The Impliers are a Denver-based indie-pop duo with a long and storied history, and the latest chapter of that history is their new single and video titled "Lonely Meets The Only." Dan and Charles first met at age 15, writing songs using weirdly tuned guitars in a sweltering North Carolina shed. Within just a couple of years, their songs began appearing on compilations alongside acts such as Fugazi and Jawbreaker.

After working separately for a few years honing their skills in video production and comedy, the pair decided to bring their music back to center stage under the name The Impliers. The Impliers have been described as “a blend of psych, dream pop, and electronic, with thoughtfully layered music, rich vocal harmonies, and memorably vulnerable lyrics.” Their past work has been compared to artists like Tame Impala, Men I Trust, Depeche Mode, and more recently to “a collaboration between Prince and Trent Reznor.”

Their new song came to me via a YouTube video, and that’s how I’ll review it. Right away, the slick 80’s production sound reminded me of Hall and Oates (and the two guys visually recall them as well). The first words out of their mouths are “Deja Vu,” which also lends itself to that 80’s pop sound. The video is set up to play like an old sitcom around the time of Three’s Company or The Love Boat, with era-appropriate credits and goofy reaction shots from our two leads.

One of the guys looks a lot like Will Ferrell, which adds to the fun. There are also era-specific references like brick phones and trench coats. In fact, the video is so engaging that it’s easy to forget about the song, which has a great groove and sound. The synths are rich and full, and the harmony vocals are as good as they come. There’s even a fun credit roll at the end just like a TV show!

​Special mention goes to supporting players Juls, Madly, and The Dads. As a song, this is a lovely trip back to those crystalline synth-pop sounds we still haven’t forgotten, with a goofy video to supply the laughs. Great job, Guys!

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Calling themselves "Crafters of the finest quality songs, thoughts, and emotions" (the beer imagery is intentional), the band consists of Tom Foreman (vocals/guitar), Steve Larocque (bass), Matthew Remenda (guitar), Dave Luker (drums), and Brooke Fullerton (keys/vocals). They’ve been known to shoehorn banjo, slide, accordion, and pedal steel into their songs. Occasionally they play live sets on a dock with their listeners floating around below them.

Foreman and Co. are not shy about their influences. One favorite review quote is that they "write like Tom Petty and Bruce Springsteen but sound like Skynyrd and Bon Scott-era AC/DC." They also namecheck Wilco, Blackberry Smoke, and Steve Earle for Americans, and Tragically Hip and Blue Rodeo for Canadians. Finally, they have a kind of Mission Statement: "We write songs that make you want to sing along at the top of your lungs while on a major road trip with your best buddies, and probably have a beer somewhere too." Clearly, they really love beer, as their Facebook page has as many portraits of brew cans as band members.

For a group known for playing live, "Dirty Kind Of Love" starts us off with a wild slapback beat that could only be made in a studio, like a robotic heartbeat crossed with a stopwatch. The guitars kick in with a riff similar to Free’s "All Right Now." Having heard the album through, I can tell you the power and cohesion of the band’s guitars along with Fullerton’s keyboards is no accident. The lead singer (I’m guessing it’s Tom Foreman) has gritty, down-home authenticity. This song’s a solid, steady rocker mainly set apart by its cool vocals and arrangement. "You gotta play the hand you’re given when they’re dealing out them cards." Amen!

"So Happy" is not the first track but happened to be the song my Spotify began playing, and it’s a killer. Roaring in with a tempo and vocal arrangement very close to R.E.M.’s "It’s The End Of The World As We Know It," this track swaps out the lone lead singer for a bright, bursting chorus of radiant voices that really do make you happy. Not for the last time on this album, the band shifts into a modified reggae beat for the final third while they chant along. "She’s In The Wind" is another classic rocker with the full-fisted vocal bravado of Bob Seger.

"South Grand Canyon State" is sort of the title track. I happened to be playing this song while driving in the desert, and it’s perfect for the open road ("Highway 8, South Grand Canyon state / Leaving California behind… The deserts don’t have many things to say"). The gentle guitars, lap steel, and sweet harmonies make this a country rock classic very much of the Jimmy Webb school ("Wichita Lineman"). There’s a really sweet, understated lead guitar solo supported by Fullerton’s organ and harmony vocals. "Front Porch" is a slower song but works as a Part Two of the previous track, where the narrator turns his car around and camps out on his lost love’s porch. A perfect follow-up!

"Bipolar Girl" is a kind of showcase for keyboardist Brooke Fullerton, starting with just piano and her own sweet vocal turn. It quickly turns into another frenetic rocker, and I was so surprised by the change of vocalists that I had to check if this was the same album. If I were to make any suggestions, it would be to get Fullerton on the lead mic more often! The song itself is absolutely hit material. This is also the second song to shift into reggae mode toward the end.

Aside from the aforementioned tracks, "Fix You Fix Me" is a true standout. Framed with acoustics and piano, the lead vocal is hushed and chastened, dealing with the shards of a broken relationship (or is it a whole life?). Perhaps this is my own imagination but the title could also refer to a couple addicted to dope, taking turns supplying the "fix" to each other. Maybe that’s too dramatic but the emotional stakes seem just as high. However you hear it, it’s an emotionally devastating track.

​Well folks, I’m truly happy to have stumbled onto this awesome band and hope they continue making great music well into the future. Check them out and you’ll be glad you did!

You can trace the evolution of Rachel Lincoln from the vibrant streets of Perth to the bustling soundscape of the US. Embracing her roots as a vocalist in cover bands and acoustic duos, Lincoln's artistic endeavor now unfolds in the form of original compositions.

From the pulsating beats of electropop to the sun-kissed allure of country pop, Lincoln's sonic palette has undergone a metamorphosis, earning accolades and acclaim along the way. As she delves deeper into the heart of her craft, her latest offerings shimmer with a sincerity that resonates far beyond the confines of genre.

"After All" beckons listeners into a realm of introspection, its gentle cadence weaving a narrative of resilience and hope. With each note, Lincoln's vocals soar, infusing the air with a sense of warmth and solace. Beneath its pop-infused exterior lies a poignant homage to the trials and triumphs of the human spirit.

In "Nashville Nights," Lincoln invites us to partake in a jubilant celebration of life's simple pleasures. Emboldened by twirling guitars and an infectious hook, the track evokes images of moonlit dances and starlit skies. It's a testament to Lincoln's prowess as a storyteller, effortlessly bridging the divide between country and pop with an effortless grace.

"Waiting" emerges as a beacon of effervescent energy, its pulsating rhythm punctuated by the shimmer of reverb-laced guitars. While veering slightly towards pop territory, Lincoln's buoyant vocals infuse the track with an undeniable sense of vitality. With each verse, she paints a vivid tableau of longing and anticipation, culminating in a chorus that radiates with the warmth of a California sunrise.

​In essence, Rachel Lincoln's exploration into the realm of country pop is a testament to her unwavering dedication to artistic expression. With each melody, she invites us to experience the fusion of genres and the essence of humanity that permeates her music. As the music fades into the ether, one thing remains clear: in the hands of Rachel Lincoln, the future of country pop shines brighter than ever before.

Rachel Decker, Craig Roy, George Dimitrov and Tom Pearce are the Oak Hill Drifters. The band formed in 2014 and last year they released The Iris Sessions. It’s a five-song EP that lasts around twenty minutes.

The inaugural strides are orchestrated by the evocative "Carpe Dame." Here, the auditory curtain rises to reveal a soundscape that pays homage to the spaghetti western ethos. The listener is immediately ensnared in the mystique, akin to Tarantino's cinematic mastery. Rachel Decker's vocal prowess is the vanguard, an indomitable force that effortlessly guides the listener through the dusty, sun-soaked expanse. 

"Rusty," emerges as a finely-wrought synthesis of rock and country, a testament to precision in musical craftsmanship. Within its rich tapestry, there's a whisper of surf rock, subtly woven into the fabric of the lead guitar melody. Catchy vocal harmonies dance through the airwaves, inviting listeners to let loose and succumb to the vivacity of a live performance. 

"Fair Game" is a solid song, evoking echoes of Tom Waits while conjuring a vivid mental tableau reminiscent of Eastern European traveling circuses. The Oak Hill Drifters infuse their unique essence into this song, seamlessly blending elements. A tantalizing oboe flits through the composition, and towards the song's denouement, an exquisite solo unfurls, leaving listeners rapt and enchanted. 

Beneath the canopy of the most Americana-infused offering, “Believe Me, Iris,”beats the heart of a potential hit single. Infused with an unbridled forward momentum, it exudes an aura of mass appeal, a siren's call to music aficionados far and wide. The Oak Hill Drifters hit their stride here, crafting a song that promises to etch itself into the collective consciousness. "Shindig," as the name implies, bursts forth as a jubilant celebration. This exuberant composition is a sonic fiesta, marked by the delightful inclusion of the accordion—a veritable cherry on top of the auditory cake. The Oak Hill Drifters, once again, showcase their knack for creating sonic landscapes that are as festive as they are jubilant. 

​I thoroughly enjoyed this EP and look forward to hearing more in the not too distant future.

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Clear The Benches is the new, self-titled EP by Nashville singer-songwriter Todd Joseph, recording under the band name Clear The Benches. Joseph is not looking for his music to be defined by genres but hopes to “reflect and give back to all the influences I’ve obtained over the years.” His sounds stretch from “anthemic alternative rock” all the way to Home Production in the Box, and are meant for “people who appreciate music in all its forms.”

Having heard the album through, I can confirm Joseph’s lack of fidelity to “genres.” I was treated to hard rock, hip hop, dreampop with rap, outlaw country, and folk rock, pretty much in that order. Though I have no album credits to work from, the other members of Clear The Benches are Matt Carter, Clark Singleton, and Solomon Behn.

“Baby Doll” leads the pack with sharp, bluesy guitars beneath mysterioso Dr. John-style vocals. It morphs into a slamming blues rocker with big keyboards and drums and a radio-friendly chorus. “I thought I would charm you, I guess I did not,” Joseph sings, and he couldn’t be more wrong!

Talk about skipping across genres: “So I Don’t” totally surprises with a hip hop arrangement and a heavy funk vibe. Joseph’s rap and chorus vocals are clever, amusing, and filtered through several effects. “Found a drug and abused it / because I liked the way it felt with the music.” The choruses are even better, sounding both like pure funk and wild, experimental rock. The interplay with the staccato guitars and retro keyboards is something to behold, and took me way back to high school (though I won’t say when that was!). “Rock The Boat” continues somewhat in the rap vein but with dreampop backing and gorgeous full-vocal choruses. Joseph’s harmonies are unique in that they’re mostly in the lower range, with different levels of bass and tenor without throwing in a high vocal “just because.”

“A Yankee In A Rebel Town” takes an unexpected turn into outlaw folk-country (the title is a clue, plus: “I wear a bullseye like a rodeo clown”). You got your sparkling clean acoustic leads and slides, paramilitary snare drum rolls, and Allmans-Little Feat influences. A good track that feels short! “It Happens All The Time” feels even more traditionally folky, with strummed acoustic guitars and tasteful keyboard backing. Joseph’s harmony vocals now reach from low to high (sounds like he has a female co-soloist too), and are recorded so intimately you feel he’s sitting on a stool just across from you.

“In The Revelry” ends the album on an uncertain note, as the track itself sounds like a distant signal from a shortwave radio. Stylistically, it continues the closeup, honest folks arrangement from the previous track. The little keyboard grace notes between verse and chorus have a magical, otherworldly quality. Lyrically, the song proudly embraces those times we all imbibe too much (partying, music, what have you), because we must. A very interesting mixture of styles for a relatively short EP, all worth checking out!

Kevin DeHart on drums, Steve Dicks handling guitar and bass duties, Roger Hughes on guitar and vocals, and Michael Starks lending his vocals and keyboard skills, reunite fresh from the release of "Lite Bright Sky" to present their latest offering, "Loaded." From the opening moments, it's evident that this track is a sonic tapestry.

Clocking in at around 90 BPM, "Loaded" unveils a lush soundscape adorned with clean guitars, delicately played drum beats, and a robust bass foundation. Despite its brevity, spanning a mere two and a half minutes, the song maintains a consistent dynamic, a choice that seamlessly aligns with the weighty subject matter at hand.

​As Michael Starks delivers poignant lyrics, singing, "So many guns are loaded, do they point at you? We'll give you thoughts and prayers, maybe a tear or two. Just another news flash, same as yesterday. Hard to believe what's out there, such a price to pay." The lyrical content delves into the pressing issue of mass shootings in the United States, capturing the essence of a societal problem that demands attention.

"Loaded" not only boasts aesthetic appeal but also serves as a thought-provoking piece of art, successfully engaging listeners in reflection on the challenging realities of our time. In a world grappling with the gravity of such issues, this track hits the bullseye, showcasing the band's ability to fuse musical craftsmanship with social commentary. "Loaded" is a testament to the power of art to prompt contemplation and discussion.

Justin John Scheck makes a triumphant return with the latest installment in his ambitious series, "The Blue Collar Diaries," marking the Third of Four Concept Albums. This album dives headfirst into the realms of Grunge, Industrial Music, Blues Rock, and Trip-Hop, sculpting a sonic landscape that echoes the eclectic influences of a bygone era. Scheck paints a vivid picture, describing it as "As if Tom Waits and Kurt Cobain went back to the 19th Century and taught Pirates about music and music production.”

In his conceptual exploration, Scheck candidly delves into the depths of his own struggles with mental illness and addiction, shaping the thematic core of the album. "The Sparrows Dreams (Remix) Explicit" kicks off the experience with an industrial beat reminiscent of NIN's "The Fragile," yet Scheck's distinctive voice asserts itself, creating a maximalist atmosphere that commands attention. "Rebirth (But You) (Remix)" erupts with intensity, featuring blaring guitar and a monolithic bass drum. The cinematic quality feels poised to soar off the speakers, with Scheck's vocals reaching a peak as if shouting from a mountaintop to the gods.

"The Sea Is Red (Remix)" merges genres in a captivating way, evoking shades of Neutral Milk Hotel in the vocal melodies while presenting an entirely different musical palette. The fusion of mysterious instruments, be they horns or synths, culminates in a catchy and intriguing hook. "Of Us From Us (Remix)" stands out with its slick glitch beat, creating a haunting and ghostly ambiance that showcases originality in sound.

"It's A Cryin' Shame (Remix)" introduces a bluesy rock hybrid, uniquely crafted to enhance the essence of Scheck's sonic identity. "Beneath The Waves (Remix)" exhibits exceptional production and sound design, featuring a mesmerizing combination of deep baritone vocals and a lead instrument resembling a sliding wind instrument. Scheck's exploration of inventive territory continues with "Out Of Sorts (Remix)" and "She Said (Remix)," culminating in the accessible and emotionally charged "My Soul (Remix)"—a beautiful testament to Scheck's vocal prowess.

​Once again, Scheck proves his mettle, delivering an inspirational blend of production and sound design that pushes boundaries. "The Blue Collar Diaries" stands as a testament to his artistry, inviting listeners to immerse themselves in this album. Don't miss out—take a listen and experience the brilliance for yourself.

justinjohnscheck.com

The artist known as Mjoy states the song "Watermelon Nights" initially started out as an idea for processing feelings around people I knew, during the pandemic, being turned on more to right-wing propaganda. It eventually turned into a song about the conflict in the Middle East.

I think this topic is very contentious and I have a lot of friends from Israel and that region who have been affected by the war. Suffice it to say this is very complicated and unless you are from the region I think it’s extremely difficult to understand the cascading narratives that have been framed by the media.

Sonically, "Watermelon Nights" opens with a delicate, velvety beat, complemented by Mjoy's well-crafted vocals that deliver the narrative with finesse. The infectious hook and the song's overall structure prove to be compelling, with ethereal undertones provided by additional vocal harmonies, electronic beats, and subtle background elements. 

Lyrically, Mjoy is unabashedly clear in expressing her thoughts, acknowledging the likelihood of dissenting opinions. Yet, amidst the potential for discord, there's an unmistakable sense of compassion driving the artist's perspective. In the intricate web of "Watermelon Nights," Mjoy artfully balances personal reflection with a musical tapestry that captivates and challenges in equal measure​.

Gary Sohmers is well-known as “the King of Pop Culture” for his many appearances on the PBS series “Antiques Roadshow” where his knowledge of pop culture collectibles and toys comes quite handy. However, Sohmers has had a parallel career in music, having produced over 1000 concerts including artists like Mike Bloomfield, Ted Nugent, Bob Seger, The Siegel-Schwall Band, Styx, The Sons of Champlin, Richie Havens and Genesis with Peter Gabriel. His most recent project is Beasties: A Sci-Fi Rock Opera, currently available on streamers.

This album is not just a rock opera, but a “cast concept album” that Sohmers plans to turn into a roadshow event with a Broadway run down the line. Sohmers describes it as “a pop culture work of art aimed at saving the planet and humanity from climate destruction and societal corporate corruption.” Tom Majesky plays guitar. Bill Holloman (Chic, Nile Rodgers) co-wrote, arranged and orchestrated the album, with mixing by Paul David Hagar (Miley Cyrus, Katie Perry, Jonas Brothers). Mastering was by Emily Lazar and Chris Allgood at The Lodge, New York. There are 17 songs over two albums (almost two hours!), so I’ll mention some of the highlights.

The curtain rises, so to speak, with the “Beasties Overture.” You can imagine sitting in a darkened theater as phased clouds of sound slowly rise around you. At the exact one minute mark, a solo electric rhythm guitar blasts forth with a chunky, engaging rock instrumental. “Good Old Friend” features the full band for the first time, and it’s clear the music will owe much to bands like Rush, Boston and even Sohmers’ early discovery, Styx. Lead singer David Bickler appears as Grā, an impulse from the cosmic universe, along with soul singer Barrence Whitfield as the “star” of the concert, appropriately named Voice. The music is classic rock with a prog edge, backed up with chorus singers, horns and wailing leads. All the previous cast members are then joined by Liz Proteau in “Forever Girl” as the female lead Terra. The verses have some of Bowie’s majesty (“Sons of the Silent Age”) while the chorus has a Monkees-like accessibility. Even more surprising is a duet of Allmans-like slide guitars in the middle section.

“Knock It All Down” is an amusing, engaging reggae detour featuring LaVon Fisher-Wilson. “Even the Cool Succumb” introduces actual British rock star Chris Farlowe (he worked with the Stones, Jimmy Page, Van Morrison and more) as the villain Dick Traitor. Great voice, with some of the jolly menace of Tim Curry and the power of Roger Daltrey. “Beasties” is sort of the title track, introducing the stars of the saga with spirited vocals from the whole gang. Terrific harmonies and fun rhymes distinguish this song. 

“Dinosaur Rock” has a similar arrangement but has lots of fun with the tropes of classic rock, with the chorus sung like cavemen. Some very cool percussion in the final third. “Stand Up and Be Counted” is the most Broadway-sounding track thus far, stretching all the way back to “The Music Man” (you may not get that reference, but Sohmers certainly does!). Imagine a marching band playing a new, original song and you’re halfway there. “Empathy” is another stage-ready extravaganza, with an interesting twist on McCartney’s “Mother Natures’s Son.” 

“Love and Let Love” features a welcome solo moment for Liz Proteau, whose voice compares favorably with Disney heroines like The Little Mermaid. The other voices are quite amusing, and also reminiscent of outlandish Disney characters. “Dive” is one of the hardest rockers, with blistering riffs, growling vocals along and spooky blues-infected background soloing. Just to make sure all genres are represented, “Why” is jumpin’ funk fest with a full horn section, Dr. John-style piano and amazing percussion. 

“The Price of a Kiss” is a fully produced folk-country detour from the Jimmy Webb-Warren Zevon school. You can see both the pedal steel and the big performance stage in your mind’s eye. Great vocals from Bickler and Proteau. Jumping ahead to the big 7-minute conclusion, the whole cast assembles for an Off Broadway extravaganza, starting out playing rock but quickly morphing into the ultimate showtune. I’m feeling a lot of late-60’s influence here, as well I should. “Be kind to all / kindness is the currency / spend freely!”

There’s lots to experience here, as you’d expect for an audio show hoping to hit the footlights to packed houses. Get in early and have a great time!

Terror Garden is an American metal, hard rock & groove metal band from Long Island, New York. Still retaining two original members from their founding in 2010, the band has just released a new album titled Psychotic Disorderly Magick.

The band’s players are Paul Terror (lead vocals), Gina “Gee” Llasi (drums), Mike de Gruchy (guitar), Ed Pallotta (guitar) and Wild Bill Sherman (bass). The group says it’s influences range from “1970’s classic hard rock to today’s modern, metal scene.”  

“The Party’s Over” is a fun title to start with, as the party is clearly just getting started. This is one of those songs where it feels like the big ending has been cut and pasted back to the front! There’s wheedley lead guitar and tumbling toms galore. The vocals are from the classic hard rock and metal school, halfway between Axl and Geddy. It’s thick and anthemic and there won’t be anyone in the room who ain’t rocking.

“Should Have Seen It Coming” ups the YEAH! vocal quotient considerably. It’s a sinewy, driving, bass-heavy track that gives Paul Terror plenty of chances to wail, as the lead guitar screams into the night like a wolf in a trap. The second half of the track resets with full attention on the grumbling bass, then slowly brings everyone back for the killer finale, which even includes an amusing spoken coda. “Up All Night” is a hyperspeed funk fest, like the Chili Peppers or “D’yer Mak’r” by Led Zeppelin. Amazingly tight even at triple speed.

“Hangin’ by a Thread” would be a hard rocker by any other measure, but after the opening tracks it’s actually a bit reserved, with a bit more air in the room to appreciate the band’s dexterity. It also features an incredible guitar solo that I’m still not certain wasn’t performed on a keyboard! Guitar freaks, look no further! The extremes of soft and hard rock in this track are very Zeppelin-esque. Continuing the trend toward less monstrous tracks, “Back in the Day” starts on acoustic guitar and adds electric guitars pretty much set to “clean” until the anthemic choruses: “There was so much energy / BACK IN THE DAY! / Everything was different then / BACK IN THE DAY! / No computers or internet / Leather skirts, fish nets, those are things I’ll never forget.”

“Cyclone” starts with a bass vamp, leading into - yes - another Zep-like blues-funk excursion. Vocalist Terror sounds less like Robert Plant but more like the classic Chicago blues belters. The chorus is “Gone but not forgotten!” which could be an alternate title. “Life Don’t Matter” is a deliberately-paced hard rocker bathed in molten waves of fuzz. I noticed the bass has a cool, trebly Rickenbaker tone. Extremely cool, unexpected middle section too. “Desperate for Attention” brings us home with an angry rant aimed at someone who’s better off going away because “He’s just so DESPERATE!!” Can’t help but wonder if this isn’t aimed at an unhinged fan (“travel a thousand miles for a hundred dollar show!”) because I doubt any woman would put up with being described this way. But oh yeah: it’s a great tune with killer vocals, amazing guitars and many exciting changes including a guitar solo that was probably paid for with human souls.

By now you’ll know if you need to hear this, and I think you just might. Recommended!