When I was reading that KAISHA was influence by artists as far ranging as A Perfect Circle and Melissa Etheridge I was thinking it was a typo. After taking a listen to Horus Sky it started to make a little sense. Kaisha Hekimian (guitars/vocals/oud/bass/percussion), Djulz Chambers (djembe/percussion), Ivy Hekimian (keyboards/vocals) and Leah Blankendaal (flute) make thematic music which embraces the tones and textures that may come to mind when thinking of the movie Prince of Persia, the ancient pyramids, mystical prophecies, The Knight of Templar, magic and well you get the idea.
The music is certainly not run of the mill but it shouldn’t feel completely foreign either. If you are familiar with Middle Eastern music which I think most people have heard a couple of times before it shouldn’t feel too experimental. Given the fact that Hekimian does sound a little like Etheridge it should also appease those who may consider this music unconventional. The EP starts with “Crow Head.” I immediately enjoyed the exceptional production, which feels essential for this type of music. The mix of percussion, ghostly vocal harmonies and keyboards could conjure images of person being put into a trance by some ancient ritual. “Golden Angel” is the centerpiece that runs almost ten minutes long. Once the percussion comes into the mix I almost started belly dancing although I know it would look ridiculous. Thankfully I didn’t and just laid back and let the epic song unfold in front of my ears. Don’t miss the end of this song. The title track is atmospheric and blossoms like a flower and then slowly dissipates. “Temple III” is a subtle, nuance filled instrumental piece. It was an interesting choice for a closer, which slowly closes the curtain. I can’t say KAISA is for everyone but unequivocally it is something I encourage everyone to listen to. Horus Sky is a seamless listen and the band does an excellent job pulling you into the EP and taking you on a ride till the end. I never felt like it dragged and it is full of dynamic transitions that keep you engaged. Recommended.
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Michael Yugo (vocals/guitar), Jim Donohue (bass/vocals), Rob Suls (drums) and Steve Gerety (guitar/vocals) are the Mavins. They formed in 2010 and recently released a seven-song self-titled EP The Mavins that contains Americana and roots rock with a tinge of country.
Suffice it to say that the songwriting and delivery on this EP is exceptional. The songs feel warm, recognizable and put you in a good mood. It’s easy to enjoy the vibe of these songs if you aren’t a curmudgeon. Right off the bat you can tell this band has some experience and talent. They are tight in the pocket and play for the betterment of the song. Yugo has a palatable voice that feels just as warm as the music itself. Things start off strong with “I Can't Wait.” The lead guitar work is exceptional here while the rest of the band creates an upbeat, buoyant groove. As far as choruses go this one is one of the most catchy and single worthy of the batch. The song relies on a classic rock template and gets away with it because of the performances. “Mexico” has more of a country vibe but feels aligned with the first song. There weren't any surprises on this song but again it succeeds because of the performances. The next song “Always” does contain a surprise but it wasn't one I was all that crazy about. Paxton Styles pulls off a rap in the middle of the song. There is nothing inherently wrong with the rap itself but it felt sudden and out of nowhere to me. “Mathematics” is a bit of deviation from the previous material in that it's more nostalgic, dramatic and thought provoking. Certainly not a bad thing especially since the band pulls it off. The band closes strong with “Dust Has Settled,” “Already Won” and “Nowhere Fast” all which are poppy song which are founded in Americana rock. The Mavins are in no way reinventing the wheel with this EP but are tipping their cap to some of the artists of the past while embracing their own songwriting. I’d say that's plenty of reason enough for you to take a listen.
Zachary Calkins is the quintessential West Coast musician, and his high school and college years in California and Oregon prepared him well to be the artful and creative musician he is today. His debut album Time to Burn is a fourteen-track psychedelic exploration of Calkins’s life and perspective that pulls no punches, yet pulls all the stops for a truly innovative experience.
The slightly off-beat instruments bright a hazy aura to “Piano Skelly,” a trippy tune that uses vintage instruments and runs steadily through organ, Wurlitzer, guitar and percussion as Calkin’s delicate voice dances through the repetitive and catchy melody. Vocal harmonies enter in “If I Had,” a slow ballad based on acoustic guitar and vocals. A vintage theme runs throughout the album, and it is especially evident in “Late August” and “Memories of My Yesterday,” which incorporates classic rock motifs into a modern setting. “Replenishing,” a folk-like tune reminiscent of creekside jam sessions, brings a new, highly melodic energy to the album just before “What to Do” spirals into a just-discernible tribute to old-time, soulful rock n’ roll. Just as in the instrumental “Raw Sugar” and the later “Coffee and Shade Instrumental,” the vocals in “What to Do” are not forefront in the mix, and instead Calklins allows the instruments to communicate through pure tones. A harmonica riff introduces “Keep on Rollin,’” an aptly named tune that brings about the second half of the record. The vitality of the album picks back up in “Have I Lost My Mind” as a quick-scaled synthesizer riff accompanies the uplifting melody and lyrics. “Fade Away/ Strains in My Brain” features a more hard-hitting facet of Calkin’s music profile as pounding drums and power chords raise the dynamic level in accordance with the vocals. The folk rock atmosphere returns in full with “Over Mountains and Hills” a pleasant track that revolves around an acoustic guitar riff, electronic drums and guitar solos. The record ends with “April 24, 2015” and “Funk Sauce,” two songs that do not greatly deviate from the path the rest of the album lay down before them. All in all, this record is an extremely stylistic collection of folk, rock, experimental and psychedelic music straight from the leading edge in music - the American West Coast. It is a testament to the talent of Zachary Calkins, and fans of many genres will undoubtedly find multiple aspects of this album to love.
The more music that I listen to, the more it takes for something to give me that “Wow” factor, and the more it takes for me to feel legitimate emotion through said music. I have found that in our current era of music and production, the ability to make whatever one desires is extremely accessible with software instruments and VSTs at the beckoning of one’s fingertips, and although this is undoubtedly beneficial and positive, I sometimes feel that artists will tend to focus too much on creating unique sounds and being different, and in turn will neglect to craft a song that contains the correct balance between rhythm, experimentation and melody. Chill Russell is an alternative rock band of sorts based out of Austin, Texas that fuses elements such as psychedelia, experimentation and pop to create a unique sound that is both different and accessible. They are one of the few bands I have listened to recently in which I could tell they put a lot of hard work, sweat and tears into their music. Although Chill Russell’s music is not overly complicated and not the epitome of a modern production, they possess an aspect of emotion that is hard to come by, and you can hear that through their lyrics and performances on their newest eponymous self-titled EP Chill Russell.
The album kicks off with the catchy tune “Desert Island Blues,” which, although it contains an odd, experimental beginning, soon transitions into a psychedelic pop song of sorts with a thunderous chorus that will surely grab the attention of its listeners. One thing I quite enjoyed about this song was that it contained a guitar solo (which I usually am not a fan of) that still retained a beautiful sense of melody that actually added rather than subtracted to the song. The bass line is placed highly in this mix, and for good reason, as I found myself pleasantly drawn to it. The reverberated vocals sitting on top of the distorted chorus pointed the listeners into the right direction and flowed with the instrumentation very well. The next track on the EP, and my personal favorite, is titled “Novocaine” and it is a hypnotic, slow song that I feel encapsulates the emotional reach of the EP. It establishes itself first with a soft, alluring guitar line, and with the music following suit, it slowly builds into a steady, well-paced track that allows for the vocal line to shine without distracting the listeners from the music lying beneath. Going along with this, I definitely appreciate the jangly guitar lines that were sure to either come from either a Jaguar or Strat, or perhaps one of each, that just further adds to the ambient, lo-fi nature of the song. I found the chorus on this song to be especially intriguing, as it was significantly heavier than the chorus, yet was still incredibly gentle and maintained the same overall feeling that the intro and verse convey. The drums served as a solid backbone to the instrumentation, adding its own element to the song yet certainly not distracting the listeners from the focal message that the song conveys. Perhaps the most exciting song on the EP, Death Is A Poor Man’s Doctor, possesses an outro that functions as an ambient jam filled with reverb, tremolo and slide guitar that gives popular noise-rock artists a run for their money. Not only is this EP solid in the scope music, but the production is fantastic as well, and this song is a wonderful exhibit of the seemingly flawless recording, mixing and mastering of the EP. It is a bit epic, yet is not in any way pretentious, as it does not last for an overly extended amount of time. Chill Russell is very good with the brevity (or lack of in some parts) of their music, allowing most of their parts to last for the correct amount of time. Honestly, I am very excited to see what Chill Russell puts out in the future, because if this EP is any indication of the potential that this band has, then the upcoming releases are sure to just be stellar.
The self-titled album Supersona by Supersona is an excellent combination of hard rock, soul and funk that is performed with precision. Of particular note is the bass playing on the record, which is melodic, soulful and clever throughout.
The album opens with “Effigy” made up of loud psychedelic guitars and drums and a hip groove in the vocal line. There’s a Red Hot Chili Peppers vibe throughout in the funky/metal approach though without rapping. The influence continues through “Show Your Teeth” led by triangle-ish hits on the off beats over a disco groove. The falsetto in the chorus is quite powerful. The song in general could be a bit shorter in the verses; it tends to ramp up a lot without reaching the peak until much later. “Obsessed” is led by the bass, subtle organ, acoustic strums and tremolo guitar notes. The vocal line is extremely melodic and quite catchy and is nicely complemented by the beautiful chiming guitar countermelodies that weave their way in and out of the voice before stretching out into a new motif. “King Me” is an epic composition based off of a heavy riff in 6/8. The counterpoint between the bass and voice in the first verse is exceptional never intruding, only complementing each other. The rest of the band eventually filters in with trippy backbeat guitar hits, some drum flourishes near the end of the song and some clever diminished runs in the guitar solo. The bridge has an edge to it but the chorus is not quite as strong as the verses before it, and over all the song could be edited a bit to be made tighter and more effective. “Sorry, Not Sorry” is an up-tempo rocker with a head nodding riff, great build and some harmonized guitars. The instrumental interlude led by contrapuntal bass is very cool and sets an interesting tone before opening up into a flashy guitar solo that’s a little unorganized. “The Stranger” has a hardcore intro before opening up into an extended percussion feature making good use of the shaker while the drums erupt in a fantastic display of talent and restraint. There are a few lyrical interjections but mostly the song is mostly about the bass groove and the ping of the bell of the cymbal, which sets up an interesting timbre. The addition of the tambourine in the chorus is also an effective gesture adding to the thrash. “Cerulean Blue” has some Panic At The Disco! vocal inflections throughout. The song is a shuffle but with a slight hesitation at the end of the bar, which gives an interesting lope. The Pink Floyd-ish bridge/interlude is cool and leads into an excellent thoughtful guitar solo. The album closes with “7th Day” a funky minor bluesy song that moves to shuffle and then to epic metal. The transitions are sudden but performed with such conviction that they never seem awkward or forced. Overall that’s one of the greatest strengths of this band to commit to the groove, riff, or lyrical line they are delivering and giving it 150%.
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The Birds and the Breheneys is an EP by Adelaide, Australia’s Zacc Breheny, a one man band who layers his own vocals, guitars and bass to make emotionally raw punk folk.
Leading off with “I Believe,” a mixture of acoustic guitar with some electric leads spill out under harmonized vocals with Green Day inflections. The melody is good and the guitars are interesting, but they get a little busy playing over the vocal, which ends up distracting from the melody. It’s a nice contrast in the second verse where it opens up and the voice can be heard clearly. “Stay Away” is a minor key warning to someone accompanied by florid vocals in the chorus and a simple but effective arpeggiated electric guitar in the chorus. “Perfect” features the most catchy melody on the EP, sung out over loud fuzzed out guitars. Unfortunately the solo is a little lost in the mix with the rhythm guitar dominating the field. Some of the scansion of the lyrics is a little rough too; a few edits could perhaps clean that up. “Sock” is the most heartfelt song about footwear since Carl Perkins’ Blue Suede Shoes. Based on a palm muted bluesy riff, it has some clever lyrics and a good drive, though again the lead guitar gets a bit busy during the verse stepping on the vocal melody. “Wasted Time” has lots of momentum from layered acoustic guitars and a nice harmonized electric guitar. The lyric owes a bit to Phish in its twist at the end but it’s a nice sentiment. The EP closes with “Alone With You,” which is a slow burn build from palm-muted guitar to full chords. The guitar is a little loud and could use some compression. The vocal could use some more dynamics, which is something Breheny is very capable of based on his performance in the earlier tracks. Overall there are some clever songs with some real emotion to them. Some remixing and simplification of parts might help the songs cut through even more.
Jamie Rogers (vocals/guitar) and Zak Toth (drums) are Two Years Later. The band recently released their sophomore effort Dropping Anchor, which is a five-song EP.
I remember being in high school and female-fronted bands like No Doubt, Paramore and yes even Avril Lavinge were impossible to avoid. That explosion of what you consider a strain of pop-punk or alternative created countless bands which followed a similar criteria that would appeal to an everlasting supply of high school kids. Two Years Later certainly is one of the bands born from those ashes. To their credit the band is one of the top tier indie bands that make this type of music. Yes they do follow a lot of the tropes associated with the genre (which seems to a be a thing with this genre especially) but you can’t deny their delivery. Rogers has a great voice period but it seems especially made for this style. She has no problems being dynamic and never seems to be in trouble of hitting high notes. Musically, the songs are tight and explosive. That being said if you are at familiar with the genre some of the transitions feel a bit too predictable. Things get going with “Learn To Let Go” which is well executed from beginning to end. It’s catchy, doesn’t drag and is an effective opener. The lyrics revolve around typical relationship type stuff but most songs kind of do that, don’t they? She sings, “It was my fault so I don't blame you for hating me / It was a goodbye I couldn't take back / This is a lesson we'll never learn / This is the lesson, we'll never learn to let go / Whoa, whoa.” The band has more success with “You Win” which plays into the band's strengths while “Pieces” slowly builds to a crescendo. I thought the highlight on the EP was “More Than This.” There was an 80's rock ballad vibe on this song, which really sounded good. Rogers nails it. I’d argue the verse reminded me of U2 when it comes to the music. They close with “Stay With Me” which reverts to the pop-punk style the EP opens with. My only advice to the band would be to continue to explore outside of their comfort zone. They have the talent to do that and thought it paid off on “More Than This.” Overall, Dropping Anchor is one for the win column if you still yearn for bands like No Doubt and Paramore.
Cream Dream is a recently formed band comprised of Max Hoffman (vocals/guitar), Daniel Richardson (drums) and Garen Dorsey (bass). Even though the band hasn’t been around for a long time they already released a self-titled six-song EP, which showcases the band's sound.
The majority of the songs contain jangly, clean guitars, soft-spoken lyrics and a rhythm section that holds down the fort. Their music is certifiably indie rock and falls in line with a band like Real Estate. The band gets going with “dream.” It moves slowly at first with barely any energy and feels as if the band is warming up in a state of inertia. A little after a minute the band takes the energy up a couple of notches. Hoffman starts to sing but because of the demo-like production it's hard to make out the lyrics. The backing vocal harmonies are effective but also felt as if the song needed a distinguishing change, which never came. “Snowman” may have been a better opening track because the band doesn't waste any time getting the listener into a catchy groove. Along with Real Estate you can hear influences from plenty of other indie rock bands like Pavement and Broken Social Scene. The band continues with a similar vibe on “free at last” which is arguably the highlight. I thought the vocals were mixed and delivered better than on the previous songs. In addition to that the song is pretty catchy. After a brief instrumental piece entitled “breakfast with the sun god” the band goes into the impressive “kill me” and atmospheric closer “show.” For how little as the band has been together I was impressed with what I heard. That being said the production will be something they will want to focus on with their next recording while still carving out a unique, niche sound. I’d say Cream Dream is a case of wait and see and one band to keep your eye on.
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Near Conversion is a three-piece band comprised of Brett Beck (vocals/bass), Blaze Lewis (guitar) and Jonathan Moore (drums). They recently released K(no)w Change which is a six- song EP that brings together spoken poetry and metal/hardcore.
I remember it was 1996 when Linkin Park came out and I was in high school. The lyrics were ultra-serious with no levity and could be most appreciated by someone in their late teens or early twenties. That's the same vibe I was feeling with these songs. At the age when you go through a breakup it feels like the end of the world. Hence these songs will resonate most with people around the legal drinking age or younger. Things start with “One Step Forward (Know Change).” Right off the bat the music and the way the lyrics are spoken feel melodramatic. A clean guitar is picked while orchestral strings create a lush background. Once the chorus comes the tension is released in typical metal/hardcore fashion. Verse, chorus, verse, chorus and then into an outro. Nothing too out of the ordinary here. “Barely Beating” further melds the spoken word/metal type singing. The lyrics express his frustration about a relationship. Beck sings, “And if you tear me apart, destroy what I am. / Inside you'll find my fears, that you've been feeding. / Yeah if you tear me apart, destroy what I am. Inside you'll find my heart, barely beating.” Next up is “Neck Deep” which follows the same formula and also dramatically talks about wounds from a former flame. The music is well delivered and but also follows familiar tropes from the thousands of bands that were influenced from hardcore bands like Linkin Park back in the mid ‘90s. They close with “Two Steps Back (No Change)” which is arguably the highlight and veers away from being hurt by a former relationship. That being said the lyrics still are reminiscent of the thoughts you might expect from an angst-y teen outcast who writes poetry in a notebook while listening to Nine Inch Nails. He says “And I'm caught in the middle of what I think others think of me and what I think of myself. / and those thoughts burn slowly in my mind like a self-perpetuating hell, / Where I know I have the key, but can't escape this prison cell.” As long as there are young people there will be a place for this type of music. It's no secret that dealing with your emotions is difficult for anyone but can be extreme when you haven't had much life experience. K(no)w Change contains the sounds and words that can help sooth your soul when you are feeling alone in the world.
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Historically, the "music industry" seemed to have an unspoken bias that recordings and albums needed to be recorded in a particular way, and ONLY that way. This trend hit a all-time-high in the 2000s, thanks to the abundance of digital recording equipment, meaning even the hardest-hitting, crunchiest rock n’ roll was recorded in the exact same fashion as the cleanest, most minimal techno and electronica. Every instrument is recorded straight to disk, following the razor-sharp quantization of the click-track, giving a tendency to hit everything on the downbeats, to line things up within the strict confines of the 4/4 grid leaving very little room for nuance or feel.
While excellent for the structural engineering of Techno, this recording style doesn't hold up quite as well for certain styles of music, particularly those derived from rock, which benefits from energy and emotion. Shanendogs is a four-piece indie band from Barcelona, Spain, playing a brand of slick, considered indie guitar rock, a la The Strokes or The Arctic Monkeys. And while this style of indie can benefit from the strictures of digital recording, it doesn't always, as was the case with Shanendogs debut EP, Shall We? Shanendogs started out recording each track individually. This hermetically sealed process sucked the life from their electrified odes to the nighttime, removing all the heat and sweat and blood that makes a dance band truly great. Thankfully, Shanendogs realized what was going on, scrapped the recording, and moved shop to Barcelona's Akrasonic Production Studios, where they laid down the Shall We? EP's six songs in a marathon four-hour session.The results beautifully capture the energy and spontaneity of Shanendogs, proving that sometimes quick and immediate is superior to meticulously plotting every variable. Each element benefits from the live tracking. The guitars still chime, the drums kick and thunder, the bass pops and grooves. The only down side is the vocals, which can sound a bit muffled. For those looking for sing-along anthems, perhaps look elsewhere. For those looking for artful, masterful indie guitar rock, you'll find it here, in spades. Every member of Shanendogs contributes songs, which lends itself to the eclecticism, making Shall We? an interesting, layered listen. The band cites everyone from The Beatles to The Velvet Underground as reference points. Whether its high pop or lo-fi you're looking for, Shanendogs delivers with every texture hanging in a beautiful tapestry of dissonance and distortion. Sometimes, you've just got to go with your guts. Sometimes having something to say will scream more loudly than the highest production budget. |
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