I’m very familiar with Paul Kameen at this point. I reviewed his previous albums which include While I Sit Here With Me and The Kiss. On his latest album A Fully Educated Man he explains “This album began as an homage to the great ‘radio’ songs of the 1920s, the kind of songs I had been singing for a cover album I was making for family and friends. Then it took an unexpected turn, a little darker. I think you'll feel the shift halfway through it. Still a bit of a ‘20s vibe, but a different mood.”
I think this is an important point because I actually agree and disagree with what he says here. When it comes to the aesthetics such as the tone of the guitar, the way in which he plays and the way he sings I would say it barely changes. Lyrics aside Kameen delicately picks his guitar and his voice is filled with reflection and sometimes a dash of melancholy. To my ears this is more or less a constant from the first song to the last. I think what Kameen is referring to are topics and themes that are presented in the album. You don’t even really have to interpret the lyrics just read the song title. The first couple of songs are called “Whoopsy Daisy I'm in Love Again,”, “If All We Do Is Dance” and “Still In Love With You Somehow.” Once you get towards the end the songs are called “Just Wondering Why” and “Let's Say Goodbye to the Past.” The first couple of songs seem to clearly be about happier times. It’s living in the moment, it’s young love, it’s hopefully realizing even though things couldn’t be better that even this will pass. By the end we reflected on what was that love, and where it went and if maybe all we had in the end was ourselves. This polarity goes back and forth and usually multiples times within a lifetime. I guess what I’m trying to say is this release is definitely worth listening to more than once.
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John Rousvanis (vocals/electric guitar) and Simon Quinn (laptop/keys) are The Safety Word. The duo released a single called “Games” which is being released before their EP. They explain, “The song asks is it better to deceive oneself in order to not face evolving? The lyrics talk about the trials and tribulations that are faced in relationships and what it is like to find out your lover is leading a double life.”
The song is an electro synth based song somewhere between pop and indie. It reminds me of a group like Junior Boys that were able to ride this fine line just about perfectly. If there is a video for a song I like to listen to it with the visual and without. I like to see where my imagination goes. The song is catchy and possibly above all else there are some great melodies. I was kind of on the fence about the auto-tune like effect on the vocals. I’m not a big fan of the effect in general but do understand why they decided to go for that Daft Punk sort of vibe. The song feels a bit neo-future and when I created a visual in my mind it went towards bright city lights not too far from the milieu you saw in the movie Bladerunner. The song felt like a good choice for a single just based on the fact of how accessible it was when I first heard it. There is also a lot of ear candy for those who want to bust out their headphones and explore all the layers of instrumentation. I usually don’t make too many comments about video but am going to make an exception here. For the most part I really enjoyed the video. The constant changing in color matched the visual I had in my mind. I thought the interpretive dancing was fantastic and was a little more artsy than what I anticipated in my head, Perfect. Overall, this is a great song and video from the duo. I became a fan. Take a listen.
Aut Ratchaphom is an 18-year-old Thai-Australian singer/songwriter and an independent pop artist. He is currently based in Perth, Western Australia. When he was almost 13, he became a big fan of Taylor Swift. Four years later, Swift’s music, songwriting and musical talents continue to inspire him. He eventually picked up the guitar/piano and became a singer/songwriter just like his hero. Ratchaphom is releasing his debut album entitled LeadOFF.
With a sound that contains country, rock, bubblegum pop, indie pop, electronic, ‘80s and old school, Ratchaphom lists several of his musical influences as Taylor Swift, Katy Perry, Ariana Grande, Ed Sheeran and many more. You can hear his influences in these songs overflowing with catchy melodies and sugary pop hooks. On top of that, he is able to maintain his own unique flavor of pop music that is on a wavelength of its own. LeadOFF straightaway launches with “Cruel Summer” where airy synths pave the way for some ambient and atmospheric sounds. The electronic beats are catchy and upbeat. Ratchaphom sings with gusto and enthusiasm. You can tell he is greatly passionate about his music as his voice is emotionally powered. The poppy cadences are contagious. The backbeat is happening and addictive. The synths give off a retro ‘80s-inspired vibe. A new wave feel could be detected on this song. Following is “Don’t Worry About Me,” where the electric guitar riffs sound off on this track along with the cadence of bouncy electronic beats that adds a needed spring to the song. The sound on this track is sparse with minimal arrangements. Next, a more full-on band vibe comes in with synths and electronic embellishments. “Slow Motion” is an acoustic song that simply starts off with numerating on the acoustic guitar. This is a stripped-down number. The hushed sensibility on this track contains a soft lilting cadence. The track is filled with tender melodies and vocal harmonies. On the closer “Keep Going,” a piano melody starts off this song and supports Ratchaphom’s vocals. Eventually, the sound of synths struts in, giving off an ambient and atmospheric vibe. The vocals are melancholy-tinged. This is a dynamic ballad. Ratchaphom’s debut album is filled with contagious melodies and catchy hooks. He sings with gusto and flair. Ratchaphom shares his perspective on these sugary bubblegum pop tracks filled with themes of romance, heartbreak and toxic relationships. The pop sounds on this album gives off an old school vibe that harkens straight from the ‘90s. His vocal abilities will remind listeners of the heydays of the era from Britney Spears, Christina Aguilera, ‘N Sync, Backstreet Boys, among others. His music will speak to fans nostalgic for ‘90s pop music as well as appealing to a wider demographic of pop and rock lovers. Ratchaphom’s sound is not only relatable, it is also highly accessible. Listeners will find his music easy on the ears. The sound is light and if you’re looking for something not too heavy to accompany through your day, then this album is for you!
Bernicia is a trio that hails from Christchurch, New Zealand. Their debut self-titled album Bernicia features a heavy dose of classic rock inspired guitar riffs (think Led Zeppelin or Black Sabbath), with a punk rock attitude.
“Amazonia” encapsulates Bernicia’s classic rock leanings. The song is acoustic guitar-driven, but this is juxtaposed by a booming drumbeat that hangs out on the toms for most of the song. The vocals have a distortion on them that is reminiscent of Robert Plant’s vocals on Hats off To (Roy) Harper. In fact, “Amazonia” sounds hugely inspired by Zeppelin III. The electric guitar riff is heavy with distortion, adding a harshness that complements the lighter acoustic guitar. “Take Them Not Me” is a high-energy punk rock track. The guitar riff is simple but intense, and the bass is dripping with distortion. The vocal inflections are the highlight of this track, as they ebb and flow between angry spoken word and shouting. The punk influence does not feel out of place with the more classic rock inspired tunes. Both styles allow for a similar fervor that defines the album overall. With that said, the final track “Love & Betrayal” is a head-scratcher. Simply put, the song sounds unfinished. The drums are too loud in the mix, and it seems as if the other instruments are coming through speakers and being picked up by the drum mics. The song’s quality differs so much from the others that it I'm not sure why it was included on the album. Bernicia’s debut album is a collection of punk rock and classic rock inspired tunes. The group balances the genres well and does not rely too much on their influences. Instead, Bernicia uses them to create their unique sound.
Born and raised in Fort Lauderdale, FL, Bobby Weidman has spent the last five years of his life and second half of his twenties living as a musician from live (mostly bar/cover) gigs in the area. He is releasing his debut album entitled Thousand Island Sun, recorded with a band of close and seasoned local vets of the bar circuit. Weidman is now currently based in Greenville, SC.
With influences from Bruce Springsteen, U2, Ray Lamontagne and Jack Johnson, Weidman hones a sound inspired from the greats as well as catering to a sound that is solely on its own platform. With a sound that is a blend of acoustic, folk and country, according to the artist, the album is “both a farewell to young adulthood and a love-note to Weidman’s home state.” Brimming with authenticity, Weidman hopes to connect with listeners with his music. Thousand Island Sun opens up with “Anywhere But Here,” where deft strumming on the acoustic guitar starts off this track. Weidman’s vocals come in with a warm pulse and effusive feel. Next, a more full-on vibe sets in with the coalescing of electric guitar, bass lines, drums and percussions. Traces of the harmonica evokes a bluesy pulse. A smattering of drums starts off “Just Like Elvis.” Next, the bass lines come strutting in. The acoustic guitar and electric guitar are interwoven on this song. The sound of harmonica adds a slick feel. This is a slow sauntering track with a slow groove that definitely makes it a slow burn. A guitar solo launches itself toward the four-and-a-half-minute mark until the close of the song. On “Aurora,” rhythmic bass lines give off a heavy vibe. The guitars create a wall of sound. The cadence is full-ranging. The bass lines give off a bluesy appeal. This track is moody filled with somber-sounding riffs. The harmonica adds in a flaring cadence that flits in and out of this song. The beat is jaunty and lively. A full-on guitar solo sounds off toward the two-and-a-half-minute mark. On the closer “Key West Run,” a smattering drums and percussions start off this track. The harmonica comes in with a full-on force. This is a sparse acoustic song that is filled with stripped-down layers. The vocals alone are accompanied by the acoustic guitar and harmonica. The country-bent sounds are inviting. The vibes are warm and heartfelt. The harmonica gives up a revved bluesy performance. In the singer/songwriter vein, Weidman has concocted a set of heartfelt tracks. Centered around the sounds of the guitar, the cadence on these tracks are warm and have a relaxed vibe. A lot of these songs sound like something that would come out of an open mic. Permeated with his intuitive perspective, these tracks are also seeped with Weidman’s personality. Be sure you have a listen today!
Rory Strong (vocals/guitar), Simi Kunin (guitar), Quinn Farwell (drums) and Carver Arena (bass) are Rory Strong and the Standard Candles. They recently released Separation is Natural.
This is an album that sort of brought me back to my mid 20’s. It’s a little hard to pinpoint but a lot of it came from the aesthetics of bands I was listening to at the time. That and also something about the dynamic emotional quality of Strong’s vocals which reminded me of Conor Oberst and Titus Andronicus. The songs are visceral, immediate and cathartic. “Julie's New Windowpane” starts with strummed guitar and an expressive vocal performance. It’s nuanced, story-like and when the band came in I was full on board. “Wet Dog” is up next and this is a great song. It’s a great groove, sort of loose and danceable at the same time. Strong feels a little more playful with his vocal performance at first. “My Boy” is a fun song with a classic indie rock type of feel. Up next is “Someone Else's Eden” and this is the arguable highlight. This song felt emotionally resonant and sort of hit me at my core. There is a section around the three-minute mark when the cello comes in. I absolutely loved it and it was my favorite moment on the album. The energy gets picked back up with “Steamroller” and really picked up by the less than a minute “Down the Canal.” They hit all the right emotional frequencies like reflection and melancholia on “Song for O+J.” This is a great indie rock album. It’a cohesive and sounds best being played from beginning to end. Take a listen.
Sometimes a band knows exactly what they are. Mhos and Ohms, a bass-and-drum duo from Madison, WI, describes themselves as “economical thump”: “six strings of bass … four drums … vocals.” They’re direct and to-the-point in their 63-word press kit (yes, I counted), and they’re direct and to-the-point on their four song EP Tale of Despair.
There’s very limited instrumentation on Tale of Despair, as described above (though they didn’t mention the usual set of cymbals). Despite this, Mhos and Ohms do a fine job of avoiding the usual small-group trap, where the band feels pressure to fill the space. Throughout, they show restraint and taste, and allow the songs to breathe. Clearly, the duo has the ability to play more notes and faster patterns; we do get bursts here and there. Mhos and Ohms use those displays of dexterity to support the song, and not as the point of the song, or the band, in the first place. It’s refreshing. The four tracks have a clean, coherent sound. Bass riffs abound with interspersed chords, and changing tones throughout. We can hear the nuances of the drum parts, and they are locked in with the bass. It all works. “Tale of Despair”, the uptempo opening track, starts with some feedback, leads into a heavy overture, and settles into a groove that alternates a melodic riff with chordal hits. “The River” begins with a poppy drum beat and the bass almost sounds like a regular guitar ripping through a grunge song. This chordal feel returns on the outro as it builds into a terrific finish. “Growl” offers particularly notable drumming and a nice contrast between the aggressive-sounding verses with the softer middle sections. The instrumental call-and-response from the bass to, well, itself, also works very well. The final track “Crooked Hand” finds Mhos and Ohms playing with their listeners a bit. The track is a bit slower than the others, but the middle section offers some figures that fake us out. It seems like we are going to head to some balls-out thrash metal, but it’s just a small flurry of notes and they stay in the slower groove. The track ends on some dissonance and feedback--kind of where we started--and we’re left wanting more. It’s hard to pick a favorite track here, as they’re all well-constructed with their own merits. While bass-and-drums is not my usual spin, I listened to Tale of Despair over and over, and very much enjoyed this release.
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The Editor is an artist from Detroit, Michigan who started making music in 1995 and recently released Where Else Would I Be. It is an instrumental album that after listening to I felt was aligned with artists like Four Tet, Burial, Aphex Twin, Prefuse 73 and Squarepusher to name a few.
The music is often led by a groove. I would say for most of the album the drums seemed like the focal point. The beats were very hip-hop inspired with inventive percussion that is surrounded by ephemeral elements. That being said he changes his kit throughout the album so you are treated with different flavors. The opener “We Don't Know How to Get Along” sets the tone of the music. It starts with rain and a serene electric piano. A beat quickly follows and the changes are subtle. Things start to pick up on “Lost Light” where it sounds like he is utilizing a backward type of effect. This is an example of a song where the drums really lead the charge because there is a distinct melody. I would say the same holds true for “Stolen Soul.” The drums hold down the foundation as the pad swells and other elements feel like they start to circle around. Prime headphone music. As the album progresses each song has a different flavor but still leans towards atmosphere - dreamy and dark. “Grand Rapids” is a completely ambient song which felt like it would be good to use in a movie. The jazzy and ominous sounding “Lo Fidelity” was a highlight. Things continue to get darker once the album heads towards the end with songs like “Black Spirit.” “In Peace” may have been the highlight. I loved the jazzy element and the piano was a nice addition. The closer “Rot” is a more experimental song and comes closer to artists like Oneohtrix Point Never. This album was about mood to me more than anything else. You can’t sing along to any of them and even the melodies when they show up seem to fall away into the background. The mix of ambient and hip-hop was brilliantly executed on this album and I suggest listening from beginning to end to get the full effect.
Eight Track Parade is back! Divide & Conquer reviewed their 2016 self-titled release Eight Track Parade. The Columbia, SC band has returned with Babylon Gold. It’s a light concept album with a loose science-fiction storyline.
The group is eight members: keys, two guitars, bass, drums and a three-piece horn section (trumpet, trombone, sax). Lead vocals are handled by keyboardist Stephen Stokes. With that lineup, and their self-described “analog funk-rock” that’s “inspired by the late ‘70s oil crisis and the Atari 2600,” they deliver what we’d expect: groovy, funky tunes reminiscent of that era. In the previous review Jamie Robash mentioned Steely Dan, and that’s a good place to start drawing parallels. There are lots of parts, layers and textures to enjoy here. Half of the ten tracks on Babylon Gold are instrumentals, and the album kicks us off sans vocals with “Babylon Gold Pt. 1.” They grab us from the start with layered percussion underscoring a raga-sounding riff. It recalled a Western-toned version of the Beatles “Within In Without You” with Eight Track Parade using guitars and horns in lieu of a sitar. Stokes’ Hammond organ (or its Nord equivalent) burbles underneath and the groove builds into something Santana would have enjoyed. The first vocal track “The World Starts to Swing kicks off with a Motown-style drum pickup and horn lines, but settles into a more modern chord pattern and band sound. Chance Glass’ guitar solo is a highlight, sounding a bit like Mark Knopfler. “Drift” which is up next is an eerie, one-chord-special instrumental driven by the keyboards. It leads right into “Come Back to You,” a bass-driven dance cut. Here, the spoken-word verse vocals contrast nicely with the sung vocals on the chorus. But Eight Track Parade really gets it going during the solo break: a melodic guitar solo brings us into an orchestrated middle section with the horns wailing away. This is one of the high points of the record. There are other high points, too: “Big Booty” is an instrumental cut which could be the theme music for a '70s blaxploitation TV show. It’s got everything you want from the genre: rock-solid drums, butt-shaking bass and horns holding down a bluesy lick against guitar figures my old bandmate Tim called “wikki-wikki.” Super fun. The ending instrumental cuts, parts 2 and 3 of “Babylon Gold”, are a nice cap to the album. Part 2 is a bit heavenly with fingerpicked guitar style. Part 3 reprises the musical themes from Part 1, but with a party-time, ska feel (and nice drum solos from Tommy Embrich). Babylon Gold is a worthy follow-up for Eight Track Parade. Put the needle on the record and get your groove on!
Hugh Cansdale is a musician from Birmingham, UK who recently released The Lives of Others. The album draws most of its influences from older generations going back to the ’60s. There is a mix of surf, rock, punk, folk and more. I was reminded of bands as far ranging as The Clash, To Dinosaur Jr. and a number of folk artists. That being said, there are two main styles one of which is loud, rock-based music and the other being intimate folk songs.
“The Lives of Others” is a prime example of what I’m talking about. There is that mix of late ‘60s style. On this song in particular bands like The Doors and The Animals came to mind. Up next is “Rats” which felt like it should have been used in a spy/thriller movie. The song is a whopping seven minutes long and more or less stays the same dynamically with very little change in melody. “Tracked” is a solid song. It reminded me of early British garage rock. The album takes some serious 180’s with “Across the Border” and “Mealtime’ which is a heartfelt ballad done on piano and what sounds like cello. By the time I got to the folk inspired “Facing into the Wind” which was a beautiful song I wasn't sure the direction this was going. We get back in a ’60s rock feel with “He Need Never Know” but then simmer down with the meditative “Needle Case.” I also really liked “The Gathering” and “Stone” for completely different reasons. As an engineer myself I thought this was a solid home recording. It's very lo-fi at times and the recording quality does change on some of the songs. Overall, I liked the older aesthetics the song had. This is a good collection of songs. The fact that there are so many styles made it hard for me to feel like I could pick out one of his songs if I heard it randomly on the radio. I think the upside to this is that this album may have something for everyone. Take a listen. |
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