Brothers Mike O’Reilly (guitar/vocals) and Sean O’Reilly (bass/vocals) as well as brothers Alec Wagstaff (drums) and Jon Wagstaff (guitar) have known each other and been friends on and off since grade school. They now make music together as The Brothers Union. We reviewed their split single entitled “Silhouettes” and they are now back with “A Thousand Tiny Cuts.” They don’t sound anything like they did on “Silhouettes.” That song felt like pretty straightforward singer/songwriter material revolving around acoustic guitar and intimate vocals. On “A Thousand Tiny Cuts” they are much more rock and pop oriented. There is a combination of post-rock in the spirit of Explosions in the Sky along with pop oriented lyrics. I would say there is also a very arena rock type thing happening that is more akin to bands like U2. The one thing this band does is hit emotions right on the nose. This could be a good or bad thing depending what you like. Take for instance the intense feeling of reflection and melancholy the song opens up with. The guitars are drenched in hall reverb and for the most part the lyrics forgo poetic ambiguity for straightforward language. The vocalist sings, “All alone and you're floating through the days and you're not quite sure which way to go. / Years go by and you try to do what's best for you but the cards just don't line up.” That being said there are some lines which dabble with poetic sensibility such “Pain and solace, I feel it on the inside / Catching all, a thousand tiny cuts.” My interpretation of the song was that it was about reaching your potential. The chorus certainly feels like this and I felt like this is a song that might play at a Tony Robbins conference to get people motivated. I’ve heard two different styles from the band both which have their appeal. There might be more for all I know. If you’re feeling a little reflective and perhaps need a little bit of motivation this song might be the ticket. Take a listen.
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Huet//Fournier//Kuhl’s new experimental “electroacoustic” album Rarefied Air embodies the very idea of “opposite.” The album is both eerily sparse and chaotically energetic and these differences almost physically jerk the listener around. With a run time of 49 minutes via four songs, it’s easy to become immersed in each track as they meticulously unfold. Alex Fournier’s double bass is the backbone of Rarefied Air with Edwin Huet (electronics/live processing) and Mike Kuhl (drums/percussion) adding the flesh of the songs. Together, the trio has made an evocative experimental jazz album.
The opener “Ao” highlights Fournier’s double bass ability. He solos sporadically in the first section of the song as Kuhl emphasizes the bass with a flurry of percussive sounds. This transitions to Fournier playing with a bow alongside processed metallic percussion. The tinny nature of this section is horror movie-like, but it doesn’t last long as it transitions back to the madness of the first section. All of this culminates to the track's final minute, where Kuhl drops into a groovy drum beat that is immensely gratifying after the mayhem that preceded it. On “Xiode,” we get more bow playing from Fournier in the first two minutes, which could have gone even longer. The percussion on this track is even more tinny and harsh, helping add to the jarring nature of the track. Around the middle of “Xiode,” the drums mellow out, and we get some atypical percussive and ambient sounds that play out the song. There are far too many to describe, but it’s terrifically weird. The aptly named “Rarefied Air” takes advantage of spareness and simplicity. The drums are more reserved as Fournier’s hair-raising bass playing takes center stage. Huet’s electronics and sound manipulation play a big part in this track. There are modulated chimes, static, high-frequency sounds, substantial delay and more. This song is like being on an abandoned moon base until about the 12:30 mark when it transitions into what can only be sentient AI communicating with one another. This moment lasts about two minutes, but it's so engaging it could be an album all its own. Finally, we reach the closing song “Conjuration.” The aqueous processing on the percussion is brilliant and sounds like it’s flowing between the other tracks like water. The intensity slowly builds to frenzied free drumming and Fournier shredding the bass. Like “Ao,” Kuhl eventually plays a more normalized beat that, juxtaposed to the rest of the song, has a great groove to it. The song quietly comes end as the instruments disintegrate into silence. Rarefied Air is a highly-engaging work of electroacoustic, experimental jazz. The album’s intensity fluctuates seamlessly and keeps each track fresh despite their long run times. Also, the atmosphere throughout is consistent and immersive. With so many layers in each track, repeated listening is a must.
The Darph is the solo project of a musician/artist from Chicago who taps into multiple genres on his latest release Voids. After a decade of making music with a rotating lineup of other musicians he began writing and recording music inspired by ‘90s grunge, mixed with dark ambient sounds and some experimental noise mixed in for good measure. The first Darph record was written and recorded in the winter of 2018-2019 and was an electro-acoustic affair followed by a more traditional alt-rock EP later that spring. Since then, The Darph’s sound has evolved resulting in a much heavier, alt-rock inspired sound on the first half of Voids. On the second half there is a drone metal vibe which eventually devolves into a mind melting experimental theme at the very end of the record.
The Darph states the album itself is about trying to escape how you feel by turning to something that can send you to a place that was worse than the one you were trying to escape from. It’s supposed to evoke the feelings of sadness and anger which then give way to apathy, then things take a turn toward the sinister and eventually to madness itself. Dang, you might want to stay in for the night and call a friend with this one. The opener “Boketto” hums low and deafening with a droning sound and trippy guitar action that’s hypnotizing. No words here. “The Easily Overlooked Effects of Chemicals on Mood” begins with a very familiar arcade game sound of, as I recall, “Centipede?” And then it breaks into a heavy alt-rock, guitar infused style with dark undertones. All instrumental, 2 – lyrics, 0. “Bottle It” is one of two longer songs on the album and if offers a somber style at first. But it also mixes in an alternative/indie rock style that reminded me of jangle pop rock of the many R.E.M. instrumentals back in the day, but with more distortion. “Conscience du Vide” features acoustic rhythms and a more laid back, chill approach. A pretty simple structure in regard to guitar chord playing, but I liked this one for its spacious, mysterious feel. “Dread Emperor” sounds exactly like the first word reads – a great fearful sound, but then The Darph switches into another jangly guitar, post-rock sound only to switch back to the song’s initial sinister nature. Think a little Black Sabbath but with a modern twist, and then throw in some cutting-edge indie stuff. Pretty cool mix, I’d say. “Chemical Lobotomy” – an operation I’m thankful I never had to go through, but just as twisted as that outdated M.O. is, The Darph plays his guitar in a twisted way that reflects what a patient might have gone through, as they lie in a recovery room with half their brain left. I think the fact that he only laid down a single guitar track for this one also speaks to the tragedy and loneliness of this once standard medical procedure. “L’Appel du Vide” is probably the most chilling and spine-tingling song on the entire album. Throw in some low minor guitar chords, some random metal or tin clanging and what sounds like deep Buddhist chanting by renegade Tibetan monks (aka synch or keys) and you’ve got yourself something from the edges of a dark, maddening world. Be sure to this to this one. “Welcome to the World” features The Darph on acoustic again and it takes on a much brighter and optimistic tone. He layers an electric on top that plays some lead parts and a bass, making this number sound something like the post-hippie stuff of the early ‘70s. “Dans le Vide” is the second longest song and this one really explores some experimental, synth pop frontiers. It’s also the only song with some words being “sung” or rather spoken, via electronic devices – a “Speak and Spell” (I think) and something that reminded me of “HAL” from the movie 2001: A Space Odyssey. This one is a total trip. The last tune is “La Fin du Vide” and it carries on Darph’s own brand of doom ambient and experimental. If you want something that will expand your mind or if you’re just not into songs with words these days, Voids is the perfect album to well, fill that void.
Rodger the Rover! is a Monterey, CA based musical project led by singer/songwriter Brendan James Dean. A Virginia native, Dean moved to Oakfield, NY in the summer of 2018, where he began writing songs under the moniker of Rodger the Rover! He is releasing his latest album entitled Letters.
A one-man band venture, Dean takes care to write, record and mix all the songs. You can tell the project is independent with the instruments all played by him, including the guitars, drums, bass, melodica, bass and keys. Entirely DIY, Dean handles everything on the album himself. From the realization of a song to the final mixing and mastering, Dean is there to see through to the actualization of the record. You can tell a lot of care and attention is imbued into these set of songs, as Dean adds the finishing touches to this album. Although Rodger the Rover! initially was a project that revolved around the acoustic guitar, the artist had decided on a fuller band sound towards the final execution of the record. The decision has resulted in a fuller band vibe as Dean set out to expand on a cadence that would encompass the influences of the three states (VA, NY, CA) he has lived in. The album dives into timely themes of change and how we adjust to it. In this day and age, in times of confinement, we have to fully adapt to our new situation. Dean wanted the album to reflect how entirely up and down that can sometimes be. On that note, Letters opens with “Roads,” where evocative strumming on the acoustic guitar sets the tone for the start of this track. The vocal harmonies are warm and effusive. The vocal tones have a golden appeal. The acoustic guitar alone accompanies the vocals. The sound that coalesces is dynamic. Next, a fuller band cadence follows through with the support of guitars, bass lines, drums and percussions. The vibe that flows through is melodious and catchy. The song has a whole lot of range. Following is “Losing Everyone,” where deft finger-picking on the banjo adds to the vibe on the track. Traces of the acoustic guitar also add to the song structure. The sound of the banjo is vibrant. Next, the cadences of drums come strutting in. The combined vocal layers are dynamic and rich. The instruments clash together in a discordant fashion. A bit of dissonance offers up a fractured sound to the overall song. The title-track “Letters” dives into a provocative cadence coming from the distinct numerating on the acoustic guitar. The track has an emo, bedroom rock vibe. The sounds of the banjo also underscore this song. The feel is altogether rich and dynamic. On the closer, “Canvas,” noodling on the acoustic guitar starts off this quiet track. The song contains a soft tilting melody filled with a soothing and calming vibe. The acoustic guitar melody solely supports the emotional vocals. The track has a lulling effect much like a lullaby. This is an apt closer as Dean bids farewell with a soft ending. Dean has crafted a record filled with heartfelt themes. He wears his heart on his sleeve on these affable numbers. His effusive personality shines through on these warm tracks. In the singer/songwriter vein, these songs glow with their heartwarming themes and captivating sounds. Dean sings from a standpoint of raw authenticity and poignant honesty. These are searing numbers that really carry. With topics that range from the power of friendships to the difficulties of confinement, Letters caters to fans of indie folk, alternative and bedroom rock. Filled with evocative melodies and presented in a vulnerable manner that addresses the sensitivity on this record, Letters is an impressive album. Brimming with honeyed and rich layers, Dean has offered up a solid foundation on his latest album. I look forward to seeing more from this artist.
Unwoven is Philadelphia-based Charlie Singer’s recent band project. The group features Adam Ackerman (bass/keyboards) and Kayana Guity (vocals) with Singer (vocals/guitars/piano/drums). Their latest release is So I Don’t Forget.
Singer wrote So I Don’t Forget as a personal reminder of his own drug experience. The nine tracks take us on an addict’s journey: resolve, bargaining, copping (or brokering), use, bliss, self-hatred. This is no mid-‘70s, “Comfortably Numb” ode to heroin, but rather an open-eyed look at how he’s impacted his loved ones and the people around him. The lyrics are fittingly grim. The title track explores resolve, including “every dollar I get always goes to more of you / I traded everything for you / I thought that you could save me. The second track (“To you, once more”) moves towards love--“you took me in when no one else would.” Singer then pre-apologizes: “just want to say I’m sorry / For what it’s worth” and then repeatedly asks for forgiveness. Uh-oh. Underpinning this story, the first three tracks have a straight-ahead, modern/indie rock feel. They’re driven by Singer’s guitars and Ackerman’s pulsing bass with Singer’s drums locked in behind. Keyboards and piano offer additional color and ambience, but these are guitar-first songs. The music supports the emotion--we can feel the torment, culminating with the moody, layered guitar build on “For What It’s Worth.” The middle three songs have us out in Philadelphia, copping and using. The instrumental “Market Street” is a piano reflection over street noises. It ends on an ominous note, almost like a tolling church bell. “Conversation” is a dreamy, hazy, acoustic-guitar chat between user and substance: “I am nothing without you / I am everything you were promised … but I couldn’t blame you for being disappointed.” A spooky, coming-down instrumental (“Interlude”) caps the middle section of the set. The bass and drums are back for the end of the set, and the reckoning for Singer. “March Fifteenth” has a nice triplet feel with beautiful backing vocals from Guity. Arpeggiated piano drives “Two Minutes” and leads us into “Pavement.” “Pavement” builds into a nightmare, culminating with Singer and Guity singing, “I can’t go on” as the track abruptly stops. So I Don’t Forget is poignant, showing tough, raw emotion in a well-executed concept album. I hope Singer doesn’t forget, and brings us much more of his music in the future.
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Alberta, Canada, singer/songwriter Tyson Ray Borsboom is back! We at Divide & Conquer reviewed his previous work Sinner EP.
He’s now released Will, his LP debut. On these ten songs, he explores topics close to him: love, family, friendships--similar to Sinner. The songs started as folk songs; for Will though, he’s expanded his instrumentation from just his acoustic guitar. This new LP features electric guitars, bass, drums, piano, violin and backing vocals. Using this band, he’s able to expand stylistically. “Can’t Go Home” offers a straight ahead country-rock feel, with Brock Boot’s train beat on the snare and Kevin Giron’s twangy guitar solo. Megan Brown’s backing vocals support the chorus; her violin playing incorporates country and Irish idioms. “I Don’t Mind” is similar with Giron’s solo suggesting Duane Allman though he throws a few bends and borrows in to keep our ears listening. Fans of Sinner will find some tracks they like, too: “Never Said Before” and “Not Me” are driven by a plucky acoustic guitar with meditative, sparse instrumentation. “Never Said Before” adds some smooth violin and piano. “Fall” was my favorite of the acoustic tunes. It’s a heartfelt performance with Borsboom pushing the upper register of his baritone voice. Just-right layered strings come in to support and add texture. My favorite track “Run” sounds a little different from the other tracks. Here, Giron’s melodic bass is mixed prominently, and the vocal harmonies are thicker--it reminded me a bit of early-2000s Goo Goo Dolls. There is a shimmering, high-register guitar line throughout, as if played using an e-bow. On the outro, Giron is unshackled, and he unleashes his best guitar solo of the record. Borsboom and the band nailed it here. Will is a worthy follow-up to Sinner. Borsboom’s writing is on point, and he makes good use of the extra dynamics offered by a band. Will is worth a spin.
No More Leroy is a band from NYC but is comprised of collaborators from all over. Ken Sackheim is the only permanent member and writes all the music. Back in 2018 Divide & Conquer reviewed Wild Rose and he is now back with Notes on Invisibility.
It’s hard to know where to start with this music. First of all I would say it’s very original sounding. It also could be considered world music because of the diverse blend of instruments. Each track has its own vibe and perhaps the one thing all the songs have in common is that they sound experimental in some way. Up first is “Bible Hill” which combines a walking bass line, lead guitar, organ and percussion. It's a whirlwind of sound that feels like a jam in some respects. I felt the song could have gone on forever in some sense. Things start to feel more experimental with “Notes on Invisibility” as he delves into unique time signatures and horns. Let's talk about those horns. I loved the single horn section that combined with the walking bass line. There are some unique vocal harmonies that sound a bit like what Yoko Ono used to do. It sounds like an improvised stream of voice. The technical playing is incredible. They sound in the pocket in what is a very complicated timing that is fast. “Perpetual Salvage” is where we are introduced to Eastern sounds. There is Eastern sounding percussion and what sounds like a sitar but could be a guitar. The song contains some incredible solos. It sounds like it could be a cello which is allowed to freely explore notes on the pulsing groove. “Klee's Electric Lake” is such a cool song. The groove drives here. I felt like it would work well in an action sequence in a movie. I really was not expecting lead vocals and then I heard some on “Poison Bell.” The song felt much slower than what came before and is moody, psychedelic and made me think of night. “Jungle 12” is ridiculously fast sounding. I have to wonder if that was a sped up drumming groove. It was so fast and precise. “Visiting Persephone” might be the highlight. There is emotional weight along the experimental nature of the other songs. The song revolves around some cerebral sounding pads, strings and much more. There is some incredible musicianship on this album. It’s what I call musicians music. It’s almost like you are missing something if you have zero knowledge about music theory. The technical and creative display here is more than impressive. I suggest busting out your best pair of headphones and trying to immerse yourself in the music. Recommended.
The Burning Stars is Jesse Day and Matt Jarrell, two old friends who've been playing music together and apart for the last two decades. The duo recently released The Burning Stars which is a five-song EP. They explain, “The Burning Starts’ first EP is a southern gothic exploration of love, loss and the agonizing joy of raising a family in the 2020s.”
“The Gambler” sounds like a mix between Neutral Milk Hotel, a sea shanty and a drinking song. The song is sing-along worthy and was the highlight. In fact it felt like a group of people should be singing this song together. The percussion elements are loose and sound like rickety tambourines and some kind of bass drum which felt like it could have been a household item. Up next is “Fathers and Sons.” The song sounds like it could be in a play about a sea captain. I could hear the southern gothic elements coming from the guitar and vocals which is somewhat dark but also cartoonish and playful in a good way. “I Need You More” is fairly sparse as far as instrumentation. This song is all about the vocals. There are some very cool and unique sounding vocal parts. It again felt like it could have been in a play. Up next is “Santa Rosa (You Look Beautiful Tonight) which is a little more intimate sounding with close mic-ed vocals.” Star Child” is the closer and was the most melancholy song in the batch. The first three songs felt the strongest to me. I was digging the vibe which was off-kilter and felt visual. The songs are lo-fi and in general work to the song’s favor but not always. Overall, I thought this was a good release with interesting and unique flavors that combine to make something you don’t hear often. Take a listen.
Surnames started in 2019 and is led by Liam Anastasia-Murphy. These Days is his first release and contains six songs. The vibe here is often smooth yet funky and warm but hopeful and just flat out enjoyable.
I really gravitated towards these vocals right away. Anastasia-Murphy has an inviting voice. It’s free of pretense and I often can find several shades of emotion in one lyric. The first song is “Bloom” which begins with this subdued jazzy funk. It’s a groove that you just bob your head and snap your fingers to. The song does in fact bloom and gets more and more lush. You are greeted with more, vocal harmonies and instrumentation which leads to bluesy guitar solo. Up next is “Can't Take It With You” which is continuous with this jazzy and serene subdued funk. It’s as smooth as velvet. There are some great transitions and lyrics. The lyrics are deep and refer to death but the delivery is full of levity. He sings, “But you can’t take it with you / The house the car the ring / You can’t take it with you / Not much of anything.” “Horse Is Sold” is another success with a similar foundation. You can just close your eyes and really feel comfortable and relaxed. There is a spoken word section which is psychedelic sounding and very unique. The lyrics are very original. He avoids tropes and cliches with lines like “Don’t bare those teeth / Put your fangs away / We can all still eat.” I didn’t think the song could get any more chill and then I heard “Cut Through” which is the arguable highlight. There are so many cool things happening on this song. The chill intro leads to some dynamic sections. I thought the songs sounded very soulful, even gospel on this song. Up next is “California” which is joyful and hopeful sounding but it does so in a way where it’s not overblown. It feels like you have a little more mojo in your walk. The song pours warmth in every direction making it feel like another highlight. Last up is the dreamy and lush “To Wolves” which starts very subtly and leads to the most epic sounding section on the whole release. This is hands down one of the best releases I’ve heard this year. The production, tone, songwriting and delivery is all there and combines to make a seamless listening experience. I hope you’re listening already. Highly recommended.
Harley Hulme aka Petro is a singer/songwriter/producer from Sydney, Australia who recently released Club Insincere. Club Insincere is his first full length and a follow up to his first EP entitled Skin & Bone.
Hulme says, “Each song off of this album represents a different personality archetype that I've found either in people I know or myself.” After reading this I was expecting a full range of emotions. The album's emotional foundation however is almost entirely built on a reflective melancholy. It’s warm and I actually liked that it stayed in a certain mood because it made it more cohesive. That being said it just wasn’t what I was expecting having read the concept because it seems like the mood remains uniform. It felt like I was reading the lyrics of one person who is struggling with depression, anxiety and loneliness. There are some great songs on this release and certainly to my ears displays an artist who is evolving. The music is very dramatic and at points reminded me of the group The Antler as well as Perfume Genius. The first song “Fade Away” is built on long pads and dubstep type beats not too far away from James Blake. There is a lot of space in the mix and you can hear a lot of nuance in his voice. The hook is memorable. I thought the lyrics matched the mood. He sings “Oh, I know / no-one ever / really stays / So, Just go / cause I'd rather / fade away.” Up next is “Emerald Eyes” and he sings really well on this song especially when he goes into falsetto. The song combines piano, pads, orchestral strings and a deep electronic drum beat. “Hide and Seek” was a highlight. I loved the xylophone and the sample of the kids laughing was down right haunting. You get some rare guitar action on “Distance” which also happens to have some really catchy vocal melodies. “Rain (Interlude)” is exactly what it sounds like. It’s followed by “Her” and “i'm not in pain, i'm just tired” which reinforce his signature sound. “On Your Side” is a killer track which reminded me of “All I Need” by Radiohead. The melancholy continues with “Blame” and “Another Human.” This is an emotionally heavy album. Hulme’s songwriting and delivery is the best I’ve heard from him. Take a listen. |
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