clark went on to create a quartet called The Hat, who signed to Rob Da Banks Sunday Best records. The band disbanded in 2012 and he began to build more of talent as a composer. Clark recently released I've been thinking which is a nine-song album. Clark mentions “Using a simple, classic color palette, I've been thinking draws inspiration and influence from a variety of 21st century songwriters - from Leon Redbone to Leonard Cohen, from JJ Cale to Blake Mills and Timber Timbre. The album moves from light to dark to light - from rolling fingerpicked guitars, plucked double bass and Wurlitzer piano to thick, dark minor pieces.”
This album has a raw and organic quality that feels easy to relate to. The acoustic instrumentation creates a warm and inviting texture that is in similar company to an artist like Nick Drake. The album starts with the title track “I've been thinking” which is very minimalistic that puts guitar at the center. It’s serene and peaceful sounding. “Ode to this life” creates some movement with some fantastic string picking. The vocals come in and I liked the delivery right off the bat. Clark sounds relaxed and has a deep baritone. The artists M. Ward and The Tallest Man on Earth felt like reference points here. The bass sounds great as well. Clark’s baritone is in full effect on “Ancient Rome.” The deeply emotionally resonant song has a tinge of Tom Waits at least in the terms of the vocals. I loved the distant strings on this song and the electric piano feels incredibly warm. The lower mids are so easy on the ears. This is a fantastic song and a certified highlight to my ears. “High on a hill” is a little more melancholy and I have to say Nick Cave came to mind here. The atmospheric elements combined with the sense that this song was coming from a sense of pain. That being said, it's also quite beautiful. “Lost Twin” is haunting and feels cinematic. I felt like this song creates a sense of tension. “The Water” has more of the bluesy quality I wasn’t picking up on with the previous songs. I loved the sense of danger here and some of the southern gothic qualities. The orchestral strings are used beautifully against the guitars. Clark hits it out of the park with the vocals. The guitar picking on “You” is absolutely beautiful. I loved the sense of gratitude I felt when listening to this song. “Shine” sort of continues with this sentiment although there is this sort of playful sensibility with the song that feels very joyful and in the moment. “Goodbye” ends with where the first track left off and puts a tight knot on this release. I loved this album. The songwriting, delivery and cohesive qualities come together. There’s a gamut of emotions Clark explores but nothing feels too heavy and off base from the foundation. What a gem of an album. Highly recommended.
Paul Dillon is a solo artist called pMad who is based in Portumna, Co. Galway, Ireland. Dillon has been in a number of bands including The Suicidal Dufflecoats and Starve the Barber but pMad is where he has been focusing his creative energy. Dillon recently released a full length album entitled Who Why Where What. The album to my ears has a foundation of post-punk and new wave. Dillon mentions “There is the influence of The Mission / Killing Joke and the sound of Post-Punk and a bit of New Wave in there – There’s even Bauhaus, Blondie, Cabaret Voltaire, Siouxsie And The Banshees and Waterglass and The Horatii & the bass-led sound of the Sisters Of Mercy, and the puckish sense of humor of The Cure on ‘Except Me’.”
The album begins with “Who Am I” which contains some interesting elements. I liked the groove which revolves around a kinetic bass line, a driving beat, synths and prominent vocal chants. It felt dark and light to me at the same time. The song is dynamic and explosive. I thought the main vocals were well delivered and fit well with the style of music. “Broken” has a lot of things going on. I was hearing a bit of Pink Floyd as well as Nine Inch Nails in this song. Dillon is making a declaration he seems to be confident about. The main mantra is he is broken as the title implies. Dillon sings “Live my life / Wear my shoes / Feel my pain / See me live / Where I live.” “Medicine” is next. I was hearing a bit of shoegaze on this song. I loved the guitars on this song and the hypnotic groove. The song reminded me of Depeche Mode if they were a little more influenced by Joy Division. “Except Me” had wicked guitar patterns. It’s also hard to pinpoint in terms of genre. The songs has a good amount of atmosphere and one of the more uplifting grooves on the album. I was actually reminded of The Smiths with the self deprecating lyrics as well as the vocal delivery. The bass line was very interesting and kept my attention. This song felt like a highlight. The palm muted guitars on “Sisters” cut through the sign like a knife. This song felt infused with more of a contemporary flavor in some ways yet still maintained the signature sound Dillon was creating. “Youth” felt like a single. It’s the most kinetic song and felt very much like a song you would dance to. The energy here is closer to a band like Talking Heads. I swear I heard a banjo in “Horror” which I wasn’t expecting. It’s an atmospheric song with long pads and an overall dreamy quality. The closer “I Am” has some really great grooves which hit hard. I thought the distorted guitars were impressive and again Nine Inch Nails came to mind. There are also some remixes of a couple of songs. Overall, I thought this a solid album from beginning to end. I think fans of some of the aforementioned bands should love this. Take a listen.
Vericoovenir is a side project of Buffalo, NY artists Steve Giamberdino (vocals) and Brandon Schlia (instrumentation/production) along with Derick Evans adding some additional guitar and keys. They recently released Dream Points in Bluish which they say “is maximalist energetic bedroom psychedelic pop.”
“I'm Out Here” is the opener and starts with a catchy vocal melody, drums, bass, and guitar. I love sound the spaghetti western guitar on this song. The song goes into these directions I was not expecting but seriously enjoyed. There’s almost a dreamy cartoonish quality to some of it and it ends with this dissonant soundscape I loved. I was seriously impressed by the opener in how it seamlessly blended genres and styles. It felt very original. The band knocks it out of the park with “Ham Parade.” It’s a heartfelt song and there’s a warm mix of instrumentation here. Similar to the previous song the band is able to blend different tones, textures and colors. They make it seem easy. Fantastic song and was I looking forward to what else came ahead. “Glamour Hammer” drives in its own unique way. It’s fun and I loved the groove. There are novel surprises around every corner. I was feeling a little bit of LCD Soundsystem on this song. “Merchants” certified my vote for Top Album. This song has a ’90s alternative vibe in the spirit of a band like Pavement that blends with their somewhat unusual transitions including an almost funky and sensual section. “Time Is A Dime” is perhaps a little ‘deeper’ sounding then the previous song. It’s more cerebral and reminded me of The Local Natives at points. There are some catchy vocal parts as well and the song continues to a satisfying crescendo. “Hypoxia” is pure fun and about a minute and half of ’80s sounding Huey Lewis and the News taken and stirred upside down. They somehow continue to find new places to explore with “There’s Always Someone” which is sort of deep but fun while the closer “A Cowboy Never Waves” features haunting vocal harmonies and some killer bass and piano parts. This is one of those albums that barely makes sense to me. They recorded this DIY style and the vocals were apparently recorded with an iPhone. This album shouldn’t sound as good as it does. As for the music I thought Dream Points in Bluish was one of the best releases I’ve heard in the last year. Highly recommended.
I remember watching 120 Minutes on MTV in the early ’90s and thought it was about the coolest thing ever as a young kid in middle school. It actually felt underground at the time. That’s why my interest piqued when I read about how the band Swivel described their music. They say “Sounds like music you would hear on 120 Minutes watching MTV in the ‘90s. You'll get fun groovy drop D parts, grunge riffs, shoegaze solos and catchy vocal hooks.” I’m all in.
The band Swivel hails from Houston, Texas and is composed of Chris (bass/vocals), Brian (guitar) and Ricky (drums). Their self-titled EP Swivel contains three songs. It’s only around twelve minutes but it's enough of an introduction to get an idea of what they are about. “Machine Ethics” is up first and this sound had more of a hard rock angle to my ears. It sounded a little like Linkin Park went shoegaze. The vocals have a deep hall reverb and the lead guitar soars. It’s an intense song and the grooves hit hard. I thought the instrumental section around the two-minute-and-thirty-second mark was explosive. “Humannequin (Remastered)” was even better. They lean into the shoegaze qualities on this song and align well with early ’90s bands like My Bloody Valentine and Ride. The vocals are also delivered in a different way and there’s a subtle reverb. At points it feels like a convergence of grunge and shoegaze which I think some people out there have labeled it as grungegaze. The band hits one of the high points on the EP a little before the three-minute mark with a killer guitar solo. The grunge quality is even more noticeable on “Pretending.” This is the type of riff you might hear from Nirvana. The song is dynamic and the band is on point. They sound tight and in the pocket. The vocal harmonies were also a nice addition to this song. I think the band is off to a great start. My thoughts were I want them to lean even more into the shoegaze aesthetic with some dissonance. I thought this was a well done EP. It certainly aligned with some of my favorite rock genres. If you’re a fan of grunge, shoegaze and alternative rock this should be in your collection. Recommended. |
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