Los The Artist is based out of Phoenix, Arizona. He has been involved with many projects over the years including the band Gift of Destiny that he still works with. His first solo project entitled No One of Consequence is an eleven-song album. It is an experimental, gothic album that flirts with a number of different styles.
The album gets going with “Creep Groove” which is an electronic infused song with an NIN like sounding groove. The groove is ominous sounding and there are moments in the song where it sounds like a combination of white noise and phaser. It was hard to make out but the male and female vocals that lurk in the background work well here. “New Year's Day” drips with distorted guitar, crashing cymbals and just a heavy sense of doom. The vocals are dynamic and take on multiple forms including a spoken word part and another section where it sounds like he is having a cathartic release from his pain and frustrations. “I, Addict” is a fast moving song. There’s a monolithic and mythological feel to the music. Something about the song made me feel like I was in a time warp about to arrive at a clandestine ceremony in the desert. The mayhem continues with “No One of Consequence.” One thing I loved about this song was how the panning on the vocals worked. One of the vocals was panned hard right and hard left on the verse and then when the chorus hits it’s right up the center. “One and Only” and “Boomstick” continue to form this signature sound One of the songs that took me by surprise was “Don't Say the Words” which is more or less an acoustic ballad. The darkness is gone and replaced by a warm melancholy. I liked the song but it did feel out of place. As the album progressed I thought there were a number of highlights. “The Last” and “Old Soul” had their moments as did the standout “Go With the Flow.” There’s also a “Don't Say the Words (Acoustic Version)” which is exactly what it sounds like. This is a lo-fi sounding album. I had a hard time making out a lot of the lyrics and there were some songs that could have benefited from more fidelity but overall I thought the songs translated. There are some solid ideas and songs on this release. I like the darker tone and look forward to hearing where he goes from here.
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From an alternate timeline where MTV was still the voice of a generation and playlists are called “mixtapes” comes Super OK, a four-piece alternative powerhouse out of Los Angeles, California. Having been told they kind of sound like Foo Fighters and Muse, Super OK eagerly welcomes all comparisons to their influences, including Arctic Monkeys, Stone Temple Pilots, Nirvana and anything Chris Cornell touched. Benjamin Buday and Davey Henry share vocals and guitars, Drew Stutz mans the drums and Kat Cannon blasts the bass. Buday, Henry and Cannon formed Super OK in late 2018. At the outset of 2020, the then-trio geared up to record an album and start gigging when the pandemic put the band on hold. Upon realizing the pandemic might last more than a few months, the group decided to forge ahead with recording, albeit with a slight twist - they would piece together their songs entirely remotely from their separate home studios. Departures was recorded in pieces in two separate apartments. Buday recorded his guitars, vocals, Cannon’s bass, and electronic drums in the apartment he shares with Cannon. For recording and production, Logic and a PreSonus TubePre v2 along with a Scarlett 6i6 as interfaces was used. Most of the songs were written by Henry or Buday. Overall, the band recorded songs that they felt were ambitious and pushed them to be better performers musically.
The opener "Eat Us Alive," was composed by Buday and then shared with Cannon and Henry, who then added their parts. But it wasn't until the two were done recording that they got into a space, with Stutz the drummer, and played it together. (The same goes for "Same Cage," "Half Past Nothing" and "Rising Tide.") This first track has got an infectious alt-rock/grunge riff and great vocal harmonies. The words suggest how one generation steals from the other, by denying them the good things in life. In another sense, you could say corporations package up these “sacrifices” under the guise of short-term gains, but end up hurting, not helping, us or the planet. “Break the Faith” tells of a similar sentiment about companies being “too big to break” and that we should all “respect the status quo.” The band’s approach musically here, sounds like late ‘80s prog rock, with anthem like guitar riffs, but with a sprinkling of early grunge. The punked up “Traitorous” reads like a protest song of sorts, thumbing its nose to those who are “not one of us” and have too much power. A lot of searing guitar action going on with this tune and I liked the solo parts, too. Next up is “616” and it features rich bass lines by Cannon and metaphorical themes of outer space, but with earth bound realities. The band belts out “So many earths out there / I’m on 616 / My spirit wanders constantly.” I like the rhythm on “Debt.” It’s funkiness, coupled with sludge rock guitar chords often heard in ‘90s grunge, remind me of Alice in Chains and Stone Temple Pilots. The next song “Push” was perhaps one of my favorites. I liked its attitude, its drive and the repeating, heavy sludge metal guitar hooks. Overall, it’s got a heavy guitar feel and sounded like it was influenced very much by STP. And it’s got a fantastic guitar solo too! Lyrically, I think it’s about knowing when to leave a relationship. Moving on is “Lease” another heavy guitar song, with a muddier sound and some chilling backing vocals. The drums seemed heavier and more deliberate in their sound and the way they were mixed as well. “Same Cage” has got a more upbeat rhythm, with great drum to guitar action between verses. There is also some added keyboard here. The words to this tune seem more universal and could generally apply to the world in which we live, or to relationship that’s on the outs. I liked the bands’ choice on the break/interlude where they briefly change the song’s speed. “Agamotto” features a slower beat and some great guitar work by Buday and Henry. I thought this number had the spirit of that early grunge sound, reminiscent of Mother Love Bone and Temple of the Dog. Interestingly dark lyrics here, too. “Superego” has got a fun rhythm and spirit – I would say more alt rock with a little bit of pop perhaps? The guitar style is funkier and certainly sounds cleaner, while Cannon’s bass groove is smooth and warm. The vocals have a cleaner sound, too. For me, this tune stood out the most. The lyrics to “Land” are about how one can lose their identity within a relationship and then realize that those mind games of love we thought shaped who we are, or were, for that matter, or so far from reality. This track is the band’s longest, and it starts with a clean sounding guitar and vocal. After the first few words, the other two bandmates join in, with a rich and heavy bass/drum sound. The chorus finds the band rocking harder, with distorted guitars and fantastic backing vocals. Overall, I really liked this one too for its spacious, big sound and guitar melodies. “Half Past Nothing” and the words are a spot-on comment about our dichotomic relationship between our electronic devices and “somewhere else we’d rather be” and that, “every morning feels the same.” But there is a hopeful message as well, between those wonderful bass and drum grooves. The group’s last tune, “Rising Tide,” I thought had a different feel and songwriting approach than the others. It’s starts off sounding like some pop/rock number from the early ‘80s – the jangly guitar and beat reminded me of R.E.M. – but it also seemed to have something ‘60s psychedelic about it, too. All things said, Super Ok has great chemistry as a band and Departures has got a solid sound, with some real stand out gems, too.
Since 1996, the Copenhagen band MY BELOVED composed of Iver Ask Overgaard (guitars), Danny Søndergaard (drums), Thor Vincent (bass) and Lars Kivig (piano/synths) has lived in the Danish and German underground scene of experimental rock. MY BELOVED´s music has over the years been used on several documentaries on DR (National Danish broadcasting company), where the band was also at the top of Radio P3´s The Electric Barometer with the song, “After The Speechless Head” from the debut album Servant Of Secret Places. Recently they released a full-length album entitled Tarnish which is a twelve-song album.
Their music mixes elements of post-rock, ambient and other like-minded genres. They get going with “A Distant Hello” and right off the bat I liked their sound. This song is very lush and the emotional resonance is subtle and changes. It’s moody, hopeful and overall does a good job in not getting held down in a particular feeling. The energy rises with “Dead End” and the album starts to feel like it’s moving now. There are repetitive melodies and steady grooves which are enhanced by walls of distortion. I did get the feeling the song was building and oh my it was. There are some beautifully explosive sections on this song and in all honesty at this point It felt like these guys were real pros. The experience they have is evident. “Frontier” is spacious but huge sounding. The song is haunting in Godspeed You! Black Emperor type of way. Lots of reverb and an introspective and sprawling quality to the song. “Echo Mans Dream” is a seven-plus minute song and a slow burn. It’s beautiful, haunting and also meditative or perhaps pensive depending on how you interpret the sound. The band does a great job making every subsequent song sound like a piece in the puzzle as they roll along with “Restored” and the title track “Tarnish.” “Writhe” is the arguable centerpiece. They reach some vast heights with this song and oh man I have to give extra credit to Søndergaard for the incredible drumming. As the album continues I enjoyed all the songs but there are some highlights along the way. “Unknown Origin” is a wild and intense ride while “Solitaire” contains instrumentation that feels symbiotic. I loved the sound of this song. The spiritual sounding closer “Superior Mirage” feels like you’re approaching the vortex in the center. It buzzes with cosmic like property and sounds otherworldly and comforting. I think fans of post-rock will feel right at home with this release. It builds on some of the classic qualities that made this genre known in the first with longer form songs and ambient soundscapes. I think what really makes it exceptional is the musicianship. Highly recommended.
Dave Rabinow is a songwriter, performer, actor and playwright from Providence, Rhode Island. For over a decade he’s been a member of the Empire Review, Rhode Island’s longest-running variety show; it was there that he rediscovered his love for songwriting, which led to the making of his first album We Had A Good Run.
Rabinow is a big fan of Americana singer/songwriters like Todd Snider, Hayes Carol and Gillian Welch. He also hopes to recreate the sounds he’s heard in the records of Jimmy Dale Gilmore, John Prine, Lucinda Williams and Slow Motion Cowboy (“Records where you can sometimes hear the strings buzz”). Rabinow explains: “As I got more comfortable playing and singing in front of an audience in a more comedic style, I tried to shift my songs to something that felt a little more like the music I loved.” When the pandemic hit and live shows were canceled, Rabinow’s only remaining outlet was to write and record this album. Production was by Keith Munslow, with mixing and mastering by George Dussault at Galilee Productions in Cumberland, RI. There’s fourteen great songs here so I’ll touch on my favorites. Though he doesn’t mention them by name, Rabinow’s songs quickly reminded me of the clever and gently humorous songs of Loudon Wainwright and David Bromberg, with a bit of John Prine’s gravity. “Song About a Sunset” parodies singer/songwriter cliches with trilling acoustic guitar by Rabinow and keyboards by Keith Munslow, with mixer George Dussault playing most everything else. Rabinow has a pleasing, matter-of-fact vocal delivery and his lyrics are fun and surprising, such as: “The nights are short unless they’re long / A million stars refracting borrowed light / The washing machine plays a song when it’s done / Plays until someone turns it off / It just about broke my heart to think / It played all night long for no one.” The dramatic title track “We Had a Good Run” plays like a penultimate Broadway show tune. It’s an “End of Life” song with more of Rabinow’s wry lyrics and observations: “Last one out the door, turn out the lights.” Bryan Rizzuto adds deep, swooping standup bass. “Angels and Devils” is a song built on famous choices like “The Lady or The Tiger, The carrot or the whip, my way or the highway…” This one skews more Americana and sounds like it was written at a dusty crossroads. Producer Keith Munslow stands out on organ-like keyboards. “A Place Where She Belongs” feels like an Arlo Guthrie story-song with great accordion by Dick Reed and pedal steel by Chris Brooks throughout. Also featured are background singers Nicky Mariani-Wilson, Katie Munslow, Tom Vale, Rachel Winslow and Tina Wolstencroft. “Wanted to Write You a Song” is another great conceit, listing all the ways a songwriter can be thwarted: “Wanted to write you a song but the wind took away my voice / Wanted to say your name but my Mouth was filled with rain / Wanted to hear your voice but the tapes are all erased.” This one features high pitched, somewhat strained vocals atop Byrds-like guitars. “Welcome Home” earned a star in my notebook as one of my faves: it’s a sadly sweet song being addressed to a returning partner, but the overall feel is that the person welcomed back won’t be sticking around for long! Also features a stellar standup bass solo by Bryan Rizzuto and minimal but perfect percussion by Michael Clarke. “It’s Almost Late Night” is kind of a honky tonk novelty tune (even in this company) about finding refuge in the Late Night TV Hosts, and Rabinow names almost all of them (even ones you’ve forgotten!). I love his simple description of songwriting: “You get some words and you string ‘em along.” “Which Way Am I Gonna Go” is what I would term “Humorous Dylan” (including harmonica) with a touch of indie legend Daniel Johnston, with still more of that classy pedal steel. The folky, melancholic “Is This How It Ends” could be about the end of a relationship (or life itself?) and features some deliciously dark chords peppered throughout. “Aren’t You Curious” is the kind of song I’ve written myself a couple times, where you look back at old, lost relationships and wonder if those people ever think about you (spoiler alert: they don’t!). It’s done in laid-back country style with heartrending pedal steel, and an accordion break that recalls “Lady And The Tramp.” “Happy New Year” is a rousing anthem for lost souls at the local bar on New Years Eve, both joyous and deeply sad. Rabinow makes final use of his background chorus singers from “A Place Where She Belongs.” Though most of Rabinow’s songs have a comedic intent, he’s not the kind of humorist that wears out his welcome after a couple of yuks, being that his lyrics are rooted in his own true-life adventures and travails. He’s clearly a big talent who has not only made me jealous but also eager for more!
From Cincinnati, Ohio comes Nic Sabo’s new band project Foreign Wars and their debut EP The Depths. Sabo has been composing and performing for 25 years, first as a pianist and bassist, and more recently adding keyboards, guitar and percussion while working out of his own studio. On this album Sabo plays all the instruments himself.
He explains his band sound like this: “The bass is melodic and leading, while the percussion is articulate and driving. The guitars are focused while the keys are atmospheric, providing a rich sonic landscape, (with) somewhat typical song structures that are easy to listen to while increasingly complex upon further study.” He hopes that the music will make you want to revisit the album and “find something new each time.” Recording took place at Sabo Music LLC in Cincinnati. “Places” starts the album with a translucent, ever-changing keyboard riff atop a solid backbeat on the drum kit. Sabo allows the track to float around peacefully for a couple minutes before kicking in with a sweet fuzz tone solo. All instruments seem to be responding to each other in real time. In “Under The Stars” the melodic, busy bass line pairs with a jittery beat and retro-sounding organ pads. This is another sophisticated, jazzy construction where the lead guitar plays a series of ever-changing melodies at the outskirts of the harmonic center. “Dreaming of Tomorrow” is a futuristic title for an appropriately spacey, otherworldly construct, with sci-fi synths and big, expansive guitar chords. The guitar solo here is nominally fuzzy but surprisingly clean, with a bit of the sweet melodocism of Wes Montgomery, and makes adept turnarounds atop some tricky 7th chords. “Age Isn’t Wisdom” feels slow and very wide-open, like Ennio Morricone’s soundtrack music. Sabo takes yet another luscious solo against a simple organ pad and drum backing. “Nasty” ends the collection with a fast, jumpy, minor key arrangement. I love the interplay between the jazz guitar chording and the acoustic piano, and Sabo goes ahead and solos first on piano and then guitar before riding out the groove into the sunset. I really enjoyed these tracks and wouldn’t have minded a couple more minutes per song for Sabo to stretch out even further, but he’s clearly on the right track for the future!
Back in 2021 I reviewed On Habits of Fear by The Renunciate which is the solo project of Ontario-based musician Nick Michieli. Michieli is back with Soul Calculator which feels like a natural extension of his previous release. On Soul Calculator the vocals are very expressive as if he's playing a couple different characters in a play.
The album begins with “The Girl From Paris” and the music brings some good vibes right off the bat. I was reminded of the feeling I get when listening to Vampire Weekend. As I mentioned the vocals are dynamic and expressive which almost makes you forget about how versatile the instrumental aspects are. It’s impressive from both a technical and creative standpoint and I loved the guitar solo towards the end. “Avatar: The Last Airbender” is a great animated series and I also enjoyed this song which takes the show as its central theme. The feeling is happy go lucky at points. It’s a fun song with a ton of changes. “The Murder Rite” is next and this song has a cast of characters. There are a lot of changes in the song in a lot of different ways. The musicianship is pretty incredible especially what’s happening with the timing and BPM. Michieli makes the transition feel smooth and seamless. Beautiful job. “The Fairy War” is a highlight and really could be played out by multiple people on a stage. It’s another song with an abundance of different parts. Michieli plays a little more with falsetto on this which makes the vocals feel very distinct as if he is having a conversation. “Mixing Bone Dust” is an instrumental track which really lets you focus on how technically impressive the music is. Good call. “Feel the Chemicals” strays away from 4/4 time at times and is also one of the more catchy songs on the album. “Ice Wizard Attacks” is another wild ride which may be taking a shot at the death metal villain voice which has become a cliche. I couldn’t even keep up with what was happening on this song. Some of my favorite guitar picking melodies were on “Dangerous Deliverance” which is another instrumental song. “The Dance of Ich” continues to form the signature sound while “Down at the Bottom of the Well” has a defined hook. There’s no denying that The Renunciate are doing their own thing. I would say it’s something like an off kilter version of prog rock that embraces theatrics. If you want to get into the details, the Bandcamp purchase comes with an 89-page tab book, which includes detailed music notations of vocals, rhythm guitars, guitar solos, bass and drums. That’s a lot of information but actually doesn't surprise me. Take a listen.
Uniontown Electric is Nate Secrest (guitar/keys/bass) and Brandon Boesiger (drums). The duo from Ohio recently released Platforms which is a ten-song album. They mention “The album covers a good deal of sonic ground, From over the top rock to electronic, Acoustic vibe to experimental fuzzed out futuristic jazz.” I would say I felt the same way when listening so let’s get into it.
“Future (B)looms” is up first and is sort of a big sounding alternative tune from the 90’s. I have to admit Weezer did come to mind but it was subtle. The guitars sound big, the chorus sounds huge and it’s also a catchy tune with a strong hook. “Glock and Spiel” simmers down the energy. I loved the groove here, especially the drum work. The bass locks in nicely and cerebral sounding guitars create some atmosphere. As the song progresses it really seemed to get more post-rock infused mostly because of the guitar but was reminded of the band Explosions in the Sky. “Siren’s Song” is a mammoth song that moves like a slow burn. The post-rock vibes are evident on this song. As the song progresses it builds, comes down, builds again until about the two-and-a-half-minute mark where it absolutely explodes. Cymbals crash, guitar buzz and the vocals soar. Wow. “The Odyssey” is where they really go into different territory. The song is almost the opposite of “Siren’s Song” in terms of dynamics. It’s intimate with guitar and vocals. The song does build and showcases a different more folk inspired sound that is quite warm. “Snow Globe” gets back into post-rock territory. The name of the song felt perfect. I loved the atmosphere and also the song contained some of my favorite vocals. The title track “Platforms” is a slight experimental song with jazzy overtones. The horns sound fantastic here and the groove is closer to a band like MGMT. The warm and tranquil “Absently Available” was a solid song while “Itacha” is a more pop oriented song. “Plans” is a pretty straightforward rock song while the closer “Adolescence” is cerebral and electron sounding closer with a repeating arpeggiated synth. My main critique is I couldn't quite find a signature sound because they do flirt with so many styles. I usually prefer narrow albums that have consistency in terms of style, mood and color. On that note there’s a lot to appreciate. I think the post-rock infused material felt like their strength and they did pull off what they attempted. This is a solid album and they showcase a lot of talent in different areas. I look forward to hearing where they go from here. Take a listen.
thinner is Alex Osman, located in Cleveland, OH. Some of his former bands/projects include Elephant Pill (trip-hop/art-rock), Ghost Embryo (noise-rock/sludge metal), Stutter Frog (noise-rock/post-hardcore), White Pony (shoegaze/indie rock) and Grandma M (IDM/acid-techno). Osman recently released a self-titled eleven-song album Thinner that flirts with a number of genres including rock and ambient.
The album starts with “Skim Milk Dream” and it is a haunting and ominous sounding ambient piece. At the foundation is bass with what sounds like distant ghosts like guitars creating the atmosphere. There’s an intensity of white noise that grows. I loved this intro and it reminded me of the band Mogwai. Things remain haunting on “A Child of My Own” which is a repeating pattern on banjo. It’s the atmosphere that makes it feel creepy like something you might hear in a horror movie. There’s a slight voice that has a robotic effect which really brings this home. “Colossal” isn’t as dark and feels like there might be some light at the end of the tunnel. There’s a hypnotic quality here that feels subterranean and alien. I loved the guitar work which is subtle but integral to the feeling of the song. “Rust on a Grill” took me by surprise and at first I thought my device might have switched to another artist for some reason. This is a lot more straightforward metal and rock song. You get typical elements like drums and guitar. I wasn’t sure where the album was going to go next. “You Always Do This to Yourself” contains some pretty guitar work and seems to pave the way for “Corn Stalks.” “Corn Stalks” gets back into more haunting territory with hypnotic guitar patterns and ominous pads surrounding it. “Untitled #4” felt hopeful and warm compared to everything that came before, at least at first. I loved this track and it feels like one constant build to something. The change comes around the three-minute mark and goes into a unique and dissonant sounding groove. “Park 2” is a meaty track with drums, shards of white noise and more well done guitar picking patterns. “Wheelchair in Snow” had interesting percussive elements while “Belt Loop” reaches one the biggest climaxes on the album. Last up is the pretty yet dissonant “Over.” The road from beginning to end was a little bumpy and some turns made more sense to me than others but overall this is a good album. I thought the guitar work as well as the sound design was the strength. There’s a lot to appreciate here and if you’re looking for darker soundscapes I think this might be your ticket. Take a listen.
Eric Schaffer is a multi-instrumentalist, singer, songwriter and sound engineer from Los Angeles with over fifteen years of musical experience. His solo project Del Vertigo began to form around eight years ago and he is about to release his next EP entitled On The Day That You Come To. Schaffer’s signature sound crosses genres and you might pick up on some of his influences which include Radiohead, Deerhunter, The Pixies, Nirvana and Modest Mouse. The themes and concepts on On The Day That You Come To flirt with philosophical rumination such as the disconnected relationship between humans and nature as well the ability to repair it.
The EP begins with “Obsidian Hills.” It starts with a hypnotic guitar pattern and reverb laced vocals. Tribal sounding drums which take advantage of toms add some emotional heft to the song. I thought the way the reverb was used was detailed, for example the way it emphasizes certain words. Other elements start to come in like bass as well as what could be some sort of synth which sounds like it was on “Karma Police” by Radiohead. The end of the song is great as it forms into this cloud of vocal harmonies, percussion and more that feel like it has a symbiotic relationship. “There’s a Glimmer In The Thicket” starts with haunting and ominous soundscapes. Textures and tones combine, sparkle and morph into different sounds. I loved the sound design on this song which is worldly and cosmic. The vocals are still the focal point but I was just as intrigued by the music. I would recommend headphones for this one. “In Dreams (feat. Jeremy Stotter & David Zasloff)” was a highlight. The song is subtle and subdued. The beginning guitar pattern is memorable and similar to something you might hear from Bon Iver. Haunting elements hug the guitar which give it a unique emotive quality. The song just gets better as it progresses. There are some beautiful builds before the two-minute mark. It sounds like a distant horn and it was soft but also powerful. “The Fall” is one of the more experimental songs. The beginning of the song is a dark and foreboding soundscape. There is again some exceptional sound design but also the structure of the song was unique. A arpeggio pattern combines with huge sounding pads and blooms with the soaring vocals. I loved the transition from “The Fall” to the closing title track “On The Day That You Come To. The reason being “On The Day That You Come To” was the most joyful and upbeat song. It felt like a cathartic release after the mostly moody songs. He sings “Make it all better” towards the end which felt fitting. This EP is very well produced and is one that benefits from listening to from beginning to end. There’s a lot to appreciate here and I thought the arc of the emotional resonance was precise and took you on a journey. Highly recommended.
Jonah Leatherman is an indie artist from Fort Wayne, Indiana who has just released his debut solo album titled Jonah Leatherman. Previously Leatherman was a sideman in various bands that performed all over the United States, South America and Canada. I was also interested to learn that Leatherman teaches Master Classes and seminars for the Sweetwater music gear company (full disclosure - I use them!).
Leatherman says his music falls somewhere between indie and heartland rock with some classic rock elements thrown in, and his recording preferences are very much in the analogue realm: he captures his songs on 24-track tape using mostly vintage instruments and gear, including a plate reverb from Chess Records! Leatherman states: “Sometimes it’s within those (analogue) limitations that you stumble across really creative solutions with overdubbing and layering. You also have to play it right or it won’t be right.” Leatherman himself sings and plays guitars and keyboards. His recording band consists of McKenna Parks (vocals/12-string guitars), Lance Robert (bass) and John Foxworthy (drums). Recording took place at Off The Cuff Sound In Fort Wayne and was mastered at The Boiler Room in Chicago. Not surprisingly, the final product is available on vinyl as well as digital. Our first taste of Leatherman’s style is “Westward the Wagons.” Leatherman sings very much like Pete Townshend but without the English accent, and his guitars (both here and elsewhere) are run through a literal stack of stomp boxes and processors. His recording style creates an old fashioned ball-of-sound: stereo, but with a mono sensibility. For example, the drums are mostly panned to the center, and the overall sound quality doesn’t have the infinite detail of digital recording, which is a nice change. The song itself is an upbeat anthem looking forward to new adventures with an open heart: “Westward the wagons into wandering, into prospering, into flowering, into shining, into green trees, into wanting what is good for me.” “Couldn’t Find Any Reason” kicks in with an upbeat rock energy with rollicking, glistening guitars, background organ and really nice vocal harmonies. Though Leatherman mentions classic rock as a lesser influence, both this song and the majority of his album take me back to the heyday of the mid-’70s, straddling the Woodstock and Eagles eras. He even uses that setting that makes your guitar sound like a sitar. “Mourning Glory” is a song even more rooted in mid-’70s glory: it’s got a strident, stompin’ riff that would feel right at home for Rod Stewart or Joe Walsh, more sitar-guitar and a psychedelic break in the middle. “Looking Glass” is built on a classic boogie riff and has this great mixed metaphor: “You’ll find me in the bottom of a looking glass.” Lance Robert’s bass also stands up and gets noticed here. “Castle Stones” has a slower, melancholic feel, with Leatherman again channeling Pete Townshend. I love the shimmery, transparent main riff. There’s a touch of later-era Beach Boys, when they’d do more single vocals without the stacks of harmonies. “Strings” returns to a fast pace with falsetto vocals, chorus-drenched guitars and a slow build to a killer lead solo that rises like a Phoenix. “Between the Lines” is thick with organ, keyboard pads and swirly guitars, onto which Leatherman tries out some Moody Blues-like harmonies. The guitar solo has layers of effects including a cool Leslie speaker sound. “Moody Judy” ends the album with yet another struttin’ ’70s romp with an Eagles-like sound. There’s something admirable and pure about Leatherman’s approach to his music, including the retro stylings, the thick guitar effects and the tape-based recording. Here’s to more good rockin’ to come! |
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