Boston-bred band Rye Pines are just starting to settle in and get their groove on. Set to release music videos and steady tours with fellow city mate musicians, these East Coast players have a finger on success and are priming the choke. Musically it's an effort in pain and joy intermingling; how the two can be as one. Also, heavy doses of poetry and literacy are woven within the musings. Rye Pines sounds a little like a disgruntled Arcade Fire mixed with Modest Mouse. It is mellow and pretty, country and folk, but all indie. There's a lighthearted laziness in the vocals that often reflects the lilt of the track, moving like slowly pouring honey. Take it easy, take it slow, and then unleash. That's the formula at work here and it's quite exemplified on the first track "Good Health” from A Portrait of Dissonance as a Young Man. "Good Health" keeps the listener engaged with dynamics and unique elements that rise and fall in the background. Underneath it all is a soft pretty acoustic line that falls into place around a minute-and-a-half; like the cooling rain after a humid afternoon. "Posthumous Fame" has a catchy guitar hook and generally reiterates ideas from "Good Health,” to which I have no problem, as I feel those two tracks may be where this group really hits their stride. It's a little more reserved and padded, but doesn't leave any doubt that it's only waiting to crescendo and break open. Again, that guitar hook is simple but so well placed and mixed. As it enters with a march and a purpose, the guitar on "Choctaw/ Iroquois" flutters in bursts and then finishes with a head-bobbing groove. Rye Pines really channels some Modest Mouse on this one; the higher than normal bass line and sort of angry vocals with murky guitar tonalities and non-descript chord changes. It's music that will keep you guessing more than give itself away. And that is rare these days. A little oddball track, "Wayward Pensive" holds a timid hook and an introverted sound all around. Rye Pines isn't trying to be anything it's not. For those that desire a little less salt, little less fat - this band is for you. Just what you need without the filler or unnecessary taste enhancement. A skeleton of rock/folk incarnate. Exception to the moments of riotous emotion and guitar disarray, this album comes and goes like a bored dry wind. Artful yet lost. But you're there to find it. To pick up the work and treat it with respect. It's an aural diary from the heart of a singer/songwriter so really it's about as good as musicianship gets. Faint moments, loud moments, times of dark, times of light. It's all in there – so try it on.
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Gordon Smoker has seen some hard times. As a silver lining, this album pays tribute and thanks to those days, now gone and left as charted memories all too well suited for a musical reincarnation. Lancaster, PA is his hometown and they sure love him there. That's the most important thing really – to find that fan base and build. Smoker is influenced by hymns, and several 90’s genres including country, Christian rock, and Top 40. His talent led him to lead in a Christian rock band that gave him great experience, but ultimately fizzled. Following that, Smoker spent two months in India and four months in Haiti. During this time he developed new ideas on the world and a stronger voice to present with. His musical taste shifted when he returned to Lancaster, where he lifted spirits primarily in folk-infused works and by the books country. Well received and back in the prime, Smoker began touring and playing more often and gathering his knowledge of sound along the way. "Before the Curse,” one of the tracks on Old City Night, showcases a touching chord progression that's almost made for harmonica. The way it slides in and out and edges the tone is pure stylistic magic. The guitar and cello glide along above the tap and slap of snare drum as the vocals take the listener away. And the harmonica solo - right on. Superb harmony opens "West of the Horizon" like something out of a Crosby Stills and Nash cut. It's the longest track on the album and fittingly the last. The vocals are on the verge of rasp, but it's a pure tone that sits on top of a few packs of smokes and maybe some day drinking. This song plays out like a story, and indeed it is. These songs are all anecdotes of Smoker's life and have a lot to do with relationships both romantic and musical. The tempo is heightened just for the special track "Holland in the Springtime,” significantly brighter and jubilant than its counterparts. Not sure if conga is present or if it's the acoustic body, either way it's a nice touch. "Old City Night" is a strong work and has a consistent tone throughout. Smoker makes great use of recharging ache and loss to channel great music and real feeling. There's an air of classicism going on, intriguing qualities, not surface value jargon. You can't quite put your finger on what it is, but you know it's there. This album has its own history, locked away in Smoker's mind, now free to be interpreted however it may be. But take notice. He's put a lot of emotion into Old City Night and these songs are by no means sleepers. Find the time to delve in and hang on the lyrics, really understanding the meaning behind them. If you don't stop and listen, you'll miss it.
William Friel has been writing music under the moniker Motorcycle Crash for the last three years. He recently released a five-song EP entitled Endless Bummer that is a lo-fi DIY effort that tips its hat to surf, garage as well as a couple of contemporary styles. The obvious reference when listening to his EP is Deerhunter, specifically their latest album Monomania. Friel writes pop songs that are catchy, extremely raw and have good foundations. Unfortunately, the EP is limited by sub-standard production that adversely affects the music. There is so much high -end distortion on some of the songs that it is hard to listen to at a high volume. The other issue is that I couldn't make out what he was saying a good portion of the time. I wanted to sing along to his catchy vocal melodies but they were too buried in distortion most of the time. That being said there is a lot of good things happening on this EP, which showcases Friel’s talent. The album starts out with the highlight of the album called “Highway Lanes.” I thoroughly enjoyed the combination of guitar and what I believe to be a synth of some kind. It has a shoegaze vibe and reminded me a bit of the sound The Flaming Lips achieve on “Race For The Prize.” The vocal work is solid and the mix holds up much better than on some of the other songs. The next song “Endless Bummer” is another solid song but the high-end frequencies are piercing throughout. It has a surf rock 50’s vibe and I would have loved to hear this song with a bit more warmth and low end. “Heart-Ache” is another well-written song in which the guitar work and vocal harmonies really shine. Unfortunately, the lead vocal is muddy and lays too low in the mix . It is obvious after listening to Motorcycle Crash’s Endless Bummer that Friel has talent and can write a good tune. He is currently working on a full-length and I hope he is able to improve the production a bit. In the meantime I recommend you take a listen to Endless Bummer. Hailing from Montreal, Canada and now based in New York Sara Phillips is a singer-songwriter and multi-instrumentalist who recently released a self-titled five-song EP Sara Phillips that demonstrates her talents. The EP revolves around her voice and piano, which carry the songs. Her voice has a recognizable, appealing and even commercial quality that you could imagine hearing on a popular radio station. Not only can she sing but also she plays almost all the instruments on the album (besides some of the percussion parts). There is an undeniable melancholy present on the tracks that is often combined with hope and nostalgia.
The first song on her EP is called “Home” and is the most likely candidate to become an accessible sing-a-long fan favorite. It sticks to a predictable formula but nails it with precision. The song doesn't spew with originality but it does contain a ubiquitous commercial appeal that a lot of people will enjoy. “Tell Me Now” is a tearjerker that avoids percussion altogether and puts Phillips’ talent on piano and voice front and center. She skillfully implements atmospheric pads and strings that are subtle but effective. “Holding Your Place” is a nice concoction of acoustic guitar, drums, bass and piano. The song provides a much-needed upswing after the emotionally heavy “Tell Me Now.” The album closes with “My Love,” which showcases Phillips giving her most heart wrenching performance. There is no getting around that it is a heavy song that leaves an impression. It’s obvious from the get-go that Phillips has talent. She has a great voice and is a skilled multi-instrumentalist who plays almost all of the instruments on her record. Her style will have a hard time against indie-loving hipsters but will find accolades amongst a commercial crowd. Fans of artists such as Norah Jones, Sara Bareilles, and Vanessa Carlton will embrace Sara Phillips whole-heartedly. The idea and conception of this album may be a first. Producer Rickard Sjöberg aka The Mountain Council was inspired by the Crap Art Movement and the An-Album-A-Day project to complete an album within a specific amount of time. With his self-titled album The Mountain Council Sjöberg gave himself 42 hours to finish. He started working on it on January 31st at 5 pm and ended on February 2nd at noon (Did he sleep? I don’t know). The results: Sjöberg was able to make an eclectic album infusing electronic music and organic instrumentation that blurs the line between shoegaze, pop and ambient. I have to wonder how many of these ideas or songs were written before the process started because some of the songwriting seems almost too fleshed out. That or Sjöberg is some kind of mad musical genius. The record is not only diverse in terms of style but also in terms of instrumentation. He used acoustic guitars, balafon, banjo, berimbau, caxixi, charango, clarinet, djembe, egg shaker, electric guitar, electric piano, field recordings, jew's harp, kalimba, laptop, nord rack 2x, tambourine, toy keyboard, udu, ukulele, violin and vocals to create this album The album opens with “101,” which revolves around fantastic string work as it emits a lounge-y Brazilian vibe. It slightly reminded of the work you would hear from Madredeus. “The Night Before” is another instrumental track that works as it combines strings like guitar and banjo with bells. It has a tranquil quality that induces a state of relaxation. A similar vibe but more hypnotic presents itself on “The Morning After.” Sjöberg layers a number of different instruments to create an exciting concoction of sounds. “We Are Everywhere” is quite a deviation from the first three songs. The song utilizes electronic drums, has vocals and sounded similar to something you might hear from Thom Yorke's solo work. “Slide” was the highlight of the album for me and contained a superb grand ending. It soars with synths, guitars and drums creating a nostalgic but empowering energy that sweeps you away. “White Blood” is a full electronic beast with a prominent kick drum and high BPM. You can’t help but draw some comparisons to The Knife with this track. The album closes with “All I Am” and relies on organic instruments with a banjo at the forefront and traditional songwriting. It’s a melancholy song and felt like a good way to end the album. This may not be a cohesive album but it isn't supposed to be. The album is supposed to be about running with ideas and meeting a deadline. The most impressive thing about it is that the songs are more than decent. There are moments that not only showcase Sjöberg’s talents but are immensely enjoyable no matter how they were conceived. I thoroughly enjoyed this album and just wonder what an album of his would sound like with no time restraints.
Living in Chicago, a reminder of winter was the last thing I really wanted to have – luckily for me, Mounds of Earth’s EP Welcome Winter was not the chilling, abusive experience that the past few months have given us. Rather, it was a really sweet reminder of the better side of winter, and a nice view into the minds of the band members. I simply love how “Welcome Winter” eases in, with crackling and a choppy voice sample. The following acoustic guitar simulates the sound of swirling snow, if such a sound existed. This is a very light song, much like the ushering in of winter, capturing all of the beauty it entails. “Irish Dance” is fun and sounds rather traditional as described by the title. It seems to symbolize that first bit of euphoria that comes with winter; when the snow is fresh and the prospect of winter is still exciting. The EP takes a somber turn with “Leaves.” It is as though the depression of darkness and a little cabin fever has begun to set in, as tree branches become barren and the world falls steadily silent. The beach sounds near the end were actually a bit saddening, given the overall tone of the album; it seemed like a quiet reminder of that which is so far away (or, maybe they took a mid-winter vacation. In that case, no need for sadness). The higher notes in “The Lighthouse Shelter” signal optimism of some sort, as though the worst is over but there is still a little more to go. It’s very soothing. “Another Reason” adds a new dimension to the idea presented in “Welcome Winter,” incorporating the swirling sound but adding to it the sensation of running wildly through a field of flowers on a sunny day. Perhaps spring has arrived? Or perhaps the snow activities are in full swing, with sledding and snowball fights and all of the fun parts of winter to enjoy. This EP was written as an interpretation, which made it sound more liberated than some other albums. I was able to apply my own emotions to it, which I’m sure made for a different listening experience than someone else would have; therein lies the charm. I had a good time on the journey that Mounds of Earth took me on, and appreciate the opportunity to peek inside a musical representation of their lives. I bet you will like it as well.
Looking for a cathartic release in the form of hardcore metal? Look no further than the recent EP from I Dreamt The Sea entitled Set An Open Course. The band combines insanely impressive drumming with distorted guitars, bass and blood-curdling vocals. Their non-stop purging of sounds is not unlike bands like Worthwhile, Blood Brothers and Deafheaven. The five songs on this EP sound exceptional in regards to production. Everything from the drums to the vocals sits well in the mix and is competitive with other commercial releases in the genre. The band doesn't waste any time on their first track “Outlook” proving they can create a wall of sound that can knock your conscious into oblivion. They pack a ridiculous amount of carnage into a song that doesn't eclipse the four-minute mark. There are a lot of changes and the band never seem content to meditate on one riff for too long, They mix it up, thrash it up and won’t leave you bored. The drumming on “Bon Voyage” barely makes sense for a person with four limbs. My head was spinning just by what Jon Oldham was doing to his snare drum. You are also treated to separate vocal parts, which create more variation to add to the mix. On “Lion's Mandible” the music is so intense you may not even pay attention to the inventive lyrics sung by Kelly Arasa. He sings; “Consume me, blur my vision, with the air surrounding you. Half memories of betrayal all around my mind. Racing through the hallways so sterile. Trying hard to save my life.” Set an Open Course is an impressive EP with well-crafted songs that will appeal to an audience who appreciates hardcore. You will most likely have a good idea if this type of music is your thing after listening to the first song. As echoes of a number of these songs jumble together in my brain, all attempting to gain precious earworm space, I struggle to find words that fully describe how listening to Light the Rocket’s self-titled debut album Light the Rocket made me feel; addicted is a good place to start. Here we have 13 songs of pure pop adrenaline with rock sentiments, and boy does it make for a good time. Some of the songs had me thinking ‘hey, I could hear this playing on the radio.’ “Carefully” really embodied that tone well, with a more standard pop style and sound. “Anchors,” a song that reminded me very much of the “Full House” theme for some reason, is another good example. These were songs that seemed to stick more to the basics, and provided a nice backbone for the album. If you’re looking for a little more oomph, “Dragons” is a good place to start. The chords, drums and lyrics really come together nicely as ingredients for a truly creative and different kind of song. “Colors” has a similar effect, but sounds much more…colorful, for lack of a better word. Also give a listen to “Safe and Sound;” the riffs that will likely make your heart melt or dance, depending on what mood you’re in. The crème de la crème for me, though, was this next group of songs. These were the earworms, the ones I was humming long after the notes stopped playing, the ones that made my head bob. “Rain Clouds,” which also happens to be the album opener, has just the right mix of catchy pop lyrics and vocals with a rocking beat and a really cool electronic break. Rock fans will appreciate “Man Eater” and “Shattered Hearts” as these are far more alternative than pop. These are two very different songs, but both have very catchy, complex melodies. The former, “Man Eater,” also features the first of only two rather impressive guitar solos. Last, but by no means least, “Covered In Mud” is an incredibly strong ending song. Of all the complex rhythms, this one was the most satisfying, and I found myself really enjoying this one, to the point where I really was upset that it ended (as a note, I felt the same with “Man Eater”). I found myself doing a lot of active daydreaming while listening to this, as weird as it may sound. It inspired action within me; I either wanted to be dancing around, belting out those notes I definitely can’t hit but try anyway with the help of shower acoustics, or sharing tunes with my friends. If you ask me, that’s a rather awesome way to feel when listening to music. Debut or not, this is simply an impressive album all around – so impressive, that I am adding it to my own personal music rotation.
I won’t kid you the EP Salad Days by The Verde aka Alex Erickson is not an easy listen. The production is extremely lo-fi, often muddy; the songs lack harmony and it feels like a disjointed dream that bleeds into your reality. That being said there are some appealing aspects on this EP, which unveil themselves with repeated listens. The most important one being that underneath the lo-fi production there are pop songs that get stuck in your head. Erickson has a knack for concocting catchy vocal melodies that sound exuberant not unlike that you might expect from Brian Wilson (on the last half of Salad Days at least). Erickson while still having room for improvements creates catchy surf songs that often feel twisted and in desperate need of better production. The first song on the EP is called “I’ve Got Bad News” and it feels like a deviation from the rest of the album. Erickson sings in a lower octave that sounds exaggerated while delayed guitars create a curtain of white noise. His lyrics are masked by the instrumentation and I wouldn't have been able to understand a single word he said if it wasn’t for the lyric sheet. The end of the song creates such a swirl of chaotic lo-fi sounds it becomes enjoyably psychedelic. The highlight of the EP for me was “Pomegranate Seeds,” which sounds haunting, dissonant and oddly catchy. He creates an inventive dichotomy between the vocals and the music. The vocals are affected and lay low in the mix as if he is singing from a different dimension. He sings; “At the bottom of the sea lies fair Persephone In the springtime of her life she colored her lips with pomegranate seeds.” There is an Ariel Pink type quality to this song that makes it stand out. “Time Killer” and “Salad Days” both have their roots in 50’s surf rock. The vocal melody in both songs spews with positive vibes. Erickson closes with “Sometimes The Moon” which sounded the best production-wise. I would love to hear better production on his future endeavors but Erickson has started a solid foundation of songs he can build upon. 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 Arms of Tripoli Dream in Tongues 3.8 TexasRadio Blah Blah Blah 3.8 No King For Countrymen Sick & Tired 3.5 Riders Of Sin Brown N' Green Dream 3.5 Amusi Adapt in Codes 3.6 Revisionist Coasting 3.3 David Strauss Bigger God 3.3 Quindi esistenzialisti per gioco 3.3 NULL Break The Spell 3.4 |
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May 2024
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