Tiger Supply is a twenty-one-year-old musician from Fargo, North Dakota who recently released Low. These are not covers of the famous David Bowie album. The album contains twelve songs and is experimental, lo-fi and original.
Take for instance the song “Devil’s Kettle” which is all over the place. Some of it sounds like a funky James Brown except people are banging on pots and pan and it is chaotic sounding. The song is a bit haunting as well with tremor infused guitar and spoken word. It did pique my interest. The title track song “Low” sounds like filtered video game music traveling through a wormhole. Ghostly vocals sort of feel like they are everywhere. It's a bit like a hellish psychedelic trip gone bad. I liked it. “Attic” is more grounded with subdued digital instrumentation. This song actually had more of a conventional lead vocal but he still put some ghost trails behind the lead. “House of Mirrors” is a bit creepy. The white noise and organ made me feel like I was on a carousel spinning around and around and around and around. “Basement” is an interesting one. There are moments of sheer terror and it reminded of a band I was listening to about twenty years ago called Xiu Xiu. The most accessible song might be “Ghosts” even when the song feels like it’s about to fall apart. There are hints of early Animal Collective on this song. The vocals are doubled, tripled maybe quadrupled at times. “Bathroom Floor” feels like it is tearing at the edges and falling into a dark hole of oblivion. It’s oddly catchy at points. “Ooey Gooey” is a bit frivolous and reminded me of the band The Unicorns if they were loosely jamming . Great band who I saw in concert when I was in college a good seventeen years ago. Although the tone of this release is a bit scattered and doesn't stay on track I give him an A for experimenting with ideas. That might be the most important thing I encourage young musicians to do all the time when I’m working as a producer. This is a solid effort and it will be interesting to hear where he goes next.
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Katie Barbato is an alternative folk singer/songwriter based out of Bryn Mawr, PA. Barbato has been a prolific musician and is getting ready to release her tenth album entitled The Trail of Us. Yes, you read that right. In addition to an impressive discography she is a three time International Songwriting Contest finalist and a regularly featured artist on WXPN 88.5FM. Barbato has shared the stage with Lucy Wainwright Roche, Rise Twain, Darlingside, and Shawn Mullins. Barbato currently writes for television and film as well. Barbato released four songs from her album to give us a taste of what to expect.
The first song I listened to was “Blue On the Inside” which is a fast paced and full sounding rock song. It doesn't take long for the band to explode and then simmer into the verse with Barbato’s vocals. The verse is catchy and well delivered. They find their way back to the chorus and the song follows a familiar rock structure with dynamic builds and lush breakdowns. The outro is pretty epic in scope and feels huge. “Embers” brings almost the exact opposite energy at first and you hear Barbato strumming an acoustic guitar with a well-delivered vocal. The song gets atmospheric with moody piano and tremolo infused guitar. It’s a sweet and tender ballad that starts out melancholy but once the drums and distorted guitars comes in the song transforms into something a lot more broad and full. “Time Is an Illusion” was my favorite out of the four songs. It’s more of a slow burn and I especially liked the more subdued sections. Similar to the other songs it goes for an epic and grand quality at points. “Tightrope” follows a similar structure in terms of dynamics. There's a really nice guitar on this song and I was impressed by the drums as well. The delivery and songwriting was top notch although I have to admit since all four songs went for such an epic and grand quality I was getting emotional fatigue. I haven’t heard the other songs but my guess is not all the songs are reaching for the greatest heights. I think some intimate songs can stay intimate and mid-level energy songs don't have a huge sounding outro. The album will be out in June so take a listen to hear if this sounds like something that might be up your alley.
Doug Florzak has been playing bass and guitar for most of his adult life including with Wrought Iron Soul, a local Chicago blues band. He gained experience playing in numerous garage bands and neighborhood ensembles and composed and arranged instrumentals and other songs with his musician friends. Florzak recently released Flagstone which is a nine-song album.
Florzak mentions that he “consolidates influences from artists such as Paul Hardcastle, Jan Hammer and John Barry (music composer for many of the James Bond films). I am a big fan of Soundtracks, Chill, Dream Pop and new age/smooth jazz. When I composed these songs, I often visualized them as a score for film or TV.” I was definitely getting spy movie vibes on the very first song “Arc of Justice.” Surf rock is closely related here so that was in the mix as well. It’s entirely an instrumental song but there is plenty of variation which allowed me to be engaged the whole time. “Prickly Pear” is up next and I loved the airy energy to this song. It felt swift, relaxing and care free. The drums were really well recorded and the sheen of the ride cymbals mixed really well with the guitar parts. “Heavy Snow” is more rock based. It’s a dynamic song and certain parts are punctuated by a bass which helps you feel the depth of the energy. “The Range” is more cosmic sounding at first as Florzak takes advantage of modulation effects. The set settles in clean and is mid-level energy with more lead guitar that is the focal point. “Horse Dream” has a more subdued and pensive energy. I felt as if I was strolling along an open plain or perhaps wandering the desert. The vibe becomes a little more festive on “Christmas Tree” while “Your Blue Sky” is another that is super slick with distinct guitar melodies and a steady and sturdy beat. “You Can Walk (Instrumental Version)” is a spacious song and feels even more surf rock inspired. Last up is “Secret Squirrel” and this one is straight spy music to my ears. The additional orchestra pads added to effect. This was a seamless and fluid album. I didn’t miss vocals and found myself concentrating on his unique approach to guitar. Florzak let the songs breathe and seemed to me like he was only playing what was needed. Recommended.
Collin Westerlund grew up in a musical family. With his debut album Beautiful World, Westerlund connects with classic pop rock and the doo-wop genres to give you a set of songs filled with energy and a contagious sound. There’s tons to appreciate here as Westerlund definitely takes the fun aspects of rock n’ roll and rolls it up in a modern sound that will have a lot of listeners finding it is just what they need!
Beautiful World gets started with “Do You Like Rock And Roll,” rolling in right off the gates with some dazzling guitars and bass. Once Westerlund’s vocals along with some background vocals settled in, I was getting some distinctive ‘50s and ‘60s pop sounds right away. The catchy and upbeat tunes were infectious. I felt myself dancing and humming along. Some piano lights up the sound on “Do You Love Me Too” as a dancing drumming beat eases in. The background vocal harmonies arrive, filled with energy. The percussion adds a lively element to this track. I was pulled in right away by the contagious sounds. On the title track “Beautiful World,” some reverberating percussion comes in as well as some keys. This song seemed more mellow than the previous ones. As Westerlund slows down here, the accessible pop notes here were just as exciting. A big band sound comes across from the drums on “Don’t Wait Too Long.” Next, the combined vocals arrests with some harmonics. The percussive beats were also attention-grabbing. This was another pop number with great energy from the artist. Some xylophones also added some unconventional instrumentation. Vocals harmonize on the start of this track alongside some guitar riffs on “Early On.” The sound, though, simply rendered feels emotionally resonant. Some birds chirping jumpstarts the start of “Groovin.” Alongside it comes in some lively percussion and melodic keys. The harmonica sidles in for more great vibes. Once more Westerlund’s vocals makes this number even more addictive. On “After All,” some more doo-wop arrives. More melodic keys and guitars enter. The combined vocal harmonies were dynamic. I felt carried away by the buoyant sounds. On “It’s Happening Now,” some saloon-style piano enters for a great sound. There was a touch of surf rock to the sounds. I was enjoying the beach-y and psychedelic sounds. This was another driven and energetic track from the artist where he showcases some great moves from the ‘50s and ‘60s. More finger-snapping percussion and guitars arrive for a great sound on “I Wanna Know.” This simple but resonating sound on this closer was a great way to send listeners off. I love how Westerlund is able to reconnect with the past to give you this collection of songs that will have you dancing around immediately. It’s obvious he’s a fan of this music as he throws himself into the sound, definitely giving his all as he belts out with gusto on these tracks. I loved how fun the music was and Westerlund’s fresh takes will surely have you walking down memory lane in no time. Dynamite and bursting at the seams with high-tail energy, this one's for you if you’re into old school pop rock. Be sure you give this a spin today!
Bad Jelly Collective is a homegrown musical operation residing at a rural studio in the Waitakere Ranges of New Zealand. The band consists of J.KO (drums) and Ben Clark (guitar/vocals) and they released a three-song EP entitled Bad Jelly. The EP goes by fast and is around ten minutes long.
They get going with the title track “Bad Jelly” and start with atmospheric and smooth grooves. The BPM is relatively slow which allows the feedback and pads to rise naturally against the drums and guitar. I liked the vocals when I heard them. A little after the one-minute mark the band rocks out. This however is really a chorus with a hook. It doesn't last long and goes back into the main groove and this time around there are ghostly vocals that repeat “something bad” as the song slowly fades out. “R&R” is next and has a relaxing reggae vibe but I wouldn’t consider this straight reggae. It just has a similar energy. This song has a defined verse and chorus. The vocals are smooth as the sings “Man I wish that I was free as the wind / Cast my mind out nice and thin / But like these rays off the sun / Constant as we spin / Round and round.” I loved the transition into chorus which feels uplifting and bright. This is the arguable highlight in the batch and has a relaxing but vibrant energy. The guitar solo towards the end is also really well done “From Within” is next and similar to the previous songs it has a slower and tranquil energy. The drums are consistent and reverb-laced guitars loom around while other indistinct vibrations and noises come in and out of the song. I loved the vocals on this song which are memorable and well-delivered. The harmonies are on point and create a heavy presence. As the song progresses the energy shifts. The drum patterns change, lead guitar is introduced and there’s a subtle breakdown. After the breakdown the song really starts to take off with an explosive section, another round of vocals and eventually fades out. This is a short EP but I heard enough to realize they are forming a signature sound. There are similarities between all the songs and Bad Jelly Collective knows how to deliver a song. Hopefully, this is just the beginning and I look forward to hearing more in the not too distant future.
Davyd Nightingale is a twenty-one-year old artist who is located in the UK. He originally was born in Lithuania, but moved to the UK at the age of five. Nightingale strived to become an illustrator and a concept artist in the video games industry. In his spare time, he would narrate horror stories (creepypastas) on YouTube. Through a series of mental health struggles, music would be a great escape and the art he is currently pursuing. He recently released Myself To Me.
Myself To Me is an EP with three songs. The music falls into darker hip-hop and starts with the song “"Look At Me.” Nightingale mentions this about the song: “this version of me thinks of himself as not good enough to achieve this goal to its fullest potential.” As someone who is twice his age I can say he has plenty of time to achieve the goals he is setting for himself. Musically, the song contains a mix of vocal styles. It’s emotive and he sings, sort of raps and displays some emotive lyrics. He questions his abilities by asking “Am I good enough for this.”The beat and music is lush but also haunting and pensive. According to Nightingale “Alter Ego” “takes a darker turn, with this ‘alter ego’ persona being a representation of the devil and him whispering to me, saying that I can achieve everything I want, but it would ultimately change me as a person and most likely ruin me. You can hear in the track, the voice goes more and more devilish, showing that I will become more like this ‘alter ego’ in the end.” You can definitely hear this on the track and it’s achieved through effects. It sounds like he might be using a doubler and then de-tuned it. I thought this was inventive and made good use of tools available. Nightingale explains that “Nightfall” is about letting go of doubt and striving to reach the top, ignoring the anxious thoughts that follow. That to me made sense and was connected to the first song and getting past your doubts. There’s heavy auto-tune on his voice and this song felt a lot more positive and optimistic. In my opinion a good way to end the EP. Nightingale is off to a solid start. The songs felt cohesive and listening from beginning to end is the way to go. I look forward to hearing where he goes from here.
Singer/songwriter, Lindsay Gang, was born and raised in northern California. Gang mentions she “draws inspiration from many eras of music. Some of her influences include jazz ballads as well as the honest storytelling and rich guitar styles of classic folk.” You can hear some of this on her release of her six song EP Array of Color.
The EP is very low key and intimate with a warm and tender melancholy. I felt like the six songs for the most part stayed in a similar energy. “Let It All Go” is very intimate and benefits from exceptional fidelity. The vocals and guitar sound crisp and warm. It’s a simple tune in terms technicality but is very well delivered. It’s tender, heartfelt and has a defined chorus even though no other instruments introduce it. Great start. “Starry Sky” stays in the same energy but there’s a more jazzy quality to the song. It’s super lush and melancholy but doesn’t feel draining or heavy. The song felt like it was in a dream because of the ephemeral qualities. The title track “Array of Color” is similar to “Let It All Go” with the production and intimate qualities. There are vocal harmonies which are distinct and add some variation to the song. It’s a song that seems to be about wonder and the mysterious nature of things. “Love Resides” strikes a balance between a couple different moods. It’s almost chipper but still feels surrounded by warm melancholy. The song felt like the most single worthy. I thought the vocal melodies were catchy and I loved the build she does on the bridge. “Wherever You Are” sounds great as well. The vocal harmonies sound like sirens here. “Deep In Your Heart” is a very tender closer and arguably her best vocal performance. When you have as good a voice as Gang has you don’t need a lot of instrumentation. The songs sound full despite their minimalism. Fans of similar artists like Julie Byrne, Vashti Bunyan, etc should love this. Recommended.
Multi-instrumentalist, DJ, producer, composer, engineer and winner “Best Drummer,” Policy is now back with his sophomore release The Abby Rose. His debut album Echo Chambers put Policy on the map, and he continues to show off his musical abilities with this release where he collaborates with artists across the board to give you his eclectic vision here on The Abby Rose, a melding of everything from pop, EDM, alt hip hop and electro pop.
The Abby Rose opens up with “Come A Little Closer,” where synths start off this track. You can feel the artist’s ‘80s influences clearly in this song. I liked how reverberating the keys were.. Feeling very moody in vibe, “Lost (ft. Airinna Namara)” had a gritty flavor to it at first. Once Namara’s vocals it, her vocal harmonies surround you to great effect. Some synths light up the sounds on “The Walk Away (ft. Amy Jo Scott)” for an atmospheric effect. Next, some beats gain traction for a revved sound. Once Scott’s silky-smooth vocals come in, you can feel the drama of this track move in. I also loved how the synthetic strings create a lush sound in the backdrop. More electronic riffs come in alongside some beats on “Trick My Heart (ft. Airinna Namara).” Again, I was feeling some retro tunes coming through. Namara’s vocals feel very fresh and dynamic. This was another great pop track from Policy. Some acoustic guitar riffs sound out sparsely on “As Long As We (ft. Amy Jo Scott).” Some synths join in for an ambient effect. Scott’s vocals soar with emotional resonance. Some percussive finger-snapping highlights the sounds on “451 – Unavailable for Legal Reasons.” Next, the embellishment comes in via melodious electronic riffs and beats. The sounds proved to be an ambient soundscape. Loving the EDM vibes here. The keys also sounded great. On “Fade Away (ft. Airinna Namara/ H Williams/Lil Bonk),” some synths and ambient guitars come in. Next, some beats enter. This hip hop song contains rap styles from H Willams and Lil Bonk. I was drawn to the hip hop notes and the pop sounds as well. On “Past The Upset (ft. Amy Jo Scott),” a piano melody comes in alongside some racing beats. The mellow sounds of the piano and beats together made for an interesting pairing. Next to Scott’s emotionally powered vocals, this made for a great sound. To some jangly electronic riffs, the sound is very startling on “Kaleidoscope Light (ft. Airinna Namara).” Next, Namara’s smooth vocal harmonies arrive. This was another pop-oriented track from the artist.. Policy closes the album with this dynamic send-off. Policy mixes digital fare with natural instrumentation on this one-of-kind release. There are tons to appreciate. I loved how the vocals and music come together to improve the sound. It looks like Policy really works well with his other teammates, which goes to show just how much chemistry he and his collaborators have. I look forward to seeing more works from him in the future.
Diana Bueller (no relationship to Ferris) is the titular character on Bloodorama’s debut LP Who Loved Diana Bueller? having captured the infatuation of a young boy. Or so the album’s narrative goes, at least according to Bilal Krähenbühl: guitarist, lead vocalist and self-proclaimed “expert aficionado of the more absurd and uncharted regions of the human subconscious.” That may not fit tidily on a business card, but Krähenbühl (along with two others that comprise this Swiss-based group) doesn’t come across as the corporate type. Rather, he fancies himself as a master anatomizer. One who deconstructs for the sake of creative desire. And since the band counts various artists within the crosshairs of their scalpel – a collection as varied as Bruce Springsteen, Frank Zappa, Dire Straits and Lorde – there’s plenty to reconfigure.
Who Loved Diana Bueller?, the album at hand, doesn’t take itself too seriously. That isn’t a qualification for musical IQ so much as it simply makes the listening fun. Never mind that Krähenbühl appears to be sitting on the surface of Mars in the cover art. It’s all part of the semi-absurdist package spread across 33 minutes. And it seems designed to strike our jugular with the first cut. “Dream! Dream! California, Pt 1” hits out with an absent-minded rockabilly bob that almost, but not quite, has us calling out “Ready Freddie” in homage to Game-era Queen. “Dog Days” soothes the aural palette via shoegazed dream-pop, nudged along by a chugging backbeat. The clever, quippy vocals (“Tie your shoes! I’m still a fool / but I won’t pass out on kitchen booze”) are an added treat, particularly when sung with an operatic-lite effect. It isn’t quite carnival barker territory, but rather, the kind of thing teased out by The Strokes, Vampire Weekend or other Manhattan-based outfits that visually blur into images of Colin Jost. Similarly, “Hungry Love” attains the purity of pop romanticism in its chorus. 40 years ago, it likely would’ve made Marshall Crenshaw jealous. But in modern times, the craftsmanship of Max Martin would surely have elevated the piece by painting a rainbow across its expansive use of space; assuming, of course, that Krähenbühl & Co were willing to sell their souls to the Machine. “Hometown Queen” marks another notable cut. “Streets on fire, I feel so uninspired / And so damn tired of my melting desire,” Krähenbühl imparts. With more punch, this could be the perfect Gaslight Anthem-Killers mashup. And as the guitar solo grooves (or, more accurately, glides) the air-punching chorus affords an excuse for gregarious pyrotechnics. Following this template, “You Alone” breeds familiarity in the breezy chord structure. But, like many of its predecessors, it pops at the chorus, begging for a windows-down sing-along. In a change of pace, “Bleeding Town” grips the listener with piano, courtesy of Summer Woods. Unfortunately, the instrument gets buried in the mix, lacking the kind of vibrancy that could really force a last chance power drive (or whatever that feeling is when the sound of ’70s-era Springsteen adrenalizes the working man). “This muscle metal's crying,” Krähenbühl belts, channeling his finest turnpike sincerity. And with a touch of lo-fi ardor, “Diana Bueller” closes the record. It coasts like a Rivers Cuomo love letter, both imperfect and delicate. Could a brighter mix have elevated the “emotional and dreamy” intensity that the band lock down? Sure. Is its absence a dealbreaker? Absolutely not. This is a guilt free gambol through the 20th century rock canon, trading polish for authenticity on nearly every count. If only Ms. Bueller was still around to enjoy it.
Cactus Parachute is another band that decided that the lockdown was as good excuse as any to get together and start recording music. Tom Ellis (guitar/vocals), who is backed by Laurence Ungless (bass), Zack Levine (drums), Rob Millett (percussion), Christian Forshaw (sax), Oscar Perks (violin), Una Cho (cello) and Steve Holness (keys), all are exceptional musicians and their expertise goes on to make itself known on the band’s debut album Safety Coffin. The band mentions that the tracks can go from Death Cab for Cutie to more folky acoustic arrangements, but I think the band does one better. Their orchestral arrangements have a way of creating a swell of emotions, bolstering the music with its sweeping quality. I think Levine and Millett on drums and percussion respectively adds a dynamic element to the overall sound while Perks and Cho on strings really goes on to add a dynamite layer to the moving vibes. Clearly this was a touching record and the band’s execution on this goes to show these are musicians who know the sound they are going for and go at it with aplomb.
Safety Coffin opens up with “INTRO,” where the band appears to be warming up as some sparse sounds come through. Next, the sounds of strings arrive for more compelling vibes. Simply rendered, Ellis’ vocals enter alongside some guitar riffs on “Oceanside.” The sound, though stripped down, really went on to carry with emotional resonance. There was a touch of melancholy to the vocals as Ellis softly executed his singing. I was definitely getting folk vibes here. Slowly some percussion eases in and the song gradually builds in momentum. The orchestral swells later on in the track really made for a momentous sound. I was loving the sweeping quality to the music here. More melodious guitars come through “Fix It.” The sauntering groove has a warm vibe to it. Ellis’ vulnerable vocals arrive for many a surprising moment. The guitars and percussion were the main highlights of this song. Some sparse guitars light up the sound on the title track “Safety Coffin.” Ellis’ vocals come out, feeling more on the pulse with a driven rock sound. This sounded like straightforward rock fare to my ears. Loving the more full-on rock vibes here. Some more melodious guitars roll in on “Plastic Gardenias.” I liked the inviting acoustic sounds here. The warm vibes with lively percussion joining in had a very lush and compelling sound that I felt drawn to. More sparse guitar riffs enter for an invigorating indie rock vibe on “Simple.” Ellis’ distorted vocals really made the sound here. I felt reeled in by the dramatic drumming beat as Ellis sings with feeling. On “Jonanthan Ross,” the bass came in and I was getting some harder rock vibes here. Some percussion sizzles in the background. The sound is moving yet simply rendered at the same time. Next, some guitars and Ellis’ vocals arrive. This was another stripped track from the band as they spotlight each instrumental with finesse. On “Scarecrow’s Arm,” fingerpicking on the acoustic guitar sounds out here. Some combined vocal harmonies sound out. The melodies and harmonies felt buoyant. The dynamisms between instruments and vocals were ear-pleasing. The inclusion of some wind instruments was another great addition. Strings light up the sounds on “Makeshift Spine.” Some bongos arrive for an ominous but haunting sound. Ellis’ whispery vocals come through. I thought this was really a departure from the band’s previous songs. This atmospheric finale was a really great way to close the album. According to the band’s bio, the album was recorded remotely due to pandemic restrictions. Just by listening to this record, I wouldn’t be able to tell this was a bedroom recording at all. The production and crisp recording quality were all very professionally done. Kudos to everyone on the project. Everything from Ellis’ moving vocals to the dynamics between the percussion, strings and guitars to the spectacular job Sophie Lewisohn did on the album art cover – all these things really came together to show this project’s potential. I greatly look forward to any more things the band has in store for listeners next. |
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