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 Dylan Mourik Hideaway EP 3.8 Red Letter Nine Red Letter Nine 3.6 Birdbath Hello, Lovely 3.7 Chimney Creeps Nosedive 3.7 Wave Station All The Things I Knew 3.8
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Alex Alston is an artist from Texas who recently released They’re Closer Than You Think. His music is a mix of genres. You can hear more than hints of post-rock, folk and ambient genres. The music is pensive, hypnotic, melancholy and meditative. There is very little, if any, levity in the music. It’s not only the music it’s the vocal delivery. It sometimes sounds like he is giving a dramatic performance in a play that comes closer to spoken word.
The album opens with “Passage I” which I thought was the highlight. It sounds like post-rock in the spirit of Godspeed You! Black Emperor and Explosions in the Sky minus drums. I like how gray the emotions were here. It’s melancholy and contemplative but there are enough varying degrees to get into different areas of emotion. The song unfolds slowly but in a good way so you can explore the sounds. Up next is “Never Stop Drowning” and it sounds different and not just because there are vocals. It revolves around folk inspired acoustic guitar patterns. The song feels like it’s building and does so with a more aggressive strumming style. As the song progresses it does so with guitar. There is an exceptional breakdown that transitions from dark, gray colors to brighter ones. “Precipitate” is a fairly straightforward song revolving around guitar and vocals. Alston leans into a very heavy affectation where it sounds like he is speaking a little above a whisper. “Flesh” has some serene moments but the song is also very heavy. There are excellent soundscapes. “Angels Fall'' has a dark gothic vibe along with a female vocalist who sounds good. The end of the song was grand and epic. “Respite” is a twelve-plus-minute song. The song has some inventive soundscapes as well. Last up is “Victory (Janelle Monae Cover)” which is a sparse song revolving around guitar and vocals. The strongest aspect of the music to my ears was the soundscapes. That’s why I enjoyed the first song so much. Even on the vocal based song I loved what was happening musically. The vocals were more hit and miss for me but mostly hit. Alston’s singing was heartfelt but I wanted him to ease up on the dramatic inflection which I found at times to be slightly overwhelming. There were points where I just needed a little bit of levity. Overall, this is a good release that puts you in a very melancholy, meditative and pensive headspace. Take a listen. I think a lot of people will appreciate it.
Aaron McGuire (vocals/guitar), Jimmy Burd (bass/vocals), and Mike Spenceley (drums) share more than fifteen years of experience together over multiple projects but their band Conquistador is newly formed. They released Crysanthemum which is a three song EP. On their Bandcamp page they say “Conquistador creates its own brand of post-hardcore and rock.” That’s a brief description but I would also include post-rock in there as well.
They open with “Tidal” which contains a great groove as it comes out of the gates. It creates tension with a staccato bass line and reverb laced guitar. Once the verse comes you can really hear the post-rock flavor. The vocals are heartfelt and dynamic. I thought McGuire had a lot of range and Burd was a nice accompaniment. The chorus rocks hard. They lay on the distortion and Spenceley slays on the drums. In fact the drum performance in general was great. I loved the rolling snare on the bridge. The outro is epic. Great song. “Constants” is another great riff. I was reminded of Godspeed You! Black Emperor. Spenceley really shines here by providing kinetic energy with the sparse arrangement. There is a reverb between the notes. At about the one-minute-and-a-half mark the band rocks out not unlike a band like Deafheaven. The song is dark, visceral and really soars. The last is “Frogs and Wasps” which is just over seven minutes long and the most post-rock sounding song. It begins with meditative guitar. It doesn't take too long for the rhythm section to come in. This time around I was reminded at first of a band like Explosions in the Sky. It’s more joyful, bright and hopeful. As the song progresses however it builds and when it reaches its peak we return to hard rock style in the spirit of Deafheaven. The band may be new but their experience is certainly on display. This is a great initial EP and I am excited to hear more from them. Take a listen.
The South Florida band known as Papaya Whip formed in 2017 and is led by singer/bassist Andrea Salomone and drummer Ari Mizani. The duo mostly plays in the Miami, Ft. Lauderdale and the West Palm Beach areas. The decision to be a duo came after a former guitarist moved and the resulting difficulty in finding the right third member. Through this came a defined vision of what Papaya Whip would eventually become. The twosome’s current EP Some Discoloration has elements of post-rock, jazz, alt rock and straight up groove. In order to widen their sound, Salomone and Mizani combined nine bass pedals and a looper pedal to create a dynamic wall of sound. Some tracks include additional synths to add an additional layer of space and mood.
“Black Mountain” mixes styles of spacey progressiveness, ambient and some sort of trip-slow motion, shoe gazzy – um, did this duo just create a new genre? So far, the only band I could compare them to is Poliça, a synth-pop band from Minneapolis. “Key Lime Crime” plays into a jazzier, pop style with its off beats and time signatures. I loved Salomone’s bass lines in this one, not to mention Mizani’s fluid, shuffling drum rolls. Next up is “Artic Waves” – a nice smooth and mellow trip, slow in rhythm but big in its spacious, echoey vibe. The structure or how this song was written, reminds me a little of the trippy ‘90s sounds of Portishead or perhaps the Breeders? “Asleep” starts off with a synth effect that sounds like outer space and a bass line that’s catchy and fun. The way Salomone’s bass sounds reminds me of Edgar Winter’s bass/synth a la “Frankenstein.” Mizani’s drums are crisp and tight – the two just sound like they were made for each other – and with the synths layered on top the way they are, you get one hell of a unique style of music. “Carried Away” is heavy on the groove, complete with thick and meaty bass lines and nice drum action. “Hypophobia” features tight rim shots on the snare and smooth, warm bass lines. The sound to this song is really trippy and mysterious and it has more of an acid jazzy, experimental style. Lastly there is, “Cotton Candy Pink” and it’s perhaps one of those good ice breaker songs for those who may need something that has a familiar structure or style – think alternative pop – but I could be just grasping at straws here. Whatever you categorize them as, all I know is that I dig this band! Maybe it’s the fact that they layered all those bass and looper pedals together, I don’t know. But I came away with a renewed hope that there is no limit to music. Some Discoloration has all the colors of the rainbow, and then some.
Valerio Vettori (clarinet) and Michele Bargigia (piano) form the duo Circle Dream. Their debut EP Circle Dream, an eponymous four-track set, explores traditional European dance rhythms, pairing them with modern jazz-tinged melodies. Clarinetist Vettori penned the first two tracks; pianist Bargigia authored the last two.
The duo were inspired by traditional balfolk bands, but decided to switch up the instrumentation. Vettori and Bargigia faced each other in the studio, and recorded the EP live. The technique gives the recording vibrancy: these instrumental performances live and breathe, as they should for dance music. This rock critic doesn’t know enough about the underlying styles to comment on the subtleties embedded in the compositions. However, I do know that this music is beautiful. It is also accessible to the uninitiated. The easiest place to start is “Solar” with its straightforward pop harmonies and melody. The center-section piano solo felt like it could have been recorded by George Winston in his rural folk period. While “Solar” may be the easiest place to start, you won’t go wrong on any of the tracks. Vettori and Bargigia seamlessly pass melody and rhythm parts back and forth throughout, developing ideas and variations. There are lovely piano figures throughout “Lonely Bee” as well as some neat rhythm clarinet parts. “Om Tare” features the duo teaming up on the main theme, as well as a fine solo from Bargigia. The highlight for me was the five-step waltz “Le Valse de Machaut,” which, true to its title, finds the duo ripping through a 5/4 chart. Fans of Paul Desmond’s “Take Five” will get this right away. The track pulses with energy, and even those listeners who don’t intuit compound meter will want to be up and dancing. I’m very glad I got to listen to Circle Dream. Get your dancing shoes ready and enjoy this modern take on classic rhythms.
Born and raised in Lincoln, Nebraska, Karen Choi is an experienced musician who explores songs that are rooted in the Americana tradition. She recently released her third studio album Lost County which is beautifully produced and delivered.
The song feels undeniably organic and warm. These are human performances that feel raw and live but finely tuned. Choi has an exceptional singing voice. I’m not exaggerating when I say she has the kind of voice that could win the competition on The Voice or American Idol. The difference between her and those shows are I find a lot of that music too pop oriented. It often ends up melodramatic and just straight up cringe worthy. Choi really plays into those traditional Americana roots and is all the better for it. She opens with “Hand To Hold” which is an opener that will get your attention. I loved the groove on the verse. The chorus is a little more pop oriented. I felt like this was an obvious choice for a single. She displays some warm melancholy on “Autumn” and oh man does her voice song good in this register. There is delicate acoustic guitar picking, harmonica, piano and just a warm vibe. “Lost Country” was arguably the highlight. There is some attitude and even some darkness on this song. You will hear what I’m talking about when you hear the drums come. The song just marches forward confidently and the hook is memorable. Up next is “One Shot Chance” which really digs into those Americana roots. It's stripped back revolving around the strings at first. There is a beat that does emerge. The song is joyous and celebratory and although a bit cheesy sounding - will put a smile in your mind. “Clear Lake” is a slow burn that might make you shed a tear. The hook is again very memorable. Last but not least is “Monarch” which feels a little gospel. The organ was a nice touch. There is a simply exceptional musicianship on these very well written songs. Choi deserves a lot more attention. Highly recommended.
Cam Hopkins (guitar/vocals), Josh Therriault (bass/vocals), Andrew Domenis (guitar/vocals) and Aidan Domenis (drums/vocals/percussion) are Cam Hopkins & the King Rat. My only question is this - are the other members “King Rat”? The band released an eponymous album Cam Hopkins & the King Rat which falls under the umbrella of rock. They tinker with garage, hard and surf rock to name a few.
They open with “Lads” which felt like a down the center alternative song. The lead vocals aren’t pretty on the verse but I think that’s the point. They are fairly aggressive, tense and intense. I really liked the reverb laced vocal sections that came in. The song rocks out for a while with no signs of slowing down and the band goes into jam territory as the song progresses. Up next is “I am a Dog” which reminded me of early Pavement records minus Stephen Malkmus style vocals. There are in fact what sounds like two vocalists on this song. The initial vocalist’s delivery is somewhere between spoken word and singing. I was startled when the second vocalist because he has a piercing voice that came when I wasn't expecting it to. “Toxic Waters” might be the longest song I’ve heard that has strong elements of surf rock. The band really play into surf rock riffs that seems to have been tossed around since the ’50s. They do a good job deviating from that as the song progresses and hit upon the garage and hard rock before landing upon the surf groove. They go into a breakdown section reminiscent of The Doors which is really where the eight-plus-minutes come into play. The band eventually lands once more on the surf rock groove. They play into a more ’70s psychedelic rock sound on “King's Court” while “Muddle (feat. Bronwyn Perry)” is a lot more pensive and arguably the ballad in the batch. The band went into country and Americana with “Song for Junebug.” “Garden of Sound and Carnal Pleasures” is a pretty straightforward hard rock song. The band is flirting with a lot of styles here. So much so it’s hard to define a signature sound for the band. I won’t preach about the importance of having a signature and singular sound like I have done before but I do think it’s important food for thought for any band. Overall, there are a lot of great tunes which are diverse in their approach. This is a good start and I am looking forward to where they go from here.
Noah Benjamin is an artist from Chicago who recently released Till My Night Is Gone. The album is soulful and combines genres like blues, rock, gospel and more.
Benjamin is a dynamic singer. There are times when he is singing where you can really hear him digging deep and singing from his gut. I love that and always have. He also sings with a female accompaniment which sounds very good. Things open with “I Don’t Live Here.” On this song in particular I was getting vibes not unlike that from The Black Keys. The song drives with instrumentation and is very well written. That being said this song sounded home recording lo-fi perhaps more noticeably than other songs. On “Hang Your Head” things get very blues inspired. This is a late night blues song that you want to hear in a club. The vocals are great and the music is dynamic but leaves plenty of space here for the words to be heard. I thought the handclaps were a nice addition. As the album progresses there is a lot to appreciate. There are twelve songs total and although I can say all the songs were good there were some highlights to my ears. The slower ballad “Safer The Decay” hit all the right marks. “Quiet Place to Fall” also got my attention. The song is joyful, fun and catchy and is arguably the best vocal performance. “I Know My Heart” is anthemic and sing-along worthy. There is a feeling here like I wanted to get drunk and sing this with a bunch of people. The title track and closer “Till My Night Is Gone” is a reflective ballad that felt like a good send off. As an engineer myself my only critique is I wanted just a little more studio quality clarity. There was some nuance I felt like I was missing. Overall, this is a very good album. The songs are well written and emotionally resonant. Take a listen.
Polyglot is the solo project of musician Jon Williams. I listened to and reviewed his first album and he is now back with even animals learn by experience. First and foremost, very cool album art. It reminded me of All is Full of Love by Bjork. The album does feel reflective of the cover art on some of the music. I would also say the music is a little more diverse with this album compared to his last so let’s explore that.
The first song is called “Sorry I Misunderstood” which initially starts off sounding very shoegaze inspired in the style of My Bloody Valentine. That doesn't last too long. The verse comes and there is a noticeable type of vocoder like effect on the vocal which brings to mind the imagery on the album art. There are pads, a slightly funky bass, guitars and a steady beat. I loved the hook and overall I was getting a mix between slightly apprehensive and serene vibes. “Different Shaped Spears” reminded me more of David Bowie. The vocals in particular in parts, in fact the production on the song had a bit of late ’70s aesthetic. There is some aggressive spoken word on this song that reminded me of Primal Scream, in particular the song “Pills.” “Hey, Hands Off My Knowledge” is sort of a mix between ’80s new wave and shoegaze which worked quite well. I thought “There Might Be Trouble” was the first ballad in the batch. It’s a mix of melancholy and reflection but also isn’t afraid to explore different areas of gray emotion. Those Primal Scream vibes return on “Masculinity” especially within the music. It's an aggressive mix of electronic and organic instrumentation that feels like it's moving forward into the future not unlike a lot of the songs on XTRMNTR. “Sunrise” is an ambient track that picks up steam as it progresses. It’s a slow burn with some beautiful moments. “Run” really didn’t sound like anything else. There was something unsettling and haunting about the vocals and piano. I say that as a compliment. I love haunting. Last up is “The Sublimed” which is a reverb filled song. I was getting cosmic vibes on this one. This is a diverse album but not scattered. The songs felt fairly cohesive when viewing this as one artistic vision. There is a lot to appreciate here. Recommended.
Kaleidoscope Dream cut his teeth playing drums for various music projects including being the former drummer for the band Bag of Toys, an acoustic surf rock band out of San Francisco. But the musician felt more at home with playing his own material. He released his debut EP Arrive in February, 2020. The project is his first attempt diving into his solo ventures, having spent years as a contributing member to other musical endeavors.
Filled with melody-driven guitars and heavy keyboard elements, the sound on Arrive ranges from rock, indie, pop and a touch of psychedelic. Packed with a dynamic sound, these guitar-based tracks are something to behold. Kaleidoscope Dream’s vocals especially on the opening track “Headlines” are brimming with a cool, nonchalant cadence. As the collision of instrumentals from revving guitars and adamant drums drives the track, his vocals remain the calm in the storm. With a collected groove, the vocals remain untouched by everything going on around it. The blasé approach really propels the sound to these numbers. Following is “Charlotte,” where fuzzy guitar riff jumpstarts this track. Next, the drums and sound of melodious keys joins in. His voice has a soft lilting quality to it. The cadence is lulling like that of a lullaby. A soothing and smooth sound pervades. The song elicits atmospheric notes and really soars. On “Where,” guitar riffs soar overhead while being supported by drums and percussions. The cadence is a departure from the darker modes of the previous songs. Here, the vibe is sunnier and contains more vibrant undertones. The guitar work is great. A monotonous piano tune launches “Broken Tree.” The drumming beat behind the keys is jaunty and upbeat. The guitars spiral overhead in this track in a soaring pulse. Arrive is the type of record fans of the all-above genres will come to appreciate. The album contains a variety of genres, but this doesn’t take away from the singular sound that the artist has developed on this EP. The sound is cohesive and tight-knit. The artist has certainly ‘arrived' with this record. |
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