Design Company’s Waterproof or Wallpaper is a home-recorded album fresh out of Georgia. The genre is mostly country/rock with attempts to be a bit grungy. There is solid instrumental skill with the vocals really taking the reins. To be honest the six-track album did not have me over the moon on the first listen. That does not mean that there aren’t good elements here where the band finds a number of inspired moments.
To start things off, the audio mixing could have used a little work. These days I have seen indie artists do incredible things with very meager means and so I always struggle with sub-par audio quality. As I mentioned, the music really leans on its vocals and thought with better production the music have reached more of it's potential. If an artist is comfortable producing something that sounds unpolished, I won’t judge them for it. The album was professionally mastered and it is possible I have simply misinterpreted the aesthetic they were going for. The music was cohesively assembled, with a lot of potential, you can especially hear it in the guitar work. I don’t feel everything was utilized properly, again this could relate back to the audio issue. I feel in the effort to straddle different genres the sound managed to get a little lost. A track that stuck out for me was a certified highlight entitled “Suspects.” There was excellent guitar work there and a hint of grunge that was pretty spot on for me. It was this track that I felt defined the sound I wanted to hear most. Great song. Should Design Company go for another release I would love to hear songs that had a similar feel to Suspects. I feel when flexing those grunge muscles against the core rootsy sound has a big payoff and should be explored further. I do like the vocal quality and delivery and it is capable of telling one hell of a story if he felt inclined to dig a little deeper. I want to hear Design Company push into different tempos as well and really show off all the skill that’s there. I am genuinely curious to hear what comes next as they seem like a very young band who is just getting their start. Godspeed.
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Empire park is a band from Tasmania that has been in existence for around two years but apparently have multiple lineup changes. Despite that the band has built up an impressive fan base for themselves. They recently released a four-song EP entitled Give Myself Away.
They play palatable rock/pop that resides a bit more on FM radio than in the underground. To my ears I’d say they have a familiar sound but they also have a boatload of talent. They open with the title track which was a good choice because of the upbeat, lively energy. The first thing I noticed was the top notch production. Everything sounds great and the song hits a vibe between Bruce Springsteen, The War on Drugs and even Mumford and Sons. The chorus sounds huge, hopeful and boiling to the brim with energy. Next up is “Suburban” which is a solid song. The song is pretty catchy with a lot of momentum and tasteful use of effects. I thought the ending was the best part of the song; they get experimental and epic with an instrumental section. The remain two songs was where I was really starting to appreciate the band. I’m a sucker for music that combines nostalgic and energy and that’s what they do perfectly to a tee on the exceptional song “Wandering.” The song builds with energy. Do not miss the last minute of the song where the band hits a couple of crescendos that hit it out of the park. They close with “(untitled)” which is almost exactly the opposite in terms of energy compared to “Wandering.” The song revolves around piano and vocals. It’s poignant and powerful in a completely different way then “Wandering.” I would have liked a little more definition to their sound since it did feel so ubiquitous. However the delivery quickly pushes those thoughts aside. This is a great EP. Recommended.
No Name Hotel is the project for a young producer hailing from Jacksonville, FL. His debut EP True Moon showcases a lot of talent and potential. He explains that True Moon represents “a first attempt at capturing the sun-soaked desolation and melancholy of a youth slowly wasting away in a forgotten Southern town.”
I wasn’t crazy about the theme when I heard it. In fact I would tell that young man or woman to tighten their belt, pick up their bootstraps and do what they needed to get to a thriving community or city instead of moping around in sadness. The EP starts with a short flickering of sounds of the forest. That's at least what I was able to pick up from it. The first song “Mosquitos” was a highlight. I enjoyed the beat but what made the song for me was the vocals and especially the hook. The ominous synth and other layers work as well. Great song overall. Up next is “Solitaire” which was another success. The song revolves around another deep hip-hop beat but and he mixes a number of different elements like synths, ghostly vocal harmonies and more. I thought the vocals were again very catchy. There was arguably a little too much instrumental before the second verse started back up again. “Dogs (Glory)” was definitely a different sounding song from the previous efforts. An acoustic guitar is at the center of the song and he put the big hip-hop beats aside. “Trust Fall” had its moments but I thought the vocals had a little too much reverb on them .“Tamagotchi” has a more laid back lounge vibe more reminiscent of artists like Four Tet and Prefuse 73. He closes with “Moss” which is about on par with the opener “Mosquitos.” The rapping was solid but what really made the song was the exceptional production of the beats. No Name Hotel has a little ways to go before being his name is mentioned with the best of the best producers in this genre but this is a very promising start. There were inspired moments that really shined through showcasing his talent. Looking forward to more.
The Palmer, Alaska five-piece band known as the John Budnik Band had their humble beginnings at an old open mic bar. Though the songs on their debut record Transformations are fully fleshed out with influences such as blues, jazz, country, rock and soul, they still have that sense of DIY camaraderie at their core.
Principal songwriter John Budnik has assembled an excellent cast of musicians to help bring these songs a life that they wouldn’t have if Budnik simply performed them solo. Transformations opens with the reminiscent bluesy rocker “So Cal” on which Budnik pines for the old days “I just want to be on that beach / with the sand, beneath my knees / I just want to ride that board all day long / until I hear the dinner bell song.” Then as the song winds to a close we are struck with the lines “Don't you know it's about transformations? / I mean how are you to grow? / Change something about yourself / So others can take note.” Wise words which begin the cycle inward spirituality that so many of these songs harbor. On the jazzy “Paint You a Picture” Budnik laments “You were my blank canvas / you left the rest up to me / Our paint blends oh-so serious / just like a sunset hitting the sea.” Here Budnik is using his metaphors to paint different kinds of transformations as musically the song brightly bounces along with a catchy riff and equally matched beats. A while later on “Wild Thing” is a subdued folksy crooner despite its title. Here once again we hear Budnik’s backing band delivering tightly wrought and catchy melodies that grab hold of the soul. I got the same feeling on the easygoing “Gypsy Ballad” with its laid back approach but very layered musical structure seeming to be the bands signature calling card. But Budnik and the band are also capable of bringing a laid back, unobtrusive style of rock via a band like The Cars as they do on the excellent “She ain’t that Kind of Girl.” Transformations is an album about change, an attempt to change oneself and also the changes that occur as part of being alive. It’s a deeply endearing look at the cards that life deals out and the attempts made to play the hand you’ve been dealt.
Drifting Slowly Awake by Diescher sounds a bit like its title. The four songs have very little energy to me and feel very somber. I can’t say Diescher is a naturally gifted singer but his voice sometimes fits the music. I had trouble making out most of the lyrics because of his delivery.
The EP opens with “This Isn't Me” which has hints of hope and happiness but the song just drags itself through sadness with the lyrics and other layers of music which sit on on top of the strummed chords. That being said the song grew on me but it took about three listens before I started to appreciate it. “Spin Again” sounds a whole lot like “Dust in the Wind.” Even the lyrics revolve around a similar subject. I liked the initial guitar picking which was haunting and enjoyed some of the layers. The song felt like it needed a more prominent chorus although the vocal harmonies towards the end were well delivered. “Lost My Place” feels submerged in anti-gravity and the song tries to make its way through a opaque jelly substance. The song feels like the end of a depressing dream where nothing is real and you look at your hands only to realize you are a biological entity trapped in thought. Not good workout music to get the adrenaline pumping. “Someone Is Home” has a similar dissonant feel as if I was experiencing depersonalization alongside suicidal thoughts while still seeing a glimmer of light at the end of the tunnel. Overall Drifting Slowly Awake is drenched in melancholy and made Elliott Smith songs sound cheerful. This isn’t everyday listening for most cats but it has a time and place.
Bag of Faces has a story that isn’t as unfamiliar as it was ten to fifteen years ago. The band is made up of two members who apparently go by The Professor and Pumpy. Even though the band live in the same state they are still about 200 miles apart. They record in separate places and work remotely to complete their album New Kings In Town.
I can’t say I found this album particularly challenging; in fact the band plays pretty straightforward no frills rock. It was familiar sounding rock that I have heard for multiple decades. Take for instance the opener “We're All In This Together” which has a popular ’90s alternative vibe. Compare that to “Had Enough” which has a clear ’80s metal vibe. The lyrics on “Had Enough” reflect even more of an ’80s feel. He sings, “She sees me never ever makin’ the grade / Says it’s no wonder that I never get laid / Says I sit and think of all the things I can do /She sees no money - Says I don’t have a clue.” The difference is obvious and apparent as they fuel the tropes of whichever decade they chose to, The disparity while often fun for the band can be a little confusing for the listeners as to what type of band they are or trying to be. Well if you had to twist my arm they pretty much sound like a band that could have come out in the early ’90s before Nirvana really hit. Bag of Faces might not be the most original sounding band that I have heard recently but the three songs were solid and the style felt largely nostalgic to me. I could picture myself at a junior high dance on“You Say You’re Gone” and I thought “Cat Gang” sounded similar to ’80s icons’ Faith No More. The other thing about the band is they go from silly to emotionally heavy lyrics. It’s makes for a jagged flow if you listen to it sequentially. Take for instance the lyrics on “You Say You’re Gone.” He sings, “You say you're gone...Not comin' home / And I'm here in this emptiness...all alone” which are very deep, emotional lyrics. On the very next song he sings, “It’s a cat thug life, but it’s all I know / Through and through...from head to toe / Keep your little kitties safe...how it’s supposed to be ‘Cause you sure as hell don’t want ‘em to end up like me!” By the end of the album I had an easier time appreciating the songs when looking at them individually rather than a cohesive collection. It wasn’t like the band was attempting hip-hop or anything but some of the themes felt pretty scattered. I enjoyed the majority of the songs but the ones that stuck out to me most were “The New King's In Town,” “We're All In This Together” and “Inside” although this certainly comes down to personal taste. In all honesty I can’t see too many teenagers and people in their early 20’s getting too excited about this release on first listen. Maybe I’m wrong but the kids seem to be into different things these days. I would surmise that I’m somewhere around the same age group as Bag of Faces and I think that people above 30 or 35 will instantly relate to some of these songs. I know I did.
Avalon is a New York-based duo composed of Michael Judge and Juliet Forshaw. Their debut EP Avalon, is a folksy musical trip into a fantasy world. Forshaw’s opera vocals mixed with Judge’s more subdued, rough sound creates the image of two musical worlds colliding.
Their songs conjure thoughts of Renaissance fairs with pretty maidens skipping along fields of wildflowers. I actually pictured scenes from the musical Camelot a lot while listening. Judge and Forshaw played all the accompanying instruments while recording at their home studio, which is impressive considering each song is very multidimensional. The album starts with “Fire Night” and honestly I was a little shell-shocked until I realized that the overall result of the duet is intentionally satirical. The dramatically perky soprano vocals would be a little much without this context. It’s a fun song and does a good job paving the path into the mystical journey of Avalon. It’s a nice lead into “Pied Piper” which has similar vibe although it manages to sound dark and ominous, even though there is a lot of flutes. “Juliet” is a much softer track with an intricate acoustic guitar that makes a pretty foundation for the storytelling of the lyrics. It’s flowery and feminine with vivid imagery reminiscent of meadows and forests. I’m sure it’s no accident that “No Romeo” is next. This song has a cool vibe with a playful back and forth between the feminine and masculine vocals. “The Truth” features a lot of whistling, which although can be construed as annoying I actually found playful and endearing. My favorite track is “Love Among the Ruins” which takes on a more bluesy feel. This takes down the folk a notch with a more stand alone sound and a catchy chorus. The vibe continues with “You Know Me” where the now familiar back and forth takes on a more sexy tone. There were some songs that seemed almost unnecessary, like “Red, Red Ribbon” where Forshaw's vocals were kind of shrill and a little hard to listen to. But “Towards The Light” and “Make it Real” partly made up for it with a gothic and dark vibe full of intense lyrics. The final song “Avalon” was a perfect ending song for the album with a slow steady build up. It talks about the journey to Avalon which paints the picture of it being not just a place, but a state of mind. It’s quite possible that Avalon may be an acquired taste, but the unique storytelling and satire makes it a worthwhile listen. Judge and Forshaw vocals are so vastly different that the fact that they actually blend very well together is a feat in itself. The songwriting is clever and deliberate; each song is as if we’re eavesdropping in on a private conversation. I look forward to seeing where their next journey takes us.
Dru Cutler got his start at the age of fourteen playing in many different bands. After getting some experience playing with other people and graduating with a degree in composition he went on to start developing a solo career. In 2016 he released an LP and this year he has already released a single entitled “Hometown” along with another song called “Infinite Moons.”
The two songs have exceptional production. Suffice it to say the songs are radio ready. “Hometown” sounds like a single from head to toe. It’s catchy and a fine balance between Americana and indie rock that a lot of people will enjoy. Cutler on the other hand isn't taking many chances with this song to stick out from the crowd. I wouldn't have minded a little more experimentation. He sounds like a mix of bands like Ryan Adams, The Shine and Wilco with a ton of good ole’ Americana. The song revolves around piano, clean guitar, drums, bass and his vocals. On the chorus he is supported by vocal harmonies when he sings “In my hometown / I used to be found.” The song comes equipped with a fairly standard breakdown after the first chorus and a rocking guitar solo. It’s a predictable yet enjoyable song. Up next is “Infinite Moons” which has a completely different feel. The song has a singer/songwriter vibe and is soft, melancholy and catchy. I really enjoyed this track and thought his vocals were exceptional on this song. On top of that some of the ghostly instrumental sections sounded great. I’m not all that familiar with Cutler’s previous releases but thought these two songs were enough to warrant checking out his full-length from last year.
My first thoughts when listening to Coney Island OST by Ethan Boyd was that around five-and-a-half minutes of music would probably work better in a short film rather than stand-alone songs. I somehow initially missed the text explaining that these songs were indeed for a film.
Boyd starts with ”A Monkey’s Heart” which sounds a lot like the band The Boy Least Likely To if they were really lo-fi and did not write lyrics. It felt like an impromptu performance revolving around a couple of banjos, handclaps, bass and some “oooing and “aaahhing.” That's really about it in nutshell. “The Abduction / De-humanization” simply felt like a mood piece built for a film to create atmosphere. It’s a bit of L.A. noir vibe meets murky alien abduction vibe. The music stops and the distorted guitars ring out while the sound of wind passes you by. It gets a little bit chaotic at the end with computer code giving the final send off. Funny enough “Coney Island Interlude” is the closest piece to a song. I was immediately reminded of the band Grizzly Bear between the vocal delivery and the banjo. There is a very similar baroque pop type vibe here. The song just sort of ends before it really gets any energy. I’d say the best way to consume the music is just to watch the short David Lynch-esque film which simultaneously attempts to be absurd and maybe funny. It’s a little hard to judge Boyd’s potential given the music was made to fit the film. I’d be interested to hear what Boyd could do when concentrating on solely creating music.
Gavin Wray is musician who has been involved with music since he was a teenager. He seems to have started in the mid ’90s. He was in a number of bands and got a lot of experience.
The latest musical solo project for Gavin Wray is called Final Pilots. His latest release Brinkmann Flag is an instrumental album. The production is top notch and he plays a mix of atmospheric rock with some experimental tendencies. I really enjoyed the songs but couldn't help but feel a focal center was missing for some of them. Take for instance a song like “Grand Central, Pt. 2” which had great rhythm guitars and transitions but continually felt like a vocal or a more prominent lead instrument was going to surface. I thought the flow of the album worked well despite some songs that felt like large leaps in style. He opens with “Summons” which was an ambient piece that lasts just over a minute. It felt like an introduction for the the rock base and kinetic “Spaghetti Northern.” The song is one of the more notable on the album and Wray implements a good amount of transitions. I thought to myself that the music was thematic and could easily work in a movie. Up next is “Hordley’s Night” which is a seven-plus-minute song and again got the feeling the song would work great in a film and that maybe that was because there wasn’t a lead. The song has a great funky bass line which reminded me of electronic artist Amon Tobin. “Stead” which is the very next song has a completely different feel. It’s cosmic, vast and reflective. Up next is the upbeat and dance worthy “Brink's Bounce” which has a similar essence to Primal Scream. “Aftershow” is arguably the highlight. There are horns, tons of percussion and fantastic melodies. The closer “Ketsu” has an intergalactic, terrestrial feel to it. It’s a pretty epic closer. Brinkmann Flag is a solid album. Wray is a talent and these thematic soundscapes stand on their own but if there are any filmmakers out there reading this you may want to take special interest. |
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