The Endless Wear of Seasons is a solo album written around the themes of loss and the room it creates for new growth, in natural systems and in one's personal life. As the artist known as Scars of Erosion explains, “Being an instrumental album it does not explicitly tell this, or any story” but he used his personal experience to catapult the experience.
The Endless Wear of Seasons is an electronic album that utilizes synth, piano, orchestral strings and more. I would have loved to have heard organic piano and strings but sometimes you just have to work with what you have. Unfortunately virtual instruments as of yet don’t sound close to as good as actual players to me. The artist cites NIN as an influence and that felt fairly obvious after spending some time with the album. Not everything worked for me on this album but the artist does have some inspired moments along the way. I sometimes felt certain sections in a song would be too repetitive and could have benefited from brevity. That being said when it clicks it really clicks. He opens with “Washing Ashore” which is one of the highlights. The combination of synths and strings work well together creating a warm, nostalgic wave of noise. There are some effective melodic changes and there was a nice flow to the song. “Meltwater” felt like a transitional ambient piece for “Windworn.” The NIN influence felt evident on this track. The track has a groove but at the same time doesn't feel like it drives the energy. It almost has a new age vibe when the electronic chimes come. into the mix. “Star Stained Sky” is a five-plus-minute piece that is largely ambient and ominous. There isn't much movement on the track and I’m just not talking about percussion. The heavy sine waves loom in the background for most of the song before giving way to the focal instruments. “Resultant Waves” has an obscure elevator music feel to it while “Sinking Above Us” has waves of white noise and synth. He ends with a sparse, lone piano song called “It's the Questions, Not the Answers.” The most impressive thing about this album to me was the way the songs tied together. Because of that I felt like the album worked better for me than any individual song did. I didn’t feel like any songs were repeat worthy songs that I just had to listen to again after I heard them. The best way to enjoy this album is by listening to it in sequential order. Recommended.
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Why Wait is a band from Australia consisting of Dylan Russell (guitar/vocals), Gabriel Stathooles (drums) and Stuart Reaston (bass). The band has recently released Chemistry which is a straightforward pop/rock album.
The band plays into common tropes for better or for worse that you have heard before unless you have been living in a cave. They stick to 4/4 time signatures and major and minor scales while laying into verse/chorus/verse/guitar solo type structure. The band plays radio ready rock songs that will appeal to a general demographic and have a lot harder time finding an audience for those who appreciate something on the fringe. The production is top notch and fits the type of music they play. They are in the pocket and play well together. The album starts with “Prelude” which sounds like nothing else else off the album and was an odd way to start things off given none of the songs sound similar. ”Prelude” isn’t just a collection of ambient sounds. There is a full-fledged groove that sounds to my ears largely electronic with multiple synth and no guitars. The first song that gives you an idea of what the band actually sounds like is “Purpose.” Suffice it to say if you enjoy this you will enjoy the rest of the album. There are some solid hooks, transitions and crescendos. “Retrospect” harks back to ’90s bands and beyond like Weezer with a little more Eagles inspired lead guitar while “Home” is about as single worthy as it gets. As the album progresses they continue to feed into the sound they established with “Start Again” and “Dreaming Of….” The band has a lot of talent; I just think they have a very ubiquitous sound. With so much music it's more important than ever to try and stick out. I would have liked to have heard the band experiment a little more and think outside of the box but maybe they plan to do that after that catch a broad audience. That's not to say this band can’t skyrocket to stardom because the songs are very well delivered and written but the chances of that happening with countless bands climbing up the same tree are greatly diminished. Godspeed and good luck.
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Kevin Dower is an artist who has a familiar story. He played in bands growing up and initially started playing bass. He eventually picked up an acoustic and started writing songs. Yeasr later he released his solo album entitled Being Human.
Dower isn't doing anything out of the ordinary on this album but it works for two main reasons - the delivery and the production. I thought the production was great and it also didn't hurt that Dower has a voice that was instantly enjoyable. He got a little melancholy in his tone but it's just aesthetically pleasing for other reasons as well. That being said I thought some songs really took advantage of his voice. A clear highlight was “Misery Loves Company” where his vocals sounded exceptional. The song is made up of a couple of basic chords and I thought the additional instrumentation like banjo was a good call. The song really gets going when the drums and banjo enter into the picture. The opener “Bear Song” was another song that worked on multiple levels. The percussion was well implemented here picking its moments. The more upbeat “The Color Green” was enjoyable but didn't quite get to the same heights as the first two tracks for me. After “Mirage” it was clear to me that I thought he delivered the songs with more emotional weight in a way that I found more satisfactory. “Black Hearted Woman” has a loose, jazzy feel to it while the title track is a chill by the bonfire late night song. As the album progressed I felt the songwriting was consistent and it was hard to chose my favorites amongst exceptional tracks like “Open The Door” and “Wash Away.” Dower isn't reinventing the wheel by a long shot but the album hits it out of the park. Great songwriting paired with talented players is a winning combo here.
Allen Morris is a musician from California who has been involved with music since an early age. He is a multi-instrumentalist, a songwriter and a singer. Last year he used the moniker Alpha Particles and on his most recent effort Fly By Wire he just used his name.
The name change seems to be prompted by his stylistic change. It’s not a complete departure from his previous work but it’s certainly a change nonetheless. Morris prefers clean guitars or distortion on Fly By Wire and also veers more towards straight pop rather than grunge/alternative. I enjoyed both styles but I think this style fits him a tad better. The songwriting is consistently good and the recording quality is top notch. Suffice it to say it’s an enjoyable album and wasn't one you had to work for. The first time I heard it I knew I would enjoy it. He opens with “You’re Not Around” which is a straightforward pop song. Morris strums chords and sings “Maybe a friend, maybe something more Maybe I can’t say But still sometimes I think of you Now that you’ve gone away.” The drums and bass come in right before the two-minute- mark and add quite a bit of energy to the already infectious song. The palatable pop melodies continue with “Interstate” and “Circles” which follows a similar vibe and feel to the opener. “Same Old Dream” was the song that caught my attention because of the strumming style and walking bass line. I was reminded of the band The Decemberist. The honky tonk style works wonderfully on the song. “Highway One” is another solid with an undercurrent of melancholy that falls more in line with a band like Bright Eyes. Morris keeps it a little more simple with “Wind In My Hair” where he implements acoustic guitar and shakers while “Missing You” and “The Drifter” are infectious pop songs. Morris closes with “When The Rain Starts To Fall” which had exceptional slide guitar and is arguably the most emotionally resonant song on the album. Morris has talent from head to toe. Fly By Wire didn’t throw me any curve balls but the songs hit the mark. The new style fits him well. Recommended.
Mono-Tone is an electronic artist based out Switzerland who recently released - Solitude -. It’s a long, electronic ambient album that is worthy of the time you put into it. The production is top notch and mixes dance grooves with some experimental tendencies.
I thoroughly enjoyed this album; the only minor quibble I have is the preamble the artist states on his Bandcamp page. Apparently, he is aiming to tell a specific story with no words. I’ve seen other instrumental albums attempt this and still don’t understand why you would want to try and limit the imagination of the listener. Why set up a parochial vision for the sounds when there doesn’t need to be? Of course this is arguable and the artist can present art however he or she sees it but it seems to contradict the innate luxury of having sounds which in themselves have no meaning. - Solitude - is an expansive album with many different shades and tones. The artist implements more traditional dance rhythms with ghostly, haunting synths on “Intro/Erosion.” It’s an immersive ambient track that finds a frequency and repeats it like a mantra. The changes are swift and slick, and obviously the work of someone who has some serious talent in the production department. The mood of “Crystal Water” isn't far off from the opening track. This time around the bass is more robust and the song feels a little more club worthy at times. He implements a somewhat predictable field recording of indecipherable conversation but he slices it up in a unique way which made it work for me. “Doppelgänger” continues into dark territory and sounds a little more similar to an artist like Burial. Flickering white noise combined with a dub step feel. As the album progresses I was impressed the way the songs tied together and felt cohesive. Although “Pentimento” was a little more upbeat and had Pink Floyd style guitar fills with dark qualities that strung together a common thread with the previous songs. The remaining songs all had a slightly different flavor which was fun to explore. You could argue that - Solitude - Is a little too long for it's own good. Some of the songs could have arguably been trimmed down making the long length time a little more manageable for one sitting. It’s a valid point if you still prefer to listen to the album from beginning to end. Overall, this is a great album. I thought the attention to detail was an important factor in making the songs stick but they could also be pleasantly enjoyed in a more passive way as well. Recommended.
Siren’s Song by Marty Tanger is the first singer/songwriter release for the artist, after having already released two previous albums of instrumental collections. Recorded at Blackwood Recording in New Jersey, Tanger chose a more organic approach for the album, using live versions of the vocals and harmonies and most of the basic guitar tracks.
The overall feel is genuine and there’s no lacking in production value; the sounds are complete. Tanger has an old-school vibe about him and his vocals and harmonies are reminiscent of The Eagles. His voice is clear and simple which pairs well with the intricacies of his songwriting. There is a slight country vibe to his music but it is not overpowering to those who may not be into that genre. The songs are approachable for all musical tastes. The album starts with “I’m Losing My Mind” which was my favorite tracks on the album. It's a high energy song with twangy guitar and a catchy chorus. I was quickly impressed with Tanger’s songwriting skills. His lyrics are understated but powerful with almost every line standing out to me. Every song after this one gets a little slower and softer and I found myself waiting for another “I’m Losing My Mind” that never came. I think a better placement would have been halfway through but who listens to albums in order anymore anyway? “Since You Went Away” has a pretty acoustic guitar intro that leads into a sad longing verse. The lyrics are beautiful; “Thoughts of you dance softly in the emptiness. But your sweet shadow still remains.” The country vibe can be heard and increases with the next track “Flying With Honky Tonk Angels” although not as much as the title would have you believe. There are very pretty harmonies in this one with lyrics that again express longing and regret. The title track “Siren’s Song” is about not being able to give up on someone and again is soft and sad with some pretty angel-like background vocals that creatively gives the impression of detachment. The final two songs, “That Thin Bent Line” and “Why’d You Go Away So Long?” sound very similar. Again, the slow tempo and sadness continue, although it seems to work with the intricate instrumental backing. I enjoyed Siren's Song largely due in part to Tanger’s poetic lyrics. I do think the album would have flowed a little better with more upbeat songs like the first one but I understand why the heaviness of the words needed a more subdued foundation. I suspect his sound will evolve and I look forward to hearing it.
Erich Dylus is an artist from Washington, DC who recently released Varia. It’s an intense instrumental album blending elements of metal, post-rock and even ambient.
This was an enjoyable EP with impressive tones and aesthetics. HIs guitar playing was the highlight. My biggest issue were the programmed drums which didn’t go as well with the other organic elements. A organic drummer with real dynamics would have have elevated the experience for me. Up first is “Smoke and Steam” which starts off very pretty but don't get too used to it. Swirling guitar patterns float about for the first minute or so. A little after the minute mark Dylus brings out some distorted guitar along with a mixed bag of experimental and metal territories. It was a nice pay off where the song is constantly evolving and changing. Up next is “Cherry Blossom” which is heavy throughout but also goes in unique and unexpected ways. One of Dylus' staples seems to be letting a solo instrument ride for a couple of seconds before layers of drums and other elements come into the picture. “Seven Hundred” certainly had some post-rock tendencies and was structured a little more like a traditional post-rock song with dynamic passages and crescendos. “Chiarezza” has some unexpected soulful moments while “G.K.D” is a short but impactful song. “Intermission” closes out the album with pretty piano rolls and blistering guitar solos. There was a lot to appreciate on this album but I can’t help but wonder what Dylus would sound like with a talented bassist and drummer. That being said Dylus holds his own as a creative and technical talent on this album.
Live albums seem a lot less prevalent than they used to be. I remember about twenty years ago going into record stores in New York and seeing plenty of places the would carry bootlegs of bands like Nirvana, Primus, Pearl Jam, etc. People used to scour record stores for unreleased material. It doesn’t seem to be as prevalent as it used.
This is the thought that came to me while listening to Live at the Zoo by The Tiny Divides made up of Brock Briggs (bass), Ben Casey (vocals), Cameron Dean (guitar), Zac Lynch-Badley (guitar/vocals) and Nick Stuart (drums). The band is a bunch of young dudes that sing about young guy shit. Smelling like cigarettes, being hungover, contemplating if you’re wasting your life. The typical garage rock, bohemian spirit that hasn’t diminished since the ’60s is prevalent in their music. Live at the Zoo does more or less what I believe its intention is which is to give you an idea of what the band sounds like live. They sound like a no frills, garage band. It feels like they are having fun and so is the audience. They open with “You Smell Like Cigarettes” which should give you a good idea of the band’s general sound. The band plays into garage rock 101 cliches but they own it and I thought Casey had a fitting voice for the music. Casey sings “And anytime that we drink we drink like we wanna die.” The band plows through an energetic, dynamic set. I enjoyed the brief audience banter as well as the cover of St. Helens. They get heavy with “Is This For Real” while the closer “A Field Full Of Straw Men (Crows)” has some inspired moments. Live at the Zoo could have used some proper mastering increasing the volume but overall it was an enjoyable recording that gives you an idea of what the band is about. It also preps the band for releasing a proper studio album. Will it happen? I have no idea but make sure to keep an eye on them if you enjoyed Live At the Zoo.
Bandless is the solo project for Luke Smith. He is a bedroom artist like many others implementing some of the tools that modern technology has provided. Smith plays fairly heavy rock on his demo EP Necessary. It’s reminiscent of a band like Queens of the Stone Age.
Going at it alone has some advantages but also plenty of disadvantages. The biggest disadvantage with this EP is the programmed drums when this style demands an actual drummer. Hopefully Bandless can find at least one band member in future and that being a drummer. That said the guitar and vocals sound great. I’d say it’s a little shy of professional quality but I thought it was above average for DIY. I can’t say Smith is delivering sounds or a style that is particularly innovative but I thought the songwriting and delivery was solid. He has a good set of pipes and with a little better production would sound exceptional. He opens with “I Live it But…” which comes out of the gates rocking out hard. The vibe is somewhere between The White Stripes and Queens of the Stone Age. He thrashes a couple of power chords while singing a quite infectious vocal melody. He kills it on the title track. It’s pretty straight heavy blues rock but no doubt has a good amount of energy. “In My Dreams” finds more energy and had a distinct lead guitar. “Green Moon Pt1” felt like an ambient transition for the more rocking and in your face second part. As much as I liked the two parter the centerpiece is the seven-plus-minute song entitled “Ignorance of Bliss.” The song is a lot more atmospheric, dreamlike and dynamic than anything that came before. It felt like a good choice for a closer that examined some of the other types of styles he can pull off. Smith is off to a solid start with this EP. I can’t help but wonder what these songs would sound like with more people but he does get the job done.
Justus Rollins is a musician who had a number of musical projects going but the first one he got off the ground was The Network. He found a couple of additional members through Reddit and not much later released three songs simply entitled EP1.
The songs go by quickly and shows some potential. For the most part they play ambient alternative rock with a hint of funk. The production is around demo quality. One thing I need to point out is the overuse of reverb. They cover almost everything in copious amounts of reverb which muddies up the mix. A lot of top mixing engineers will tell you that if you start pouring on reverb you can get into trouble fairly easily especially if you aren’t EQing the reverb itself. A couple of songs could have at the very least backed off one element such as the vocals which could leave a little more space for the guitars. The other issue with production was timing. There were some issues here and there with the songs feeling like they weren’t quite lining up. Despite some issues on the production side the song were enjoyable and I thought the band has a number of inspired moments which made me take notice. They open with “A Blind Eye” which combines a straight beat with a funky bass and guitar line. Alice Hayes carries the song despite the vocals being too much in the background. The breakdown section displays the band's dynamics. Up next is “Pure Energy” which hits more of a straight indie/alternative vibe with some post-punk flavor. The song gets a bit messy at times but also has some success as well. They close with “Our Heart (On Restless Nights)” which was the highlight. The instrumentation sounds a little better here and I enjoyed the experimental aspect as well as the descending piano. That being said the funky guitar sounded a bit out of place and too bright during the chorus. The Network was a band that formed in fall 2016 through Reddit and they released a three-song EP a couple months later. I wasn't expecting them to sound like Radiohead out of the gate. My point is that the band is in the embryonic stage of their development. There is a good amount of improvement that could be had but there was also a good amount of things that they got right. As of right now they fall into a case of wait and see. Keep your ears on them because their is a lot of talent and potential with this group. |
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