Laura Cheadle is an artist who apparently got her start in music at the tender age of four. Since then she has performed on stages from NYC to London, appeared on 6ABC’s “Tuned In” as the very first viewer’s choice, the “NBC 10” Show, and the National reality show “Next Great Family Band.” Some of the names she shared the stage with include common household names like The Jonas Brothers, Sister Hazel, The Spin Doctors, Average White Band, Felix Cavaliere’s Rascals, Kasim Sultan, John Oates/Hall and Oates, Terrance Simien, Peter Tork of The MONKEES, Garland Jeffreys, Constantine Maroulis, Ryan Cabrera, Derek Forbes, The Stars From The Commitments, John Sebastian and Marc Broussard to name a few.

She has released a number of albums including Chill and Let’s Get Together For Christmas but today we will be talking about her latest single entitled “Time Thief.” The song starts with a very lush palette. Pads swirl around the stereo mix. It doesn't take long for clean funky guitars, bass and a steady 4/4 beat to enter into the mix. To my ears it sounds like a disco beat. I was hearing some influence from the ’70s and '80s on the verse.

Cheadle has a great voice and she certainly belts it out on the verse. She’s dynamic and seems to easily hit those high notes. The hook comes quickly when she sings “Waiting on a time thief / Waiting on a time thief / Now we’re out of time.” It’s a fun and catchy hook.

The verse returns and this time around we have some more instrumentation as well which sounds like synths and electric piano. There are some moments where Cheadle's voice just soars. I would say the crescendo in the song comes right around the two-minute-and-thirty-second mark where she absolutely belts it out. By this time in the song you should already be dancing. There’s a killer breakdown with pretty incredible cascading vocal harmonies. Towards the end the hook repeats like a mantra which whips into a fervor.

​It was easy to understand why Cheadle decided to go with “Time Thief” as the single. It’s not only a catchy song, it's one that will make you want to dance and sing along. I can’t say I was familiar with Cheadle prior to hearing this song but it was a great introduction to her sound. Take a listen.

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No matter what, Monica Czerniak, the woman behind Montreal, Quebec-based solo project littleuniverses, has always wanted to be an artist. Whether her art would be tied to music or not was uncertain. She started out as a buyer in the fashion industry before eventually working her way up to a managerial position. However, the amount of career possibilities expanded as soon as she got her Graduate degree, including the opportunity to pursue a music career on the side. 

If her self-titled debut album littleuniverses is anything to go by, I would say that her career in music is an incredibly rewarding one. Enlisting the help of producer and musician Randall Dunn (Sunn O)))) as well as musician Arjan Miranda (Black Mountain) among other talents, Czerniak crafts breathtaking experimental soundscapes with deeply poetic words and  dynamic instrumentation. Across ten songs, “themes of identity, relationships, struggle, the search for beauty and meaning, love, hope, mysticism and the passing of time” are complemented by twisted dark wave, dreamy folk and rich layers of electronics. 

“Magic” truly lives up to its title and is an immediate standout right from the start of littleuniverses. What’s most interesting about this piece, though, is that the repeating minor-key passage of deep bass synth, piano and cello notes contrast so wildly with the lovelorn lyrics. “I’m rising / Like the sparks of these flames / You lit the bonfire in me / I’m seeing things / You’re magic.” Many times I have heard a song with dark lyrics amid upbeat music, but fewer times I have heard this trope played the opposite way, with positive lyrics but downright ominous music. Hard to believe this is just the beginning of the album. 

“Woman” is a noticeably less ominous song than “Magic,” even with a chaotic bridge of synths buzzing like bees in a hive. The neo soul-inspired music is tantalizing, the lyrics empowering. “Bird in your hat” sounds like vintage Goldfrapp circa their Felt Mountain era, right down to the quirky title. Czerniak’s deep vocal haze is a perfect match for the song’s trip hop beats and fluorescent synths.   

“Forever to never again” throws in a wistful harmonica riff alongside a jazz-inflected rhythm. I can easily picture this tune playing in a relaxed coffeehouse setting. “Will I be a mother” is similar to the preceding track in that it lacks percussion. However, it does feature synths, keys, a guitar and a “Mellotron choir” to serve as an intensely layered backdrop for Czerniak’s ethereal vocals. “See these clouds and I have a deeper understanding / I speak to them sometimes / They feel more stable than my friends.” Dream pop has never sounded this introspective before. 

“Snowflakes” cuts through the ethereal mist with crystal clear poetry, which is spoken out loud rather than sung. It’s very pretty for an interlude, despite the dissonant organ motif. Of course, the album wouldn’t feel complete without its gothic lead single, “Sword.” I especially love how the four-on-the-floor kick drums and pounding snares are mixed rather quietly, as if the beats are ghosts haunting the rest of the song. Featuring swells of wet guitars, sinister piano and synthesizers, “Sword” has been said by littleuniverses to be inspired by Depeche Mode’s essential 1990 album, Violator. Considering how much I adore Depeche Mode’s darker take on synth-pop, I’d deem this the most memorable moment on the entire record. 

Littleuniverses’ experimental palette continues to grow on “Your lake.” Lyrics really stand out here as well, with some of my favorite lines being, “Some wishes come true / In the form of small bruises / The feelings that linger / Over a series of painful truths.” Strangely enough, the song, “8,” is actually the ninth song on littleuniverses, not the eighth. It’s also written entirely in French. Go figure! I wouldn’t hesitate to classify this piece as dark ambient, even though it’s technically classed as “gentle dark core,” of which I’d never heard of. Whatever the genre, with gentle vocals gliding across droning synths and effects-laden guitar, it is a must-hear.    

​As strands of dark, acoustic-driven folk unfurl on album closer, “Send it away,” I definitely feel like I’ve learned quite a lot about littleuniverses and the person behind it. It’s always great when you can get the full picture from just one album. littleuniverses is that sort of record, bursting with innovative ideas and enticing melodies. There may not always be percussion or even hooks on here, but it’s so dense in terms of atmosphere and experimentation that this ends up being a surprisingly strong debut. I can’t recommend this enough.

Flip That Groove is led by Melbourne-based musician and composer Paul Field, who likes to collaborate with other artists to explore his sound even more. Field has contributed to many other bands in the past and his experience has led to him releasing his own material. Field has teamed up with Phaedra Gunn who contributes on vocals to release a double single “Inside My Head/Falling.”

The huge electronic riffs and scat-like vocals create an alluring soundscape on “Inside My Head.” Once you hit play, you will be met with percussive beats and the electronic vibes and synths reel you in with an other-worldly flavor. I like the fact that Gunn includes a jazzy flair to her vocal here.

The song contains some funk as well. The slick drums and experimental colors come together making it feel ephemeral and actually quite spiritual. On top of that there's a good amount of psychedelia happening. Suffice it to say this is an original sounding song that is constantly uncovering new terrain. 

On “Falling,” more beats come into this track and and Eastern quality. The beats were very tribal and kinetic. Next, some strings arrive for a lush sound. The airy vocals are murmured in the background and you can barely make out what she is singing almost as if she is speaking in tongues. It feels more like chants and mantras than anything and I thought this was ear-pleasing as well. Similar to the previous song the spiritual element feels refreshing and cathartic. 

I thought the sound Field was going for here had some great ambience. Gunn’s vocals easily fit into these electronic grooves where she half-sings and scats the lyrics. I enjoyed the World flavors of these singles filled with invigorating beats and a great vibe. I hope to see more soon.

Become A Fan

Color Crush is a husband and wife duo featuring David Napier (vocals/guitars/synths/drumming/programming/lyrics) and Courtney Napier (vocals/bass/lyrics) whose dreamy pop layers and shoegaze sound on their debut EP has us at Pitch Perfect excited to start digging into their next release. Up next for David and Courtney is their latest album Moments, which the band says are filled with “slice of life” moments. From feelings of self-doubt to playing video games and enjoying little moments with your loved ones, instances like this fill the album. In David and Courtney’s hands, these tracks burst from the seams with different flavors and textures. 

Moments opens up with “Shine,” where a heavy buzz of instrumentals from guitars and bass arrives for a searing sound. The reverb here was overpowering. Once Courtney’s vocals arrived, it added to the overall ambience. The noise level on this track was pretty high. I was also getting some metal vibes and I couldn’t help but see similarities between them and Fly Leaf and Evanescence as well as Beach House. Some chiptune vibes come in on “Video Games.” The overlapped layers of vocals from David and Courtney came in and to my ears, the heavy buzz of activity was nearly overwhelming. There were a lot of different layers to the sound here, which I thought was done really well. I was getting some emo vibes from this track as well. Synths enter the sounds on “Mother.” David’s vocals slightly reminded me of Owl City here. The reverb and feedback on this song is heavy. It added a lot of noise in the background. David and Courtney harmonize together to give off a very melodious flow.

Some gritty synths and beats add a gnarly vibe to “(In The) Fall.” A little on the noisy side, through the sound, Courtney and David’s overlapping vocals enter the vibes which sound very much like a huge part of the ambience. The atmospheric soundscape was a real treat to the ears. More ambient vibes come from the band on “Older.” The instrumentals come together and soon vocals breakthrough. The soft yet soaring sounds surrounds you for an invigorating effect. Some shimmering guitars roll into “Friends.” The sound meanders for a bit and takes its time in getting realized. Next, more gauzy instrumentals arrive for a hazy vibe. The sounds take flight for a stimulating listening experience. There are zero vocals here and only instruments are spotlighted, which I thought allowed some breathing room in-between the tracks.

On “Party Time,” some fast drums and bass blitzes the sound here. The feedback was also pretty heavy. I was getting some emo/punk rock vibes from this song. I loved how upbeat and contagious the melodies were. This was definitely a dance-worthy track that should get you moving in no time. On “The Fight,” some finger-picking on the guitar comes through here. Next, some reverberating synths arrive for an edgy feel. The wall of guitars noisily filters in. The vocals rise above this sea of noise. David and Courtney’s vocals flit in and out of the music to great effect. Some synthetic strings come in for a searing sound on “Gone.” Next, some beats arrive for an ominous vibe. This proved to be another track with dark tones. Gradually, David’s airy vocals enter for a moving sound. The band chooses to close the album with this atmospheric closer.

​Moments is a distinct departure from the band’s Infinite Connection EP. It’s way darker in scope. While I enjoyed the gossamer vibe of the initial EP, I admire the band’s willingness to try new approaches and explore different modes of music. The more I listened to this record, the more I was getting a metal and intense hard rock flavor that recalled in my mind such bands like Fly Leaf and Evanescence. The other thing that stood out in my mind was how much reverb was used in this album. It felt like another instrument on this album, which I thought added another highlighted dimension to the overall sound. All in all, this was a good direction for the band. I very much look forward to seeing where else they’ll be going with their sound in future endeavors.

The Space Turtles is an alternative rock trio from Long Island. Their main influences are Red Hot Chili Peppers, The Black Keys and Spoon. Having had plenty of experience with recording and touring, they put out their first EP, Tough Call, late last year, and are working on further developing their fanbase.   

When discussing the recording process, the band members say that “Tough Call was recorded as separate performances of each instrument.” They recorded drums at Vudu Studios with all sorts of mics and presets, and everything else with their own gear. I suppose that explains why the drums sound so crisp throughout this debut EP. Bassist Andrew Rizzo mixed the EP in Protools, whereas Michael Fossenkemper mastered each of its six tracks.  

Beginning with some taut low end and “bum-bum-bum”’s, “Young At Heart” expresses a rather nice sentiment, which is that age should be determined by how you live your life rather than how old you are. It sounds very much like Red Hot Chili Peppers. Furthermore, it is a catchy song being sung by an animated vocalist.          

“Ghost Plans” is a step up from “Young At Heart” in that it displays more emotion than the previous cut. The main vocal hook with its staccato delivery is certainly a good one. Maybe this song should be compared to the danceable post-punk revival style of The Strokes? I must admit that it’s also intriguing how it’s called “Ghost Plans” and not “Those Plans.”           

Lyrically, “Live It Large” reminds me of the hit single, “Beverly Hills,” by Weezer. Musically, though, the electric garage rock riff sounds like the soundtrack to someone strutting down the block while wearing shades at night. Class this under the long list of songs about aspiring to be famous a la “Rockstar” by Nickelback, only not quite as corny.  

“Hate How I Love You” is probably the poppiest, most reggae-inflected song here. It’s basically how Maroon 5 would sound if their production was much subtler. “Get It,” sonically, is very much like funk-garage rock, as The Space Turtles puts it. The verses are enjoyable, and the bass and guitar interplay is strong on this second to last track.      

However, the biggest surprise on the EP is undoubtedly “Run Away,” a tender tune about escaping the world with someone, presumably a love interest. I also appreciate the bridge that lists off all the different outdoor activities these people want to do together. The clean electric guitars here are more layered than before, giving this closer somewhat of a spacey vibe. It’s refreshing to hear something slightly different.          

​Overall, on The Space Turtles’ debut offering, Tough Call, there are quite a few good moments scattered throughout. Most of them are related to the vocals and the catchy melodies, but the drums sound nice and clean, and there are some times where the guitar does some interesting things, too. I have a feeling that their next outing will be even better. Recommended.

Become A Fan

Oliver James is an artist from San Diego, California who has had a prolific career. I read his bio on his website which I encourage you to do as well. His inspirational single, “Keep Breathing,” from his debut album Chasing The Sun has amassed over 10,000 radio spins to date. He also released The Sun (2012) and What Have We Learned (2016) which are both full-length albums.

More recently he released a couple of singles which we will be concentrating on today. The first song I listened to was “The Hardest Part.” It starts with warm acoustic guitar and beautiful orchestral strings which could have been a cello or bass. The vocals and light pads surround you. I was reminded of some of the more acoustic material from Pink Floyd. The song feels very cerebral and introspective. It definitely puts you in a certain type of headspace. On top of the cerebral quality it felt very comforting and provided you with a sense of solace. The song starts to feel epic once the rolling toms come in. There are lush vocals which repeat the phrase “the hardest place” and have the essence of a fading dream.

The next song I listened to was called “Winter Sun” and this song sounds huge. It’s more rock based than “The Hardest Part” and is very explosive. The song starts with a slick electric guitar riff and bass, drums and other elements quickly follow. I loved the rhythm section on the verse and the kinetic energy it creates. Right around the one-minute mark the song just starts to soar. It starts to feel very motivational and gives you the feeling like you can accomplish just about anything. The vocals are confident and inspirational and there’s also a killer guitar solo on this song. Towards the end of the song it really has nowhere else to go but down because the song is just soaring. The fade they implement into the song felt like a good move.

​After listening to these two it was clear that Oliver James is a talented artist. I appreciated both songs for different reasons. In fact, I liked these songs so much I’m going to check out their full lengths. This is an artist that I think will be accessible to a lot of people. Good songwriting and delivery with memorable melodies. What else could you ask for? Recommended.

Blackwood is a hard rock band from Nashville, Tennessee that formed in 2021 composed of Chris O’Brien, David Dicks, Keith White and Steve Burgess. The band got to work and started to record music. They released four songs in 2022. 

The band plays hard rock for the most part that is accessible and would appeal to a large demographic. I started my journey with “Inundated One” which begins with killer guitar. The drums start to rev up and you can tell it’s about to explode. It doesn't take long for the vocals to come in and I can say there is a lot of passion in the delivery. There’s a sense of urgency to the vocals which focuses your attention. The band sounds tight, the song is dynamic and perhaps best of all this song feels like one long adrenaline rush. I loved the ’80s style scream around the two-minute mark. Wow - what a song. It will get your heart pumping.

Up next is “Train” and oh my does this song hit hard. It just sounds heavy in every sense of the word. I was engaged with the guitar tone and loved the syncopated pacing on the verse. This part reminded me a little of the band Tool. As the song progresses layers are added and the intensity increases with every passing second. The band has a metronome-like timing but there is still a groove. They reach some epic crescendos and the last thirty seconds is a wall of sounds that shifts and mutates. It’s pretty incredible stuff.

“Lose It All” has a little more of an ’80s metal flavor. Something about the opening riff and the atmosphere made me feel this way. This is perhaps a little more pensive and there are some clean guitar parts as well. Once the bridge and hook comes it almost sounds like the band goes from the ’80s to the ’90s. The guitar parts cut like a knife through the songs and are again very dynamic from beginning to end.

Given the previous material I wasn’t about to think “Lullaby” sounded like a lullaby. That being said, it's much different than the previous songs. This very much felt like a ballad. The verse is warm and heartfelt. The vocal delivery sounds very different from the previous song. The chorus sounds huge. This is the type of song where people bring out their lighters and hold them to the sky. It’s emotive and the first song that might make you shed a tear given the mood you’re in.

​The production with these songs is exceptional. It’s radio quality. I think the band is off to a fantastic start. These songs hit me the first time I heard them and I think you might have the same reaction.

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Nikol is an alt-pop band based out of Nashville, TN. They have been on a roll since they formed. After releasing their debut album entitled Bittersweet they landed thirteen licensing offers for shows such as Keeping Up With the Kardashians, The Real World, WWE and more. They also played  SXSW four times, Vans Warped Tour two separate years, The Incarceration Festival, and have opened for bands like Pop Evil, Failure Anthem, Icon for Hire, Eyes Set To Kill. Their most recent release is entitled “Headspace.”

This is a very contemporary sounding song that combines a number of different styles. It’s like there were no restrictions with this song. The song starts with what sounds like some kind of filtered pad which quickly rises into a synth bass and distant guitars. I loved the lead vocals but there’s also a lot to pay attention to in the background if you have a nice pair of speakers or headphones. The hook comes quickly. It’s catchy, dreamy and doesn't overstay its welcome. The chorus did remind me of the band CHVRCHES.

The second verse comes in with dream like qualities that are in full effect. Instrumental aspects blend together into a synesthesia of experience. I loved the transitions after the second chorus. There’s orchestral strings here which create tension and the drone is added as well. This combination felt very original and worked very well. The third chorus is the most magnified. 

I can’t say I know exactly what the lyrics were about but my interpretation was that the song was about dealing with doubt and regret. Generally, I interpreted it as about taking care of your mental health. Lines like “There’s a face in the mirror staring back at me / Tell Me / I’m a failure and that’s all I’ll be / No More / living in this headspace” feel like lyrics I think most people can relate to. I sure did. The thing the song does really well is give you a sense of hope. I think the words are delivered in a way where you can feel the determination. 

​On top of that I thought the production was exceptional. It can easily be played on any major radio station. I can hear why the group garnered so much attention. This was an introduction to the band and I can say I was impressed.

Become A Fan

Warren Astrid is an alternative musician who offers melancholy in an oddly soothing package on Angelic Revenge. The gloomy energy is apparent on the opening track, “The Light at the End of a Tunnel,” obviously, but there’s something dreamy and perhaps slightly hopeful about the chugging electric guitar and ambient synths. There’s light amidst the darkness. After all, that’s what the song is about — the light at the end of a tunnel. And I was surprised to find myself listening to a song which feels surprisingly close to coming out of a bad patch. I was expecting somber music with a glimmer of light at the end, but there’s a consistent serenity to this chilled-out intro.

And “The Girl with Golden Hair” is criminally short. That’s all I have to say about that. I’m bitter. What a wonderful little acoustic guitar melody, feeling influenced in rhythm and tempo by classic Beatles tracks. I love the bouncy vocals, but the track doesn’t even hit two minutes, and I’m sour about that because it is definitely one of the most fun moments on the album. I would’ve liked to hear more. And then, on “Death In My Eyes (In Your Eyes),” I was a little shocked by the dark, haunting electric guitar which reverberates endlessly beneath washed-out, broken vocals. As the title suggests, this is not a song which offers a light at the end of the tunnel, and it certainly contrasts with the pop-fueled previous track.

“When the Moon Begins to Wane” is beautiful, and that can mostly be attributed to the stunningly somber, yet slightly hopeful, acoustic guitar progression. We’ve returned to the mixed bag of emotions present on the opening track. Yes, Warren Astrid’s tender, gothic singing style offers a bleak perspective on life, but some of the chord switch-ups offer just an ever-so-slight reprieve from the sadness. However, glimmers of light seep out of the window on “Suicide.” Such a powerful instrumental track, for those who have any sort of emotional connection to such a painful and poignant topic. Words aren’t needed. The dissonant synths tell the tale in full. So, I don’t think my words could do it justice either; it’s another short track that’s worth a listen.

​“Slugs” is an intriguingly-titled closer to this unique album. I love the loud, throbbing vibrations of the production on this track — something which gives it a real presence. There’s a stunning piano and synth melody to this track, and the vocal melody is also sublime. It’s bleak and unforgiving at times, but, much like the intro and other moments of this haunting gothic record, there are sprinkles of sunshine. A sliver of light that promises better times ahead.

NONĒ SUNSHINE is an alternative rock band based out of Denver, CO and Tucson, AZ comprised of two primary members Derek Hyde and Thomas Scott (TS) Laird. The band has a history going back almost twenty years. According to the band “After meeting through an online musician’s classified ad, Derek and TS struck up an immediate friendship. Finding a kinship in songwriting, they soon learned they shared a similar lens in how they viewed the world. Although life ultimately got in the way the first time around, they stayed close and continued to write songs for the sheer love of the art and process.”

The band has released a number of singles including “Stumble,” “Beautiful” and “Everything She Said.” I listened to their most recent single first which is “Stumble.” The song starts with a full arrangement with classical guitar having a brief solo. It doesn't take long for the verse to come which has a mid level energy. The vocals sound good and the chorus comes quickly. I thought the chorus was explosive and definitely felt like an anthem. The vocalist sings “I want not crawl/I will not bend/I will not break.” There are some vocal harmonies which add some additional emotional weight. 

The transition back to verse is smooth with a guitar solo leading the charge. They quickly get back to the hook and this time it leads to a heavy section which is the crescendo of the song. It breaks down to get to the chorus one last time

My first thoughts were that this is most likely a group that grew up in the ’90s. I was a teenager back then and this is the type of ubiquitous rock that was very popular around that time.

“S.0.S” has a little more punk sort of spirit. It sounds somewhere between power pop and pop punk. The song moves fast and is an adrenaline inducing song. It’s catchy, fun and does not contain any extra fat. The band gets in and out fast.

Last up is “Everything She Said” which is stylistically somewhere between the previous songs. There are elements of punk and alternative here. The band sounds good and I thought the drumming was impressive on this song. The vocal performance was equally as impressive especially on the chorus where the melodies soar. The second half of the song goes into even more epic territory which sounds like it’s heading towards the cosmos.

​These songs were an easy win for me. I can’t say there were any surprises but the songwriting and delivery was solid. Recommended.