​Dino DiMuro, a name perhaps familiar to denizens of this very site is not only a writer but a musician. Yet, his latest endeavor doesn't merely showcase his multifaceted talents; it resurrects a relic from the annals of time, remastering a song birthed in the womb of 1990.

In DiMuro's own words, his musical evolution traces back to the late '80s, where he delved into the intricacies of piano technique and the rich tapestry of classical music. "Mozart's 17th," is genre fusion that transplants the hallowed themes of Mozart's symphony into the fertile soil of rock-prog experimentation. Aptly dubbed "Mozart Meets Zappa," DiMuro's composition straddles the line between a number of different genres in my opinion.

As the song unfurls, one is immediately greeted by a surge of energy, propelled forth by the unmistakable timbres of vintage synths. Echoes of chip-tune reverberate through the song bringing to mind old Nintendo games as well as all of the music it inspired decades later. It's a testament to DiMuro's unique approach for marrying the old with the new. Yet, it's not merely a sonic collage; it's a lyrical jaunt through the whimsical corridors of Mozart's life.  

With tongue firmly planted in cheek, DiMuro regales listeners with the tale of a "gorgeous little boy with the deepest, darkest eyes" who metamorphoses into a "froggy-looking big nose kind of guy," navigating a comical yet fairly accurate representation.

Amidst the ebbs and flows of the song's dynamic trajectory, one encounters an experimental zenith that harkens back to the psychedelic odysseys of Pink Floyd and the avant-garde musings of Frank Zappa. Here, DiMuro's invocation of the late composer's name becomes a mantra, a sonic incantation that blurs the boundaries between homage and innovation. Yet, what truly sets "Mozart's 17th" apart is its unapologetic embrace of nostalgia, its whimsical exploration of historical figures, and its refusal to take itself too seriously.

​Clocking in at under three minutes, it's a whirlwind journey through the corridors of musical eccentricity, leaving listeners yearning for more. Indeed, one can't help but wonder: could an entire album of such audacious experimentation be lurking on the horizon? If so, count me in for the ride.

In the expansive realm of musical expression, Apollo emerges from the depths of a small country town, armed with nothing but raw talent and unyielding determination. His latest album, Dobson, stands as a testament to his unwavering dedication to the craft, offering a glimpse into a sonic universe teeming with emotional depth and lyrical prowess. 

The album unfolds with "Midnight Blues (Prayers)," a haunting ode that eschews conventional beats in favor of a delicate interplay between piano and saxophone. Apollo's rhymes glide effortlessly over the ethereal instrumentation, each lyric a poignant invocation to the gods of introspection. "Middle Finger" catapults listeners into a realm of pulsating beats and avant-garde synths, showcasing Apollo's ability to seamlessly navigate the intricacies of rhythm and flow. His verses, delivered with surgical precision, cut through the sonic landscape with a ferocity that is both exhilarating and unnerving. 

Collaborative efforts such as "Ghetto Kid (feat. Fredii Belaire & Slumlord P)" offer a glimpse into Apollo's world, where the trials and tribulations of urban life are laid bare amidst a backdrop of brooding beats and haunting melodies. Themes of family, law, and societal discord permeate the air, each verse a testament to the resilience of the human spirit in the face of adversity. 

The album's experimental leanings are on full display with tracks like "Blue Skie (Excuse Me)," a kaleidoscopic exploration of Apollo's psyche. Meanwhile, interludes such as the introspective "Pimp C Interlude" and the succinct yet impactful "Fish Bowl" serve as poignant reminders of the album's thematic depth and complexity. Yet it is on tracks like "Comfortable (feat. Fredii Belaire)" where Apollo truly shines, his lyrical prowess elevated by the infectious allure of captivating guitar riffs and hooks. It's a masterclass in musical alchemy, where disparate elements converge to create a sonic tapestry that is both mesmerizing and profoundly affecting. 

As the album progresses, Apollo delves deeper into the recesses of the human experience, exploring themes of love, loss, and redemption with a candor that is as refreshing as it is poignant. Tracks like "Moments," "Heartbreak," and "All I Need" offer glimpses into the inner workings of Apollo's soul, each lyric a poignant reflection of the human condition. The culmination arrives with "Family (Until Then)," a hauntingly beautiful closer that tugs at the heartstrings with its poignant melodies and introspective lyricism. It's a testament to Apollo's ability to transcend the confines of genre and language, offering a universal message of hope and resilience in the face of adversity. 

In Dobson, Apollo has crafted an exceptional album that challenges the listener to delve deeper into the recesses of their own soul. It's a testament to the power of music to transcend boundaries and unite us in our shared humanity.

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Citizen Wet Smack is the 35th album by the incredibly prolific Eric R. Rasmussen, recording as Salon De La Guerre. I reviewed the Salon’s 33rd album Even Toy Dogs Get The Blues, which to me played like an edgy, experimental power trio over which a prose writer freely pontificates (it was really good!). I’m very curious to see what he’s come up with this time.

Rasmussen explains that he often hops genres, having worked in country, classical, jazz, electronic and avant-garde music. However, he always returns to punk, alternative, and garage rock as his main thrust. Underlining his vocal delivery as a prose writer, he really has written several novels and works as a journalist.

This new album was recorded late at Rasmussen’s home studio 2023 to early 2024 and is described as “driving punk and alternative-driven guitar, performed on both Fender Stratocaster and musical software, with bits of the No Wave genre of the early ’80s.” The song topics include fools, white-collar criminals, scam artists, cyber-punk kids, bad dads, and bad philosopher dads.

“The Least-Loved Child Works the Hardest” seems to start literally in the middle of the first note. It’s a fast, thumping rock construction over which Rasmussen sings his rambling prose poems. The mix is interesting in that the backing “band” track moves to the back behind the vocals, leaving them plenty of room but not exactly meshing with them. On the plus side, you can clearly hear the lyrics, which was not always the case with the last album of his I reviewed. The repeating guitar riff reminds me of the main hook in the classic single “Friday On My Mind.”

“Scooter Impossible” (these are all great titles) blasts in maybe three times faster than the previous track. Again it’s mostly a couple of loud and very insistent guitar riffs and hyperactive drums framing Rasmussen’s spoken-sung lyrics. There’s a sudden Devo-like guitar moment in the middle which sadly drops out almost immediately. Playing “Fred Jr.” this morning, I was reminded of the early Who both from the aggressively punky guitar and the Townshend-like vocal. “Once Evil, Now Retired” features some of my favorite guitar riffs thus far, a bit further to the outside than even punk.

“Love Subscriber” expands the vocabulary of this album a bit with the addition of keyboards and some especially angular guitar work. I’m getting a whiff of alternative heroes Beat Happening and Daniel Johnston. “The Philosopher and His Grandson” is based on one of the most complex guitar melodies thus far, and it’s amazing to me how Rasmussen plays these riffs without missing a note or a beat. The arrangement seems to be slowly rising throughout, even when it seems it can’t go any higher.

“Spoof Addict” is a rollicking track where Rasmussen’s voice recalls Mike Stipe with a structure like early Husker Du crossed with Captain Beefheart. “Adam and Eve Achieve Peak Solipsism” reminds me that Rasmussen’s gritty melodicism often recalls Sebadoh and Lou Barlow. Meanwhile, “The Insurance Claim Sealed with a Kiss” has the insistence of a classic Strokes track. The album concludes with a kind of curtain call for “Fred Jr.” called “Fred Jr. Jr.” which is possibly an outtake featuring the backing track only. You can really hear a connection to early R.E.M. in the naked, jangly guitars.

​Though I love what Salon de la Guerre is putting out, I do wish Rasmussen might try mixing his backing tracks more intimately with his vocals. With that caveat, I highly recommend this album to lovers of jagged alternative, punk, and all points in between!

In the multi-faceted journey of David Ray, a former New York City cab driver, bartender, bouncer, and actor, lies a treasure trove of experiences that echo through his award-winning compositions. A sonic narrative woven with cinematic finesse, Ray's musical oeuvre has traversed the vocal realms of Grammy-winner Shawn Colvin to the tender strains of Dove Award winner Kathy Troccoli. His melodies, tenderly cradled by the hands of producers from Arif Mardin to Ric Wake, stand as testaments to a life lived in the pursuit of sonic transcendence.

Among the luminaries of folk, Ray's early Fast Folk recordings, alongside icons like Lyle Lovett, Richie Havens, and Julie Gold, now find their rightful place among the hallowed halls of the Smithsonian Center for Folklife and Cultural Heritage. Yet, Ray's journey doesn't merely reside in archival reverence; it springs forth on stage, where he's shared spotlight moments with the likes of Roger McGuinn, Shawn Colvin, and Marshall Crenshaw, among a constellation of others.

Venturing into his style, "Habana" unfurls like a delicate tapestry, its acoustic tapestries shimmering with an ethereal glow. Ray's tender croon guides us through a labyrinth of emotion, each pluck of the guitar string a whispered confessional. As the song unfurls, the introduction of a saxophone adds a layer of richness, enveloping listeners in a cocoon of tranquility.

Transitioning into "So I Run," Ray embarks on a sonic sojourn through the heartlands of country-infused storytelling. His vocals, a masterclass in emotive delivery, weave tales of longing and redemption amidst a backdrop of twang-laden guitars. Infectiously catchy, the track beckons listeners to join in its melodic journey, a testament to Ray's prowess as a storyteller. With "Rough 'Round the Edges," Ray takes a detour into the dance halls of yesteryear, blending elements of rockabilly and rock with effortless finesse. The track pulsates with an infectious energy, inviting listeners to shed their inhibitions and succumb to the rhythm.

​What sets Ray apart is his chameleonic ability to traverse musical genres with ease, a testament to his adept songwriting and impeccable delivery. Whether it's the serene vistas of "Habana," the narrative poignancy of "So I Run," or the infectious groove of "Rough 'Round the Edges," Ray's musical tapestry is a testament to the boundless depths of his artistic vision. Take a listen, and embark on a journey through the kaleidoscopic hues of David Ray's sonic universe.

The band Electric Angels is already well-known to the Pitch Perfect site, and Eric Daum is one half of that group. His solo project is called Core Ten, and his fifth full-length album is called Has It Ever Crossed Your Mind?

The songs and music of Core Ten explore Daum’s fascination with late ‘70s and early ’80s synth-pop, ambient, and krautrock. This album delves into themes of "unrequited love, obsessive longing, missed opportunities, and a universe that got its timing wrong. The songs themselves were inspired by an unwitting muse who can and will never know that she inspired this collection." I recently reviewed an album with a similar theme, and I can always get behind a full album’s worth of songs wrestling with a messy, shattered relationship!

Musically, Daum describes his structures as "weaving drone and repetition, bubbling sequencers, bouncy synth-pop leads, the romanticism of massed strings and my own unfortunate croon." Speaking of crooning, Daum goes on to note that his vocals are often whispered or intentionally left out of sync with each other "… to suggest the inner conflict of these emotions." The full album has been gestating for more than a year, with many songs rewritten or rejected. Daum calls the recording process "a relatively low-tech affair," having been tracked in his dining room on GarageBand and using Logic for mastering.

"Behind Your Garden Wall" immediately put me in mind of Bowie’s electro-pop period, with a similar voice, beat, and arrangement. Daum overdubs some nice harmony vocals on the chorus, which is followed by a natty lead synth melody. It’s a simple but confident dream pop construction with definite spacey vibes. "Kloster av Laderarbetaren" features metallic, ethereal chords rushing in and out like an otherworldly squeezebox. The main melody has a sci-fi movie Theremin texture, interspersed with deliberate, quietly dramatic piano chords. By the end of this brief two minutes, one is amazed at how beautifully these disparate elements came together.

"Calliope" has a thumpy, aggressive e-drum beat as Daum speak-sings across the top. The subject matter suddenly becomes quite personal, in much the same way Neil Young sang about his special-needs son in "Trans." Musically, I have to point out the debt to The Human League, obvious though that may be! "The Archetype" opens with a short story told in sound, very much like the opening of "The Dark Side Of The Moon" or ELO’s "Eldorado." The beats here are a bit unwieldy, though brought together by the confidence of Daum’s vocals and the many infusions of acoustic piano alongside the synths.

Going way back in time, the opening of "Her Backward Glance" had an effect on me very much like the Moody Blues classic "Knights In White Satin." The chord scheme and orchestrations are similar, and though a short two minutes, I found this composition especially relaxing. "December" is a cover of an Electric Angels song that I actually reviewed way back in 2023. On that album, I was amazed how the boys piled up so many tracks yet still produced recognizable songs, and this one in particular reminded me of the Velvet Underground. Not surprisingly, this version ditches the overdriven guitars in favor or percolating synths, though Daum’s vocals are quite similar and just as good.

The insistent, somewhat military-like marching beat of "The Time Of Our Lives" contrasts interestingly with Daum’s sensitive, introspective lyrics. Hard to trust my ears, but I feel I’m hearing some electric guitars in this track, unless the synths have been programmed to sound that way. Daum excels at the slow, steady build, and this is another example of a song that gradually pulls you into its slipstream.

Thematically, "Has It Ever Crossed Your Mind?" brings us closer to some sort of closure to this mysterious but broken relationship, and as such, Daum mixes his halting vocals even higher in the mix, with the synth melodies acting as caretakers. But just as the narrator’s heart seems to have opened the slightest bit, "It’s Absurd To Think" takes us literally under the microscope where things look frighteningly oversized: "It’s naive to hope, under the microscope, that we would last / I can’t believe, or that you’d perceive, our chance has passed." The music becomes steadily more funereal, letting us know for sure that the fun times have passed. And yet, darkly beautiful.

​These songs, along with some shorter instrumentals I didn’t mention, make for a compelling journey and one I’d highly recommend!

The intriguingly named Cloud Physics Experiment is a project helmed by guitarist Mark Earll from the UK. He boasts several releases on Bandcamp, with his newest album titled Aurora.

Earll describes this album as "ambient and meditative electronic music, mainly created using ambient guitar and guitar synthesizers." His goal is to induce a trance-like state in the listener by employing soundscapes and repetitive sequences. The music is almost totally improvised and has been inspired by luminaries such as Tangerine Dream, Jean-Michel Jarre, Vangelis, Ozrics, and Psy-Trance. As a guitarist, Earll cites Jeff Beck, Steve Hillage, Steve Howe, Robert Fripp, and Allan Holdsworth as his heroes. In addition to his recording output, Earll performs live at festivals and gigs across England.

Earll recorded at his home studio using Logic X and a Tascam 24 desk. His guitar was routed through Boss GR55 and SY1000 MIDI guitar synths, while his keyboards include Korg Monologue, Wavestate, and Kross 2.

The opening track, "Aurora Borealis," adopts the rhythm of a swift walking gait. Backing melodies are constructed from intriguing "beeping patterns," atop which acoustic piano chords and plaintive Moog-like melodies soar. The influence of Jean-Michel Jarre and Tangerine Dream is palpable, with gradual musical changes over the track's seven-minute duration conducive to inducing a trance state. Towards the end, a churchly organ replaces the piano, adding a transcendent touch.

"Coronal Mass Ejection," the second track, bears a slightly ominous title. It shares a similar beat and arrangement with the first track but introduces backing synths in a cyclical, slightly phasing pattern reminiscent of a tunnel of musical clusters. The synth drums and melodies echo the classic "Midnight Express" theme by Giorgio Moroder, with fleeting hints of Genesis and possible nods to the melody of "Eleanor Rigby." The lead synth guitar solo, so artfully compressed and lovely, initially masquerades as a keyboard.

For "Noctilucent Cloud," Earll eschews beats entirely, focusing instead on mood-building with "clouds" of sound, predominantly composed of higher-end, trilling chords. While not identical, the overall ambiance brings to mind Eno's track three from "Discreet Music," with a visual representation akin to a slow-motion sunrise punctuated by occasional birdsong or chirp. The concluding track, "Aurora Australis," stretches over 13 minutes. It begins with an epic opening featuring wind-like synths and roiling cloud tones, gradually introducing bass-like pulses reminiscent of Mordor in Middle Earth. A distinct disco pulse emerges, accompanied by sporadic Didgeridoo-like sounds. Approximately three minutes in, a melodic statement emerges, once again showcasing Earll's mastery of the higher spectrum of the guitar synth. Earll improvises freely on the synth guitar for the remainder of the track's running time.

​Electronic music in the '80s style is experiencing a renaissance, and if you're one of those listeners, you'll find much to appreciate here. Check it out!

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Nick Evans Mowery is a songwriter, guitarist, and studio musician living just outside of Music City USA: Nashville, Tennessee. His style is “gritty blues rock with a groove,” and his newest album is titled Midnight Faces.

Starting on guitar at age 12, Mowery learned at the feet of such artists as Steely Dan, Tower of Power, Bob Dylan, Van Halen, Jimi Hendrix, and Eric Clapton. He’s also a Berklee College of Music alumnus, as well as majoring in music/guitar performance at the Ohio State University. His back catalog includes 20 albums and many singles. In addition, his songs have been covered by many other artists, and his music has featured in countless TV shows and movies (he sent a list; trust me, it’s long!). This album was recorded, mixed, and mastered at Tangent Boy Studio in Murfreesboro, Tennessee, using Pro Tools Ultimate.

Mowery wastes no time getting the good times started. “Midnight Faces” ironically reminds me a LOT of the Faces (Rod Stewart’s old band) with its rollicking piano and chunky Ron Wood-style guitar. Mowery’s vocals are pitched lower than Rod’s, but he’s got a classic blues-rock voice, with a touch of David Lee Roth’s swagger. Toward the end, the dueling guitars feature a taste of that Creedence melodicism. “A Guilty Heart That’s Tryin’ to Change” moves into more funky territory à la Little Feat, with all instruments cycling and chugging through wild, irresistible riffs. The bass is a standout with a trebly Rickenbacker tone and swooping runs.

“Carolina Blue” is what I’d call Road Blues, with a jumpy forward momentum elevating its fairly basic structure. Jagged lead guitar insinuations make this a standout. At this point, I’m starting to wonder who the other players are, as the keyboards and drums continue to shine. There’s an interesting ending featuring seagulls and waves. “Shirley Jean” goes back even further for a swing era excursion in that classic Dan Hicks style, including ukuleles, mandolins, and resonator guitar (I’m guessing, but that’s how it sounds!). Actually, by lowering his delivery to almost a whisper, Mowery really does sound a bit like Rod Stewart. Other cool moments include distant harmonica and a string section. A surprising but wonderful changeup.

“Brainworld” features a VERY prominent kick drum beat with slices of jagged guitar chording. Mowery isn’t looking to reinvent the blues wheel, and that’s great, as he takes these classic tropes and dresses them up with his compelling vocals and wild but refined riffage. Lots of vocal “whoop-whooping” in this one! “Let Him See You Smile” begins like the Beatles track “I Got A Feeling,” but quickly morphs into a bittersweet ballad with some of Mowery’s most sincere vocals and heartfelt playing. I love the Dylan-like harmonica break! His chorus call-and-response is so vivid I thought it was my wife calling out from behind me! “Southern Fried Funk” sounds exactly like you’d expect from the title. Not only can you hear chickens clucking from the guitars; you can practically smell the grease from a pan of deep-fried legs and thighs. Mowery sings here with some of Dr. John’s gritty authority.

“Woman Child” manages to sound like both the Animals (“We Gotta Get Out Of This Place”) and the Doors (check that nasty organ!) at the same time. The psychedelic era is evoked with reverb-bathed fuzz guitar. A simple song that’s really a basket of hooks. “Perfect White Square” ends the album (as I’d hoped) with a gentle piano ballad with music like Paul McCartney during the “Let It Be” sessions. This may be my favorite Mowery vocal as he describes the empty space where a photo of his lover once hung, with a dramatic catch in his throat. Pedal or lap steel elevates the song even further. I hate to name-check The Eagles, but there’s also a bit of “Desperado” here, which I admit is not a terrible model.
​
Lovers of blues rock will not be blue after hearing this one! Recommended!

Simon Hurst of Devon, UK, has been writing, recording, and performing music for many years, both songs and commercial jingles, and has worked with both bands and orchestras. Having built his own recording studio, he’s moved into a whole new direction, releasing seven instrumental albums including his newest, Where To Now? (A Sort of Suite).

Hurst describes his composing method this way: “Like much of the music I now write, this album emerged out of some initial doodling at the keyboard. Playing around with a sequence of notes (a minor pentatonic scale for those who are into the theory side of things) led me off in all sorts of different directions. And because I couldn’t decide which one to follow, I decided to follow them all across a wide variety of genres and styles.” Having previously reviewed 2023’s "Vintage Reflections", I have an inkling of how far and deep Hurst likes to go!

Recording, mixing, and mastering took place at Hurst’s home studio using Cubase Pro 11 and a variety of virtual instruments. Each song is titled “Where To Now” followed by the track number.

Part One begins with a miasma of keyboards, both realistic-sounding digital and cranky analogue. Hurst performs variations on a cyclical melodic pattern that evokes a kind of alternative universe circus. After barely a minute there’s a prog-like tempo change, sort of like a less-intense Keith Emerson. The fuzz lead guitar melodies add a Steve Hackett-Genesis feel. Part Two switches to the kind of smoky, dark jazz tempo you’d expect in a film noir, with piano and drums predominant. The second section lays down a thick carpet of heavenly synths before returning to the Henry Mancini-like jazz theme.

Part Three is a kind of percolating stew of Crimson-like keys and dramatic flourishes. The middle section is like a lost theme from a 1980s Australian movie, before moving into a ping-pong section of digital horns and cool stereo mixing effects. Part Four seems to start with overlapping fanfares, then moves into a jolly, skip-time section where the synths almost seem to be smiling. I’m noticing that Hurst is combining two or three very different ideas into each section, and this one has a surprising tendency to echo Aaron Copland and even Brian Wilson’s “Smile.” In fact, Part Five recalls “Smile” even more explicitly, with circus-like melodies and tempo; there’s even a harpsichord-like patch on the keys.

Part Six sounds like an arrangement for horns and woodwinds, then adds interacting melodies that slowly build on top of each other, taking us to the heavens on a musical stairway. Part Seven returns us to orchestral mode, with fairly convincing banks of strings and bells, before settling in on a wandering prog-rock melody against a fairly conventional rock beat (think early Collins-era Genesis). The strings can’t help but add an Electric Light Orchestra sheen. This is probably my favorite “part”! The concluding track takes just four and a half minutes to wrap up, with familiar-sounding melodies and many of the sounds we’ve grown accustomed to.

​If you’re a fan of keyboard prog, prog-like soundtracks, or just awesome music, there’s plenty here to get lost in!

Matt Armbrust and Emele Clothier, collectively known as Swallowtail and the Kaleidoscope, offer a tantalizing glimpse into their upcoming album with the release of "Aside/Beside #1." 

Featuring two tracks set to grace their forthcoming LP, this offering showcases the duo's penchant for crafting immersive musical experiences that harken back to bygone eras while retaining a contemporary edge. 

"Knitting Song," penned during a reflective moment back in 2008, serves as a poignant meditation on the meditative process of crafting amidst the backdrop of "Planet Earth" reruns. With a rock-infused vibe reminiscent of The Beatles, the track draws in listeners with infectious vocal melodies and captivating instrumentation. Despite its simplicity, "Knitting Song" resonates with profound emotion, delicately balanced to avoid veering into melodrama—a testament to Armbrust and Clothier's songwriting abilities.

On the flip side, "Sittin' At Home" transports listeners to a nostalgic 70s folk aesthetic, evoking echoes of Simon & Garfunkel with its soft, intricate picking patterns and occasional organ embellishments. While Clothier and Armbrust harmonies grace the first half of the song, their departure leaves a lingering sense of longing, adding depth to the composition and inviting listeners to explore the depths of their musical landscape. Both tracks on "Aside/Beside #1" showcase Swallowtail and the Kaleidoscope's talent and should  leave listeners eagerly anticipating the full-length LP's release.

​With their seamless blend of retro influences and contemporary sensibilities, Armbrust and Clothier prove themselves to be artists to watch in the ever-evolving landscape of indie folk-rock.

New Jersey singer-songwriter Evan Kreutzberg (recording as Evan Kreutz) has just released four new singles: “A Place They Call There”, “Same Kind of Heartache”, “Holes (Try Being Me)” and “Good Vibrations.” Kreutz began performing musically from a very early age with his family band at places like Six Flags and The Stone Pony, then toured at 14 as a social media star and influencer.

His current music has a sound that is described as “unique and eccentric, combining Harry Styles with The Killers’ alternative rock and the Weekend’s spacious R & B energy.” Let’s start with “A Place They Call There" which Kreutz calls “my ode to everyone stuck in the 9-to-5 rut, dreaming of something bigger. It's a cheeky nod to the daily grind and that ever-elusive place called success.” It has a bright, crisp sound, with funky guitars, gleaming keys and a solid beat. Kreutz’s voice sounds like the best of the singer-rappers (I thought of Prince, but that’s how old I am) though he’s clearly had a little help from the mixing board. The vocal melodies are flawless and the various overdubs play harmonic footsie with each other throughout.

Kreutz says “Same Kind of Heartache” is his debut release of 2024 and is his modern take on a Beatles love song (psychedelic era). “The track delves into my emotions of nostalgia, regret, and reflection surrounding a past relationship, and what better time to do this than the season of crippling loneliness: that’s right, the college basketball season!” Kreutz this time chooses a slow waltz beat and an echo’d guitar as a backdrop for his soulful lead vocal, which sounds much less processed and real than the first track. I didn’t notice the Beatles connection until the acoustic piano and weeping Harrison-like lead guitar joined in. The choruses have more of those sweet harmony vocals I’m starting to expect. “Holes (Try Being Me)” is a snapshot of a “rough patch” in Kreutz’s life. “It's my personal journey of growing up and learning from my screw-ups. Honestly, I'm feeling a mix of nerves and excitement about sharing it.” This one is very much alternative and has elements of Weezer or the BareNaked Ladies. I can’t shake the feeling this was a Hit song and I’m just not remembering, but it’s dynamic and catchy as hell. The studio sheen Kreutz has already put in play shines even brighter here with the rock guitars and tumbling drums.

Finally we have “Good Vibrations,” but what we do NOT have is a cover of the Brian Wilson classic, which is a pretty ballsy thing to name your track! For this song Kreutz returns to his hip hop sound and more complex production style. The electronic beat is right up front, backing a ghostly, staccato synth pattern and Kreutz’s multifaceted vocal overdubs. Kreutz says this one is “…a wild ride through romance, chasing those feel-good vibes in a relationship. With a backdrop of ocean scenes and moonlit nights, it's all about the highs and lows of love.”

​Based on these four tracks, I can’t believe Kreutz isn’t a star already, but that can’t be far behind. Awesome!

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