Lose yourself in the fantastical soundscape created by Moss Jasper’s aka Daniel Nelsen debut EP A Voyager Blue. Four songs will ground you to the earth and bring about a peaceful serenity. If I were to choose any album as a soundtrack for a nature documentary, I would choose A Voyager Blue. Despite its lulling melodies and soft guitar, it’s the perfect sound for any wild thing looking to connect with the natural world and their own humanity.
Creator Daniel Nelsen intends to “admire how immense our surrounding world is, but the songs do not neglect our stories as human beings which many times seem more massive than the world we live in.” This EP is almost a love story for our very existence. The sweeping but soft melodies are reflective of the inner conditions of the mind and soul, allowing the listener to fall into the sounds of a dream. Nelsen’s influences are clear; he does not leave the genre of indie-folk but instead morphs it into something new. “Bitter Flower” uses heavy repetition to create a rhapsodic and dream-like effect. “Condylura” is aptly named after the star nosed mole: darkly representative of a metaphoric life underground. The vocals of Corina Gonzales are breezy but delightful, like a breath of fresh air. This album would be served best with a glass of sweet tea, and an evening on the river. A Voyager Blue contains bits and pieces of Nelsen’s spirit, all translated through a guitar and soft reverb. However, it’s clear Nelsen draws on earthly forces to create his songs. This is the true uniting factor of an otherwise scattered record -- A Voyager Blue drips with the very essence of life as we know it. Its edges are decked with chlorophyll and pollen, and its heart swells with the tides. Even the album art looks biological, a beautiful psychedelic composition of blues and purples. There is a significant difference between a debut EP that is rushed forward, and a debut EP that is artfully crafted. It is clear that Moss Jasper has presented us with the latter. This is the work of an artist who refused to settle for generic or under-developed. A Voyager Blue is a work of art, inspired by the natural world and appreciated by the human world.
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R.Campbell is a musician who is studying classical percussion at the Sydney Conservatorium. He also released a four-song EP entitled Quote. The songs as he puts it are “a collection of contrasting tunes that test the waters musically, dipping in and out of genres and musical cannons track by track.”
He opens up with “Stupid Party” which is a guitar based song that takes a little from punk rock, ’80s rock and alternative. The song goes in places I wasn’t expecting. I was on board with the catchy verse that is loose and fun. The bridge builds with more momentum. Right around one- and-a-half minutes he really starts to feel like it goes all out. It’s a song that feels like its bursting at the seams with energy. “Won't Sit Down” was a highlight. I really liked this style which is upbeat almost in a similar way to Vampire Weekend. His vocal sounded even more natural on this song. The song similar to the first song rises in intensity. I thought the saxophone sounded great. There is the classic ’80s feel to the way the saxophone is produced. “Terminal” had a different feel and deviates from the more pop oriented tracks. The song is built on a ominous and hypnotic piano that really feels like a constant build. There is a crescendo that breaks before the two-minute mark. The big Phil Collins drums and general feel was grand and epic. I feel like there was a little Van Halen in there as well. The song feels like it continues to build again creating some general tension. A snare roll leads to an epic sounding climax. The song slowly takes its time dissipating. The EP ends with “Eulogy For Tape” a mashup cover of Video Killed The Radio Star, Jump, and Act Your Age by The Buggles, Van Halen and Blue Juice. It did feel like it came out of nowhere but was an interesting way to end the EP. Overall, this is a solid EP. R.Campbell certainly makes dynamic songs and showcases different approaches to songwriting. I look forward to hearing more.
Mike O’Reilly (guitar/vocals), Sean O’Reilly (bass/vocals), Alec (drums) and Jon Wagstaff (guitar) are The Brothers Union. The band released Silhouettes which seems to be just the brothers.
There are two songs on this EP both of which revolve around vocals and guitar. The music plays into a very straight foward singer/songwriter vibe we have heard in the pop arena that is intimate and plays into sweet nostalgia and reflection. The first song “Bluebird” has this pop sensibility to it that just screams commercial viability. It’s an unapologetic love song which reinforces romanticism and doesn't explore any gray areas. It’s Elizabethan Shakespeare for the contemporary bird. The music is soft, gentle and tender and the lyrics play out like a script in a movie. The vocalist sings “Falling in love it was you were you, I was me / It started to work, we took a chance we were free / Crossing our paths was like fairytale destiny / I'll never give up, those nights were meant to be.” The song ends with a proclamation that these two doves complete each other in such a way that if one would vanish into thin air life would barely be worth living. The vocalist sings, “I hope you're with me when we grow old / I need you more than any living soul / If not for you I'd be decomposed /Just lost and practically nothing.” The next song “Another Remedy” is very much an acoustic pop punk. Pop punk has always felt like a genre for a younger generation from the coming on age type themes to the delivery and that applies here as well. The song is a little more ambiguous than the opener when it comes to the lyrics with a little more play on words. There isn’t all that much going on the musical side besides a couple of strummed major and minor chords and a lead guitar but the simplicity works here. Silhouettes is hitting on such a distinct type of a sound that has been ubiquitous for years and years with these two songs. It’s such an overcrowded arena that you have to somehow find something that will separate your sound. The band probably doesn't want to hear this but they should and in the long run it will make them better. The issue isn’t that they are doing anything wrong or don’t have skill but they are playing into everything you expect from this genre. In 2019 you have to be bringing something new to the table if you are hoping to stand out just based on the numbers alone. I haven’t heard them as a full band and perhaps their approach is different with that dynamic. Silhouettes might be their first attempt at acoustic based music and while there is no doubt talent here, there is also a sense of familiarity. I look forward to hearing more from the band.
All This Huckey is a band which formed in 2014 and will be releasing a five-song EP entitled Home Stockholm. The music is a palatable mix of genres like folk, rock and more. Their music is emotive, often dynamic with vocal performances that provide the emotional anchor to the songs.
Take for instance the opener “Stockholm” which has an Americana rock vibe going on not too far from Tom Petty. There is however a dichotomy between the vocals. The first singer sounds a lot closer to Tom Waits or Leonard Cohen with a deep baritone but the other vocalist has a higher register that cuts through the mix. The juxtaposition works and proves to be a solid opener for the band. Next up is “Comrade II.” The mood is a lighter here and with a folk infused feel. There is a hint of Fleet Foxes but perhaps a little more pop oriented in a number of ways. The minimalist approach between the guitar and drums during the first verse leaves a lot of space for the vocals to soar. Towards the end of the song we get a crescendo built on the same riff but with more instrumentations and power. “Dunkirk” could be the arguable highlight. It felt like the most dynamic and fleshed out song in a number of ways. It starts off with sparse guitar and this almost stoic sounding vocal performance. Hypnotic guitar and hi-hat enter and go into this prog rock section where the band starts to jam out. It sounds slick but they don’t overdo it and quickly get back into the quiet verse where the vocals are the main element. The song closes with a somewhat classic sounding guitar solo not far from something you might hear from Pink Floyd. “One Of These Things” felt like a walk in the park. It’s pretty catchy, not all that intense and sort of chill all things considered. They close with another highlight “Ring Buoy.” There is a spaghetti western feel to this song. The vocal melodies are great are as the instrumental aspects. Home Stockholm is an eclectic EP. The band showcases a lot of different approaches to creating a song which made this a fun ride. Recommended.
Power Assassin’s sound deals in “monster riffs, slap-fantastical bass, massive percussion and super solos. If you like guitar, drums and bass, bring a neck brace just in case.” If you’re already sold, then I’m sure you’ll get hooked on Against the Galaxy, the Chicago trio’s first full length album from their most recent of many travels. The band grew up in Gary, West Virginia and played in many different bands before taking some time off at the turn of the 21st century. They reformed again in the fall of 2017 and split their time recording Against the Galaxy between Chicago and Gary, WV. Members include Matt Browning on guitar and vocals, Mike Browning on drums and Chuck Waldron on bass. Themes on the album cover topics such as, love, struggle and outer space, which makes for a curious combination – hope you enjoy.
The opener “After the Lane Song” features a clever sounding guitar riff that borders on a middle eastern mystical sound. My first impressions of Against the Galaxy’s sound and style was that they mixed styles both old and new. I would compare their mix of rock grooves to the likes of Cream, Led Zeppelin, Live, and that southern flavored ‘70s band that made “Black Betty” a cult movie classic – oh yeah, Ram Jam. “While You Wait” has more of that old school sound with some tasty guitar solos. “Mrs. Dubedat” funks things up with an upbeat rhythm that’s highly infectious, not to mention danceable. And again, a killer guitar riff, that I can only describe as – if ‘70s KISS played funk rock music it may sound like this. You’ll know what I mean when you hear Browning’s guitar – that’s if you’re a ‘70s KISS fan. “In the Arena” has more of the alt-rock, grunge sound, but without the band sounding like they’re ripping someone off. This band clearly has their own thing going. I really like the beat to “Northfolk Southern” as well as the lyrics and how they convey images of the south, river snakes, trains and Muscle Shoals. Good stuff. “Mystery Kid” twists things up by showcasing the band’s punk rock style and some sweet drums fills by Mike Browning. Oh yeah, and his use of the ride cymbal was music to my ears – it seems not enough drummers take advantage of it these days. “Brother Bull” was like, holy crap! – where’d this come from? As soon as the explosive energy died down, the band switches gears into this sort of ska-reggae-jazz interlude, then back into this crazy progressive, metal, slap-funk rock juggernaut from another planet. Don’t overlook this one my friends! The band keeps things alive and kicking with “Someone Else” by starting things off with a short tense beginning and then slips into this mystical mix of progressive jazz, funk and shoe gaze-y psych rock, (for lack of categorizing this tune in any one genre). It’s definitely unique and original in my book. “Just Hit Me” begins with a catchy guitar hook and reveals another sweet guitar solo but also, what sounds like a unique technique to Waldron’s bass – as if he made it sound like one of those massive organs that has a warm tone to it. “Dead Phones” is perhaps the band’s funkiest and most hard rocking – reminding me of the early sounds of the Red Hot Chili Peppers. This one would definitely be a mosh pit pleaser – do they still have those at festivals? “Savage Comeback” offers a tale that tells a story of a person coming back home for a reckoning of sorts, and it sounds like they’re not going to take any prisoners. The song’s style here is part progressive, part punk and all pure energy. Lastly, not only is “Bombs in Outer Space” one of the coolest song titles I’ve heard in a while, the band’s style on this one is also cool and quite groovy. Plenty of deep bass here and edgier guitar riffs during the solo, all centered on a jazz-esque, funked up groove that by now, should be impressed upon your mind. All things considered, Power Assassin truly has something special going on. From their guitar solos, tightly twisted rhythms and change-ups in between, to their short song format that packs a punch into an average of three minutes, this trio offers something for everyone.
Groosha is the stage name of Nastassia Vertsel, a Brooklyn-based singer/songwriter originally from Belarus. She recently released Left the Town. The album is comprised of piano and vocals. It also features her singing in both Russian and English.
The music feels very pensive, dramatic and often melancholy despite how much of the language you understand. That being said some songs verge on hypnotic as if you were very seriously examining your life while others have some more levity. The fact that she was utilizing different languages was an interesting concept. I obviously didn’t mind her singing a song in English which I understand. In fact I think I preferred the way her voice sounded in Russian in some ways even though I don’t understand the language. There are plenty of songs that have a depth of emotion that I can’t understand. I think the only thing I found difficult was the one song “Wonderful People” that was sung in both English and Russian. It was in this song that I felt like I was only getting half the story. I guess I prefer to know all the lyrics of a song or none of them which is simply a personal preference. To her credit she does put the translation on her Bandcamp page but it was an extra step I had to make which I could argue mitigated the immediate impact of the song. The piano playing is exceptional throughout the album. Vertsel plays more like a classical pianist. Her playing is dynamic, nuanced and has all the qualities you hear from someone who spent a lot of time and effort trying to perfect their instrument. Vertsel takes you through various shades of emotion starting with the thought provoking and nostalgic “Left the Town.” The hypnotic quality feels elevated even more into a cerebral thought pattern on “Wonderful People.” “Fire Bird” is both melancholy and beautiful while “Commuter's” has an emotional levity to it that we haven’t heard yet on the album. The album progresses with “Love,” “Zima” and “Road to the Sea” which continue to form a foundation for the artist. Last up is “Major Minor” which is a song that hints at light on an otherwise somber album. There is no denying these songs came from the heart. That was my biggest take away no matter what language she chose to sing in. Recommended.
English Death is a solo act out of Richmond, Virginia and it’s the creation of Craig Snow who first started recording music with unconventional means back in the mid 2000’s. His first recording was for the band Unsacred in 2012 and it was met with local acclaim followed by working with masked songwriter Spectral Kingdom. Snow then went on to perform and produce in the band Basically Viscous in 2013 until returning to his Virginia home during the summer of 2015 to begin work on English Death. I Saw The Worst In You is his first release, apart from a single he put out towards the end of last year.
For all you tech geeks out there like me, who are wondering how English Death got that classic vintage sound, Snow played around with a lot of analog/digital synthesizers and sequenced them with Ableton Live 9/10. He then recorded his work onto a few tape machines and then sent those back into the DAW for mixing and editing. Got that? On the album, Snow states that he was looking for a sound somewhere between Bowie in the ‘80s and The Cure a la Pornography and Disintegration. Snow wanted to create something that was both nostalgic but also something with a fresh sound. I think he achieved both. The result was hypnotizing, and I was hooked from the start. He plans on releasing his next album this summer. The lyrics to the first track “Penance” reveal a desire to be free from pain and sorrow, but they also suggest doubt and struggle. The style and sound of Snow’s music is a page right from an ‘80s drama or teen angst horror flick. He’s certainly has got that part done; it was like I traveled back in time. And his tone of voice matches this kind of music very well. On the title track to the album, you’ll hear a lot of great electronic drums and synth action. His words bite with bitterness as Snow dives low with a throaty bass vocal – “Silence in your violence / you’re just a waste of my time.” The beginning to “Look Away” had a new wave bent to it, reminding me of Gary Numan or perhaps The Bauhaus. His synth work really takes center stage here, while the vocal takes a back seat with words that are cryptic and mysterious. “In The Background” offers the listener English Death’s gentler side. The melody and synths are lighter, the groove softer and lyrics tender. I liked the phrase – “I can feel you in the background.” I liken this one to Joy Division’s Atmosphere in some ways, and even Snow’s voice reminds me a bit of Ian Curtis’s or even Peter Murphy’s. “Last Time I’ll Be Played” features soothing synths and hushed vocals. Snow’s synth work gets more psychedelic towards the end in this song about past mistakes, regrets and an ongoing fight to let go of something. “No One Cares” reminded me dead on from something off of Pornography but it also has that free form, avant garde style found of Bowie’s Low. In my opinion, I think it was Snow’s most dark, most gothic, most in your face song. The deepest synth sound, the thumping sinister techno beats and the way he sings the words are just so damn good, I couldn’t get enough of this one! Ironically, it’s the longest song with the fewest of words. If you like ‘80s new wave and goth moody nostalgia with a fresh edge, English Death’s debut won’t disappoint.
Noisy dream-pop, loop-pedal enthusiast, Coffee Spit hails from Stafford, Virginia and has created one of the most uniquely written albums that you may ever hear. Based solely on his experiences of drug use, the two-and-a-half-year recovering addict recorded his latest Tired in his bedroom studio. The story set forth is one of addiction, love, loss, regret and pain. In short, it’s a very personal project for the musician. The artist ultimately describes his album as “how true love is the answer to what make life special and the bonds we create with people we love, and the pain of when they go away.” This is Coffee Spit’s fourteenth release.
The first track “memory” opens with warbly vocals and only three lines of lyrics – “Am I only a picture? / All I want to be / is a memory” – although after listening there is clearly much more. The sounds are imaginative and trippy in every way and echoing vocals are heavily used, as are the distortion effects and drums. Overall, the song seems to have no distinct melody and chord change. “soda” seems a bit more lighthearted, but just as trippy. Apparently, it’s a song about soda – not sure what’s in that soda – but something that made the artist “way too drunk to care.” “chair” finally felt like a song with a recognizable progression or format, and in some ways it kind of reminded me of a more pop radio friendly Pixies song. “pill II” reveals some dark lyrics about drug use and what certain pills can do to the mind and one’s consciousness. This tune also has a very trippy, free-form style and now at this point, I’m thinking about The Cure’s Pornography album – that one is super trippy. “hospital” tones things down with a slower paced, shoegaze style song. This tune reveals more with details – “In a bed for passed out corpses / That’s where I’ll be / They throw them all there / For the world to see” suggests a rehab facility. The ending gets creepy and then drops off and breaks into the next. “church” has the feeling of recklessness, nostalgia and sadness – a strange sadness for getting so drunk – “I’m so sorry” – but at the same time – “Fredericksburg was beautiful.” I like this one for its haunting nature and the guitar solo. “keys” is one of the longest songs on the album. A freestyle guitar starts playing, reverberating vocals start up (which I suggest not listening to with headphones turned up, unless you like that sort of thing), and a very sloppy, sludgy drum beat. “sand” switches things up with a fuzzed out melody on guitar, and the standard verse-chorus-verse format. The singer’s lyrics suggest being tormented by dreams inside the memories he keeps. Towards the end, some weird vocal effect can be heard. “flowing” offers spaced out sounds, beats and lyrics that are not decipherable based on the extreme vocal effect. But even so, I liked the song’s message, even though they are quite subjective – “River, river make me smooth / Make me whole, and then unbound / River, river clean the slate / Never found, never found.” “videodrome” is yet another free-form, tripped out tune that was hard to follow, at least for me. The words read like the artist was indeed tripping hard core on something. “starman/jeepster/cosmic (bowie/bolan/coffee)” is three-fold and a whopping 14 some minutes long. Coffee Spit starts off with a classic David Bowie song, from the artist’s masterpiece (well, one of many in my book) The Rise and Fall of Ziggy Stardust and the Spiders from Mars. I think Bowie himself would have appreciated this one for its sheer creativity. Next up, is a Marc Bolan tune, the ‘70s English glam-rocker from T. Rex fame. I am not too familiar with some of Bolan’s work, but after giving this a listen, I could hear that swaggering attitude and sex appeal that Bolan was known for in his music (even though Coffee Spit’s version is highly distorted and trippy). The last part of this song sound like a series of whacked out effects from some space invaders video game or some bad acid trip that Captain Kirk went on. The last number is “pill” and features more of that avant-garde, emo-indie trippiness that Coffee Spit has clearly solidified in my head. The words to this one read like he was going through withdrawal in the worst way. He belts out his falsetto for a bit as the song seems to come to close after four minutes, but this one goes to seven. Sounds and textures change back and forth with random singing, talking, free form guitar playing and rather chilling backing vocals. Well, if this is what being tripped out on acid or heavily entrenched in a drug is like, then perhaps I’ve experienced just that on Tired. There are some highly creative moments that made me wonder how Coffee Spit came up with his sounds, but maybe I’ll let the listeners experience that for themselves.
You know I really do love a good background story for any album and lucky me, I got a juicy story on my hands this week. The artist is Black Kaweah, the album is Formations, and the mood is complicated. Mike Springer is the mastermind behind this wild shape shifting album packed with shoegaze, dream pop, dark ambiance and alt rock. Here's the thing about Springer, he has spent most of his life in what little is left of America's untouched wilderness. He works as a ranger and so his dedication and love of nature is pretty clear. I warn you now, do not box this man into a sunshine and rainbows corner, you'll feel mighty foolish as soon as you dig into the album.
For the most part, this is very low key album, not a whole lot of high flying action. However, he throws big punches and makes a big impact. I have listened to A LOT of albums with nature as the backdrop and NONE of them have ever sounded like this. There is darkness, brooding, anxiety, primitive urges. You're not just staring at the vast beauty for an afternoon; you're experiencing all angles of it. His instrumental choices are fully ranged from hyper organic to hyper electronic. You'll get some folksy guitar and then some downright awesome samples from some other dimension. Somehow he has formed a lush green bridge between genres. My favorite is when he chooses to get a little jazzy. I can also tell from his indie rock tunes that he and I may very well have some parallels in our playlists. I firmly believe his passion for music is as deep as his love for nature. The lyrics are mighty pointy in this album which is an interesting twist on such a mellow musical background. I'm into it. Singer is bold in that he has no problem expressing his views - from his frustrations with the lack of urgency for the environment to his big picture view of life. A view that I feel may have formed for watching the raw and unforgiving flow of nature for a good portion of his life. I would say the album is equal parts political and personal. Let's be honest though, at least for me, I find it pretty irritating that the environment should be such a political issue. Springer was the master architect on this album from start to finish. He stands as yet another example of how today's tech can be so empowering for the solo artist. One thing that stuck out to me is that Springer is incredibly thoughtful with negative space. Silence and isolated sounds is an art form in itself in music, and one that often goes unappreciated. I'm willing to bet that someone who spends so much time in the wilderness is someone who can appreciate and properly utilize what REAL quiet is. The mixing is spectacular, definitely not one of those "one size fits all" philosophies applied here. In a word, this album is thoughtful, and will certainly provoke thoughts. Highly recommended.
Aidan McLain (drums), Henry Gross (guitar/vocals) and Cyrus Payne (bass) are So It Goes. The band formed when they were kids and when I say kids I’m not exaggerating. They met in 10th grade and for the last six years have been playing music. It’s been about twenty years since my high school days but if memory serves me correctly it’s an anomaly for a band to stay together through middle school and high school. The band is still very young but display they are experienced on their release 7.
The band begins the EP with “Teenage Time Kills” which is a clear highlight. You are greeted with a fuzzy bass and even fuzzier guitar and a heavy beat. They dig into garage rock vibe not too far away from the The White Stripes. The chorus explodes when it arrives and is catchy and a memorable melody. The next song “Ego Mania” starts with this Jimi Hendrix style guitar and seamlessly transitions to garage rock a la The Strokes. Gross initially sings in falsetto but switches things up soon after. The song has a subdued and dreamlike breakdown with ethereal vocal harmonies before exploding into a hard and aggressive riff. “Next Time” is a good amount of fun and I’m sure is a crowd pleaser. The band implements a number of ’70s classic rock moves on this song which I’m sure a lot of people will appreciate. The band mellow out with ”Done Is Done” which again has a very ’70s feel between the lead guitar, Bonham drum fills and general vibe which sounds like Pink Floyd. “Aiming at the Sun” is another song that seems like it would translate really well live while “I've Run Out Of…” is a bit ominous but also has a great groove. They end with “Greed Is Good” which is darker song almost getting into drone metal. The band is on a good trajectory. They display their diversity with these seven songs. Take a listen. |
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