Grant Duncan is an artist who has been hanging out in Tokyo for awhile now. In fact he spent enough time there to complete three albums. His latest album entitled Radiant Sublime was his final release to come from his time in Japan. He returned to New Zealand last month.
Radiant Sublime felt like a logical extension of the previous two albums we reviewed here at Divide and Conquer entitled Early Morning Rise and Alliance. It should also be known that all of these albums were released in about a year’s time. The album starts with the title track “Radiant Sublime.” I always felt like Duncan had an ’80s vibe to some of his songs and that is apparent on this track from the lead guitar work and his vocals inflection. “No matter how much you might feel” is one of my favorite songs from Duncan - period. The guitars at least initially are clean and atmospheric creating a very serene flow of energy. Duncan’s vocals sound smooth and felt like the hook was memorable upon my first run through the song. I appreciate a good fade out on a song as well. Duncan brings up the mood with a pretty straightforward rock song entitled “All that you wish for” and then transitions to folk on “I thought I knew you.” He has more success with “It’s a beautiful day” which sounds a lot like the title of the song. It's that feeling you get when you actually look forward to what the day might bring. There are a variety of different approaches as the album moves forward. I really liked the acoustic “She Rides the Wind.” In fact I think he should consider making an entire album of this style of folk. The upbeat closing track “Something Might Come Our Way” sounded a little like The Beatles and was a good way to end. I’m sure Duncan will find these albums to be a timestamp in the years to come of his time spent in Tokyo. Radiant Sublime felt like a promising way to end a chapter and start anew.
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In A Certain Light is the latest and sixth release from Don't Blink. It says on their Bandcamp page, “With this group of songs, I try to expand upon the themes that Don't Blink have tried to speak to. I hope I have somewhat succeeded.”
After listening to their songs, I do think the group had accomplished that in a number of ways. The most obvious way is that the songs are longer than on most of their other albums. For example four of the six songs go over the eight-minute mark. You could also make the argument the songs are more daring and willing to go in new directions. Take for instance the opener “Sunrise In Blue.” It’s a song jam packed with instrumentation and the signature vocal delivery from the vocalist. It goes into a lot of different places and deviates from a standard pop song structure. The song could be a declaration of the political and spiritual state that the band feels like we are living in. The vocalist sings about this on the second verse of the song. “Charlotte In The Rain” is one of the highlights. I heard some of the best guitar playing on this song. The song is also quite catchy in its own way. “Pornagraphic Mind” is another sprawling song with a lot of diverse instrumentation. The way the electric keys play off the guitar and bass works well. I was also able to appreciate the blaring guitar solo. “In The Shadow Of A Gun” is about the gun problems we have. The song is about mass shootings, the NRA and much more related to guns. They close with the song “In A Certain Light” which is another eight-plus-minute song that explores an eclectic palette of instrumentation. It’s not easy to say if In A Certain Light is the best release from Don't Blink but it’s their most expansive.
SK The Greatest is back with a new release Dopamine. The album is compact and swift. There is no extra fat on these songs and it is an album that is best listened to from beginning to end.
The album starts off with “The Education (Intro).” There is a juxtaposition between a fervent political speech and very serene music. It works out nicely and puts this additional layer of emotion on the words. “TIBS” is a glorious mix of soul and hip-hop. The beat is thick with piano and bass drum reinforcing the low end. The organ has the tone and textures you would associate with a gospel group. I love how the vocal samples were cut up which creates this hypnotic mantra. “I Love You” has this ’80s R&B vibe. The instrumentation is way in the background in this song with the beat being much more prominent. “Forbidden Flute” was a highlight and also one of the more experimental and avant garde songs. The song could be considered micro glitch in the way the percussive elements are presented. There are clicks, clanks and other sounds which display a vast array of sounds. Then we have “Wobbly” which is a cinematic and thematic song. It felt a little ’80s influenced between all the airy synths. The song could work in a show like Stranger Things. “The Traffic Stop (Interlude)” is ironically the longest track on the album. There is a recording of an actual traffic stop and along with a darker and ominous soundscape. “Block City” is a very smooth and bluesy track. The lead guitar is butter. The mood gets light and joyful with “Jerz” while “Breaking Atoms” revolves around a whirling arpeggiated synth, piano, wind instruments and a hip-hop oriented beat. Dopamine is a seamlessly crafted album that ties many different genres to the foundations of hip-hop. Recommended.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Stop n' Shop Time Wasted 4.0 Atomadam Atomadam 3.6 good enough good enough 3.7 James Hook Unlived Dreams 3.8 Big Rooster Jeff Mr. Stupid 3.8
I had a feeling I was in for something epic before I listened to My Relentless Dead by Pete Haydon. The album cover art looks like something from Pink Floyd and there is a four-part song series.
My assumptions proved correct. The album does have an epic quality to it. It’s not as heady and cerebral as a Pink Floyd album at least in vibe but there is quite a lot to take in. The album starts with the title track “My Relentless Dead” which has a ’70s rock sound. It’s soulful and dynamic. The lead guitar strikes like a hammer and I was equally impressed by the vocals which have plenty of range. “Looking For The Light “ is a big production. There are multiple vocal harmonies, a lot of engaging transitions and a number of hooks. I heard a bit of Leonard Cohen in the vocals. “Only Got Me To Lose” is a perfectly fun and upbeat song. It’s chipper and almost instantly puts you in a good mood. That tiny bit of Leonard Cohen I heard is a lot more obvious on “Church Of Melancholia.” I actually found it hard to believe it was the same singer because it sounded so different. The style of singing is continued on “The Devil's Hour (3 am)” but there were shades of Nick Cave as well. The album is just getting started. “Sea Green Incorruptible” is a bluesy, mellow song with some great lead guitar while “Quiet Man” is perhaps even more mellow and chilled out. You can’t miss the four-part song series as well. This is the type of album I have to appreciate and admire just because of how much work went into this. There are so many different instruments, approaches and styles. It’s a full on production. These long form albums which require some patience to digest are becoming more and more rare. Perhaps even more frustrating is the fact that between how people consume music and the sheer amount being released music like this can be easily overlooked. If you have it in you to take on at least one epic album this year you should consider My Relentless Dead. It’s an album that will take time to fully absorb but reward those who take the journey.
Robert Johnson is behind the project bobby2083. He was formerly a bassist in a Naudhiz which was a metal band. The music on his release threeve contains experimental laptop generated music.
There are a lot of disparate sounds on this album. It feels like it’s generated from a computer. The music isn't as experimental as an artist like Oneohtrix Point Never but it’s somewhere in that arena. The other points of reference are Animal Collective and Grimes. Johnson creates various soundscapes with different emotional undercurrents or lack thereof. Both of which are good. Take for instance “threeve” the opener. The song wasn’t tugging at my emotional heart strings in any particular direction but there was effective ear candy to keep my attention. “sloopy” makes good work of forging dissonant tones and textures. I liked a lot of the ideas he was playing with here. Johnson plays more into dissonance “dream” which sounded more like a nightmare. He mellows out with “input” which is more of a soundscape with what sounds like field recordings. It sounded like I was taking a journey through the intestines of a prehistoric dinosaur. The next four songs are like vignettes. The slightly Aphex Twin and also chip tune sounding song entitled “big dicks,” which is just as embarrassing as it is to write as it is to say, was a highlight. The other highlights come towards the end of the album which were “saddymad” and “flonoz.” This type of music isn’t easy to make stand out. One of the reasons is because of how much more simple this type of music is to make with a modern day DAW in the last five years or so. In my opinion there are only a couple of modern composers like Tim Hecker, Fennesz and a couple of others who are pushing the envelope enough to make it stand out. On that note considering this was an early attempt for Johnson I would say he did an exceptional job. I do think there are some things that could put him on a trajectory to take it the next level. One of the things I love about Tim Hecker for instance is that he creates these deep emotional axioms in his songs that can pull you into feelings of fear, apprehension, hope, etc. Johnson’s music while being inventive with plenty of unique sounds didn’t always elicit a strong emotional response which you could argue was intended. Sometimes it did but not as often as I wanted it to. This isn’t an easy skill to acquire and may take years of practice within sound design to know how to use appropriate filters, waveforms and more to create those kinds of layers. I think utilizing organic instrumentation like that of Jon Hopkins is a good move to blur the lines between digital and analog sounds. Overall, I thought this was a really good album and did more than peak my interest. I thought there were a number of tracks which not only showcased Johnson’s future potential but innate talent. If you are an fan of immersive soundscapes you will not want to miss out on this.
catalyst you is a New York-based music act. The band was formed in 2018 by songwriter/guitarist/vocalist Jason Bala and producer/multi-instrumentalist Kris Allis. They released unwind which is a three-song EP.
The EP starts with “bathe in the pool.” You are greeted with hall reverb laced lead guitar, another more jangly guitar, a steady beat and forward moving drums. The song has a contemporary feel to it that was you can associate with bands like Real Estate. There are some great drum parts and vocal harmonies as the song progresses. The vocals are fairly subdued although Bala shows his range towards the end which actually ends up being his best moments. “underneath” is next and I really was digging the groove. It’s a little more funky and less rock focused. Bala has his moments. There are moments where he goes into falsetto and sounds really good. Overall, a solid song and again it felt like a contemporary vibe. They close with “we like sad songs” which has some wicked guitar work. The vocal harmonies, bass and other elements sound great. They also sprinkle some piano in there as well which works in their favor. I kept feeling like Bala was just missing the bullseye for me to just being head over heels about his vocal delivery. It was hard to pinpoint but just his inflection on certain words and phrases needed that extra 10%. I think just a little more attention to the details while experimenting the ways he sings certain words and he is there at least for my personal preference. The band just formed in 2018 so this short EP is hopefully just an appetizer. I think this duo has a boatload of potential and I am excited to hear more. Keep your ears on them.
Youngborn is the musical project for Matthew Young. Hidden Home is a five-song EP that digs into a contemporary indie/rock type not unlike that of bands like Grizzly Bear. The songs were instantly accessible to me. I liked Young’s vocal delivery as well as his choices as to what type of tones and texture were going to be on the album.
The EP opens with “Together.” You are greeted with a prominent drum beat, whole notes on the bass and vocals. It sounds good but gets better as additional elements like vocal harmonies and a second guitar get layered into the mix. I think it was the second guitar that made me think of Grizzly Bear which happens to be the case with other songs as well. “Drifting” might be better than the opener. Young sings in a falsetto and it sounds good on him. The song is very lush. The vocals, guitars and really every element digs into this dreamy atmosphere. I think there might be a banjo in there but it was hard to tell. At any rate the melodies are infectious on this track. Young goes three for three with “Chasing.” Its sound has more of a folk style with whimsical acoustic strings that sound like something you might hear from Fleet Foxes. “Hope ahead” is a great song title that fits the mood of the song. It feels hopeful but is unequivocally melancholy. I live that combination when it works out. He closes with “Too full.” The song has a lot of space for the vocals to breathe. I rarely like whistling aside from Andrew Bird but this was legit. The electronic drums also sound great against the acoustic strings. On his Bandcamp page he calls this a demo. This is better than a demo quality release. I give him credit for really making a professional sounding release with very little tools. This is a no brainer for fans of indie rock. I’m looking forward to hearing more.
Izzy Joan is now a musician based in London, England. She grew up heavily influenced by folk and Celtic music, and went on to get her Masters in Musical Theatre Performance. Waste - Demo EP is her first release. Her influences for this release are like minded artists such as Julien Baker, Daughter and Phoebe Bridgers.
The songs like the aforementioned artists tend to have moments of beauty but are sometimes wrapped in melancholy that can sometimes feel inescapable. This comes from the lyrics which seem to be personal. Up first is “(lost in space)” which revolves around guitar and vocals. The guitar parts are very simple but effective not unlike Julien Baker. This song in particular has a romantic quality to it and poetically recalls a lover. Her vocals are dynamic here and at times reminded me of Fiona Apple. The next song “go now” is where there is a sense of hopelessness. The first lyric is “I spend all my time in mourning nobody wants to see me.” Don’t get me wrong, there are some beautiful moments as she is yearning for this sadness to leave. She sings about smoking so she can die quicker and how she can’t find herself. “...passing by... “ is another beautifully somber song that tends to just bathe in this sort of inescapable hopelessness. “hospital song pt. 1” is perhaps the most solemn song in the batch about heartbreak and being abandoned. There is no denying Izzy Joan has talent as a songwriter and vocalist. The songs which take on the feeling of sadness don’t seem to paint any path forward out of this state. Hopefully, the reflection of the sadness itself is enough to have it dissipate.
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The Gramp Stamp is the third album from Grampfather. Grandfather is a musical outlet for James Kwapisz who is the songwriter. Kwapisz surrounds himself with musicians who contribute to the project not unlike what Mount Eerie is to Phil Elverum.
The music is off-kilter rock. It fits somewhere into the indie/punk rock category. The song sometimes feel frivolous in an Ariel Pink type of way and there are some hooks but they usually don’t show themselves right away. I would say the songs are for the most part “growers” meaning by a third or fourth listen I was able to appreciate things I had overlooked. The first song is entitled “Para Ti” and is a tongue in cheek love story of sorts when it comes to the lyrics. It’s a bit funky in this garage rock kind of way. The guitars are too distorted to feel like straight funk. Kwapisz’ vocal style is all over the place but it works. He will go falsetto for one verse and then drop it. His inflection also changes quite often. The best part of the song is the sax that comes in towards the end. “Good Mo(u)rning” is a sprawling rock song. It’s built on distorted guitars, bass and drums and that’s really all you need when a song has this many transitions. “Roach Motel” has this shoe gaze quality to it. It’s atmospheric and mellow in its own way. The guitars are a little more clean and seemed to have more reverb as well. You could also make a case for this being the catchiest song in the batch. “2% Juice” was another success. The song like many others has this fluid stream of consciousness quality, especially when it comes to vocal delivery. There are plenty of transitions that arrive unexpectedly. “GOREgonzola!” is a great name for a song. The actual song itself is one of the shorter ones but has arguably the most potent lead guitar work. He closes with “Vultures Eating Vultures” which solidifies the signature sound he has been sculpting. The lyrics on the whole release avoided cliches, could often be frivolous and sometimes even heartfelt. I really liked his word choices. If you combine that with creative music then you have a good album to me. Recommended.
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