Twenty years ago, in the early naughts, The Independent Sound was sought out by multiple people who had something to say and needed an original way to say it. According to the band “They had a message but needed a sound. The things we need to know in life - lessons, moments, feelings, experiences - are remembered and commemorated through music. The brain stores music in a different place than regular memory. Even if one loses memory, one can retain music. That's where Jank music was born, created by The Independent Sound, and shared with many artists over many years.”
The Synthesis Collection: The Early Naughts (Quadrants 1 and 2) is a retrospective of the definitive sound of Jank and The Independent Sound that connects all Jank artists in forty musical works. I would say the music felt like an old school compilation album. There’s really no way to review this as a conventional album because there are so many different styles and artists. On that note I’m going to stick to some of the songs that left an impression on me although there are so many songs it’s more than the ones I mentioned. The strong opener “AA The OBC Overture (feat. JMW)” was a wonderful and worldly percussive track. It felt tribal, vibrant and organic. “AD Money Hungreed (feat. The OBC) (Demo 2001)” is a mellow and warm song that combines elements of pop and country. The vocals were some of my favorites on the compilation. “AG My Note to the Universe (feat. The OBC) (Demo)” should leave you relaxed and tranquil. The song surrounds you with solace in the form of keys, pads and lush vocals. It has a little too much energy to put you to sleep but perhaps just enough to transform in a calming state of mind. Something about the stuttering energy on “The Brigade. AI Jank Slow (feat. The Brigade & Tilky Montgomery Jones) [Live at MareKa's Los Angeles, CA]” caught my attention. It almost feels like the song is going through a phaser pedal the whole time. One of the most unique and inventive grooves was on “AL Shadow (feat. The OBC)” while “AS Cuidado (feat. The OBC & The KOTS) (Demo)” is a gorgeously sung song with just as impressive guitar work. One of the other grooves I thought was a standout was “BJ Tennis In Motion (feat. SADCASE) (Demo).” Another highlight amongst the batch was “BS Le Metaverse 04 (feat. SADCASE & J. Scott Corbin de Baschemin)” which lures you in with a lush and serene downtempo beat that surrounds you. This review is just a tiny example of the kinds of songs on this impressively prolific collection of songs. There’s a lot to appreciate here and it contains enough music that I think anyone will appreciate some portion of it.
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Mopotomus is a project produced by Adam Williams who is a solo artist from the southern part of Illinois. He's been playing gigs as a solo artist for the better part of twenty years all over southern and central Illinois as well as Missouri and Kentucky. Despite Williams’ long dedication to his craft he didn’t release any music until recently. His debut is called About time.
Williams mentions “People have said it sounds like Peter Gabriel, Dave Matthews and Phil Collins had a child. It's a mix of acoustic rock, jazz and world music.” I would say I agree and I specifically noticed a similarity to Dave Matthews in a number of ways especially when I heard the vocals. On some songs like the opener “Frog Hair” it’s more obvious. This song felt like the Dave Matthews you heard in rotation on MTV all those years ago. The energy is upbeat, lively and largely acoustic. It’s a catchy song and a strong opener. “FWB” contains some reggae flavor. It’s a chill song that not only feels warm but the lyrics create the imagery as well. The song made me move my head with the rhythm. I thought the hook was strong and just good vibes all around here. “The Longing'' was a highlight. The song contains incredible horns which come at you fast from multiple directions. I also loved the energy and groove. Forget moving your head this song might make you get off your chair and start moving. The great grooves continue with “We Had.” I thought the drums and guitar work combined to create an engaging pattern of energy. Williams creates a warm and slightly nostalgic hook. “Jenn'll Tell Ya” is the most pensive and even melancholy song and happy to test out a different energy. The horns were haunting and beautiful on this song. As the album progressed I thought the songs were consistently well done and strong. The grooves alone on songs like “Please,” the classic rock infused “Skillet” and and the jazzy “Waiting” were more than enough to capture my attention. “High Horse” and “Open Letter To” continue with an upbeat energy. The closer “3 Sets” is a much more intimate song and emotionally resonant. It felt like the perfect way to close the album. Williams is very talented. The technical aspects of the songs such as the guitar picking and drumming was really impressive. However, that’s not always enough if it’s not filled with emotive energy. Luckily, there was plenty of that as well. Take a listen.
Mathew Hasker aka Wondastation has been at the musical game for over 17 years. Having gotten started at an early age, he has performed in various local bands and has studied Music Performance and Production at college in 2001-2002. Ever since 2005, he has been teaching himself music production, which then garnered him a part-time role in a local filming group. He has experience writing soundtracks for film and this eventually led to finally releasing an album – his self-titled debut Wondastation. Though for the most part on this release, Hasker doesn’t use much vocals, instead he uses electronic riffs, guitars, beats, synths and more to connect listeners to his sound. What results is an unexpected and surprising soundscape.
Wondastation gets going with the title track “Wondastation,” where some jangly guitars, electronic riffs, synths and beats struts into the beginning of this track. The sounds are gritty and have a very industrial vibe. Gradually, the music becomes moodier and more ambient. The rush of sound is atmospheric as it surrounds you. The swell of sounds has a sweeping quality. Some ethereal-sounding synths come in on “Chakra Seeker” for an ambient feel. I loved how loose and peaceful the female background vocals were. I felt myself relaxing to the soothing tones right away. What sounds like xylophones makes up the sounds here which gives off some very unique vibes. Some keys come in as some beats gain traction on “Be My Guide (and I’ll be yours).” The rhythms and beats arrive very driven. I was loving the energy of this song. Gradually, some synths arrive for a more ambient appeal. More deep swells come forth on the meditative “Deep State.” The music takes its time in evolving. There is absolutely no rush here. I liked this slow buildup that has a way of growing on you. Some synthetic strings light up the sounds on “The Awakening Part 1 – The Awakening.” Next, some full-throttle guitars arrive for a very bombastic sound. The orchestral embellishments here made for an exciting sound. Together with the guitars, this made for an energetic soundscape. Some full-on guitars highlight the start of the charged vibes on “The Awakening Part 2 – The Resistance Of Misinformation.” Brimming with ambient synths, the hard rock and progressive appeal were obvious right from the start. The synthetic strings return for an epic performance. On “The Awakening Part 3 – A New World,” more synths arrive at the start of this track. The wall of sounds made for a sweeping intro. Next, some keys enter for a melodious feel. I can definitely see this playing in the background as a soundtrack for a film or video game. On “Deeper State,” more ethereal sounds come through here. Another song in the meditative vein, the soundscapes here will definitely place you in a calming state. Some spoken word sounds out. As I listened on, I could hear some bell chiming that give off more atmospheric resonance. The first appearance of the piano comes in on “Enlightment.” The sounds were very moody. Next, some beats gain traction. This paired with the piano made for an invigorating pulse. This number had to be the highlight of the album. This was a great way for the artist to close what was an excellent release. The album itself is pretty much like a soundtrack with soundscapes that lean into an ‘80s vibe as well as some progressive, alternative rock, including electronic music, with notes of computer game music as well as meditation. There’s an epic quality to the music as the sound swells in certain points to give off a cathartic quality as if after a long and arduous hike up a mountain, you’re finally rewarded with a sweeping panoramic view. On this record, Hasker includes natural instrumentation and digital fare to flesh out his sound. I thought this also gave the music some variety other than just keeping to one musical mode. Deep and interesting, I think this is music best enjoyed with headphones on. This is an exciting start for the artist and I look forward to where he goes from here.
Keith Anderson Brady is a multi-instrumentalist, composer and producer from Dublin, Ireland.He has performed in many bands, spanning many genres over the years and is best known for his work with Nordic/Gaelic neo-folk band 'Norse Gael' whose music can be currently heard on the Netflix drama Vikings:valhalla. I heard great things about that show so I need to check it out. Most recently he released Visions which is a twelve-song album.
The album has a lot going on. You get some folk, rock and some experimentation as well. “Visions (Part 1)” starts off thematically with distant and haunting vocal excerpts. It’s pretty ominous sounding however the vibe changes drastically when the band hits. I was instantly getting Pink Floyd vibes and the vocals especially on this song have a strong resemblance to the undisputed legend David Bowie. The ’70s vibes are all in here. “That's Not Me” is an intimate song with exceptional guitar playing. It’s like an anti-love song and I have to say I totally respect this lone wolf perspective which isn’t heard too often. More ’70s rock vibes come with “Mama.” The grooves were tight and with distorted guitar, a bubbling bass line and a sort of a heartbreaking theme. “Think On You” is this fast moving folk song. The piano and guitar sound great against the vocals. I have to admit I wasn’t crazy about the programmed drum sound here. It felt like it was taking too much attention. This song is more tender and warm. We get something very different sounding with “Don't Wake Me.” This sounded like early industrial not too far from Ministry or early NIN. The arpeggiated synths create a cerebral like quality to the song. “No Use For Tomorrow” was a nice song. I would prefer it without any drums because they again felt like they stuck out too much in the mix. “Slipping Through The Tide” is this moody soundscape that is nihilistic in nature while “Darkness And Rain” is almost the opposite and feels empowering. “Songbird (Wake Me)” is a quite beautiful stripped back song sort of in the spirit of Johnny Cash while “Visions (Part 2)” gets back into soaring cosmic vastness with Pink Floyd like lead. “Life Goes On” has its moments but I loved the intimate closer with orchestral strings. As an engineer myself my main critique was the drum sound. I felt this could have been mixed better on a number of songs. My favorite aspects of his music were the acoustic material and more of the Bowie/Floyd style. There’s a lot I enjoyed about this release. He’s clearly a talent in a number of ways and I encourage you to listen to yourself. Recommended..
Tales We Heard From the Fields is the recent release from Patches. The band members are from different geographic regions and composed of Evan Seurkamp (vocals/guitars), RKC (vocals/bass) and Aaron Griffin (guitar/percussion). I surmise that they recorded the album remotely. Tales We Heard From the Fields is a long album that contains fourteen songs and mentions that their influences include Guided by Voices, Wire, Gang of Four, The Cure, REM, Sonic Youth, Big Star, Kitchens of Distinction, Pavement, and The Jesus and Mary Chain.
“Plastic and Gold” is the opener and is sort of post-punk 101. Shades of bands like Joy Division and other bands that developed afterwards like Interpol and Real Estate come to mind. The song is covered in reverb, shimmering guitars and a great beat. I kept on thinking Ian Curtis was going to start singing but that was the case. “Canaries” felt more contemporary in the spirit of a band like Bloc Party. I liked the grooves on the song although there was a lot of build up on certain sections and the vocals needed compression or vocal riding at times to tame the dynamics. “Parallel Mind” is a little more mellow, warm and upbeat. The Smiths came to mind on this song. The instrumental parts are really well done and I think Seurkamp’s vocals sounded at their best on this song. The band continues with the aesthetics and foundation they created. “Revisitation” certainly showcases the band's strengths. Some songs are too lo-fi for me like “Rosaley” and “Wet Cement.” “A Nice Day to Orbit Saturn” might be the highlight. I lived the groove on this song and it was mixed much better than some of the other ones. “The Back of the Cupboard” is a joyful song with some of the most infectious vocals melodies. “You're a Fireplace” is an engaging dark song while “There Goes the Sun” is a bright closer which contains some of the strongest songwriting. As an engineer myself my main critique is the inconsistency with the mixes. Some songs are clearly louder, some have more fidelity, etc. The answer to this sort of problem is working with a mastering engineer who can create a similar RMS level and sonic imprint so it’s consistent. This was a long album. I think it would have been a little more impactful at ten songs. That’s the old school purist in me who prefers to listen to albums from beginning to end. That being said, the band can write and play. The album is full of great grooves and I think fans of the aforementioned artists should appreciate this group. This is a solid album and I look forward to healing where they go from here.
Strange Highways is a rock band from Philadelphia, Pennsylvania. The band consists of Two brothers Marco (guitar/vocals/keyboards) and Daniel (bass/vocals) Newsome and are joined by Adam Gresko (drums/percussion). The band released a five-song self titled EP Strange Highways.
Their music is fairly straightforward. The band harks back to the days when rock felt dangerous and had some attitude. It’s music you could imagine playing in a packed dive bar somewhere in the midwest. At least that’s been my experience growing up here. They open with “Today!” and the energy is sort of like getting your bike out and riding. There’s definitely a southern rock quality to the song. The performances are tight and feel live and raw. There weren’t many surprises but the performances were solid and the hook was memorable. Nice start. The next song “End Of The Road” doubles down on the attitude. On this song the band gets into more of the instrumental aspects. They break it down, speed things up and you even get an old school drum solo in the spirit of John Bonham. I have to say I appreciate this type of thing that you rarely hear these days. And the best part is when the whole band comes back in. A classic move. “79'” is a little over eight minutes long. It starts with a different energy somewhere between Black Sabbath and the song “Dazed and Confused" but then transforms into this punk rock infused romp with hyperbolic vocals. The song is ambitious and goes in all sorts of directions. Around the three-minute mark it feels like a different song altogether. The distortion comes off and they embrace a chill and relaxed moment. It doesn't last long as they launch back into distortion and a surplus of riffs. The song is unquestionably the centerpiece. “Rhythm Of The Night” has a killer groove. It was a little mysterious and the vocal harmonies sounded fantastic. There’s a killer guitar solo as well. “Out Of Space” might be the most fun I had listening to. I thought the way the song builds was well done and loved the drum and vocal breaks. It’s the type of song that would be a fan favorite live. “Woody” is the closer and felt like it was on the verge of metal at times although it still felt more geared towards hard rock. I thought this was a solid album and I think rock purists especially will appreciate the band's style and aesthetic. There’s a lot to appreciate and the band never takes the easy way out. Recommended.
Kristofer Dommin left Los Angeles for Brisbane, Australia, getting a clean break to explore a different genre of music than his typical hard rock. He linked up with the Oztones, a trio consisting of Danny Lowrie (lead guitar), Dale Berends (upright bass) and Jot Garrott (drums) to back his foray into rockabilly, rootsy, Americana rock n’ toll on Kristofer Dommin & the Oztone’s self-titled release Kristofer Dommin & the Oztones. He describes his music as bridging “the gap between blues and country, with the words of a dark romantic poet and the attitude of an outlaw.”
The attitude starts right from the start, with the appropriately titled “Let’s Do This Thing.” It’s a rootsy, bluesy swagger driven by Garrott’s drums, with nice space and vocals that move from low and sultry to higher ranges: imagine Roy Orbison backed by a mash-up of Johnny Cash’s band and the Clash. The three chord setup is familiar, but the band then puts their own twist on the proceedings by moving away from I, IV, and V, showing off their songwriting and arranging chops. There’s a sneaky little glockenspiel part, too, and a memorable bridge. It’s a terrific opening track. The band drops right into “Ain’t Right,” a fun rockabilly number that sounds like they set up in a classic room and knocked it out in a couple of takes. Indeed, Dommin tells us that the production was minimal, by design. They leave space in the tracks, allowing the players to play. In particular, they did not gate the drums because they wanted to capture the subtlety and texture of Garrott’s drumming. He is a star all the way through. There are great drum parts everywhere, but he really shines on “Chasing Yesterday,” “Love Doesn’t Come With Chains, and “Dead Men Walking.” Garrott is further evidence that a drum machine can take you only so far. Everyone else in the band can play, too. Berends’ melodic bass lines snake underneath. Lowrie coaxes terrific tone from his guitars, and drops in tasty leads (“Love Doesn’t Come With Chains,” “You and I”) where appropriate. Dommin’s engaging vocals show terrific range and emotion. But the band is more than just the sum of its very strong parts. They hit their peak on the surf-rock dance “Shake.” The guitars sound great, the organ parts are cool, and the honking horns get everyone out of their seats. But it’s their work as an ensemble that makes the difference. “Shake” is a great example of how a simple song can be elevated by a great band that execute with panache, feel and fun. The band handles the fast stuff easily (including the fast-as-you-can-go rave-up “The Train”), but they can be soulful too (“You Can’t Love”). They can even navigate both within the same song (“I Don’t Care”). Across these twelve tracks, the band puts on quite a show. Dommin went to Australia looking for a new musical direction, and he’s found a great one with Kristofer Dommin & The Oztones. Rocking and rollicking, swaggering and swinging, this one is a ton of fun!
Toronto, Canada’s John Lewitt is a singer, multi-instrumentalist and songwriter who delves into the country, folk and Americana genres. As a prolific songwriter and producer, Lewitt has written music for film and TV and other similar opportunities, having written and recorded even for crazier things like social media ads and Virtual apps! Most recently, the CBS TV show ‘The Young & The Restless’ has used his song “For All Time” from his latest The Beaten Path album. With a whole lot of experience under his belt contributing to various bands over the years, Lewitt’s solo work is more suggestive of his personal journey.
You can see him exploring what it’s like to grow up in the ‘70s and ‘80s with lyrics that speak firsthand about those times. Audiences from that era will find themselves feeling nostalgic and sentimental over a sound they can definitely connect with. Over the years, Lewitt has picked up a thing or two and his seventh album The Beaten Path is indicative of this musical journey. The Beaten Path opens up with “Stop Me In My Tracks” that struts in with a jaunty rhythm. I loved the energy of this track. This song had the vibe of Lewitt in a bar, waiting for someone to just ‘wow’ him. This track had a fun-loving feeling to it. I was immediately drawn in. Some ambient guitars roll into the start of “More To Love.” Feeling very melodic and sentimental, Lewitt’s vocals come in with full-on emotions. This proved to be a rock song with notes of folk and Americana in it. Some percussion and guitar lights up the sound on “Late To The Game.” The sparse sound really highlighted a warm vibe. This country-bent sound had a way of surrounding listeners. I really liked this direction this acoustic track was heading in as background vocals add a lush vibe to the overall sound. “Roses, Diamonds & Champagne” is another in the slow burning vein. Lewitt really belts out on this acoustic ballad. There was a mellow vibe to the sounds here. Some more acoustic guitar comes in on “Living This Way.” Leaning into a honeyed sound, Lewitt is at ease belting out country-bent and Americana tunes with his ear-pleasing vocals. Some keys and radioactive guitars light up the sound on “Look Into My Eyes.” The album picks up on this driven number. I was loving the jaunty rhythms. This was another warm love song from the artist. On “Blood,” some more melodic guitars come in for a great sound. This was a happening folk number filled with emotional singing from Lewitt. The addition of the harmonica was a great inclusion. On “For All Time,” what sounds like the banjo sounds out here. Next, Lewitt’s easy-going vibe settles into the music. There is absolutely no rushing on this song as Lewitt takes his time to build up the emotions and vibes. The sound of the fiddle makes for a great addition. More slow grooving instrumentals come into this recording on “See You Thru.” The sound carries with tones of emotion and mood. Lewitt closes with another touching number that will definitely leave you feeling something. Similar to his other releases, his most recent release The Beaten Path comes from a very personal place for the artist. There is no sign of politics in sight in these oftentimes bright and cheery songs that are fashioned to give you some good ole rock n’ roll fun. With that being said, there’s a very classic rock sense to these tracks that reminds me of Bruce Springsteen, John Mellencamp, Tom Petty and more. Lewitt’s latest release is definitely an experience, so be sure you give this album a spin today!
West Michigan-based punk-band guitarist Mike Riemersma took advantage of some pandemic-related holes in his schedule to try some solo material. His three-song EP, Grappling Hooks, recorded as Inner Tubes, is the result. It’s a stem-to-stern solo effort, with Riemersma handling all of the writing, performing, recording, mixing and mastering across the three tracks, all from the comfort of his basement studio.
The songs are guitar-driven, and lean toward indie-pop. Riemersma cites Pavement, R.E.M., Kurt Vile and Big Thief as influences, and these come through clearly. He also uses a bit of his punk-band ethos in spots, especially on the chorus of “Listen To Me,” the opening track, and in the growly bass tone that holds down the low end throughout. His six-string playing is strong, too, notably on “Hold On” (where clean guitar tones weave a la Keith and Ronnie on “Beast of Burden”), and especially on the plaintive solo for “Better.” The riff-based middle of “Hold On,” once it got going, was nicely composed. Vocally, Riemersma does a solid job. His voice is generally dry in the mix; a little extra equalization and some effects would give the support and punch needed for a rock record. The soaring chorus of “Hold On” is right at the edge of his vocal range. Tuned down a step or two, this might land a bit better. The layered-in backing vocals add a nice subtle thickening in parts. Riemersma admits that he has “a lot to learn” about music production, and indeed there are a few spots on Grappling Hooks where a more experienced hand would help. When “Listen To Me” switches from its sunnier verse to its angrier chorus, the production doesn’t quite give the track the kick in the pants that the song calls for. The lead guitar lines on “Better” are tasty, but they are way too high in the mix and blow away the soft balance of the track. And there are a few mistakes left in (notably in “Hold On” and at the end of “Listen To Me”). It’s a challenge to find perspective and be self-critical when you’re the only person involved with an album; an extra set of ears can come in handy. That said, Grappling Hooks is a good solo start for Riemersma and Inner Tubes. He’s got songs, and the ability to deliver them. That’s the hardest bit–the rest is polishing the edges to bring it to that next level. Maybe Next Level could be his new album’s title? Please send us a copy.
Mark Ripp is an artist from a suburb in Toronto. For the last forty years he has been playing around the local scene. I noticed his experience when listening to his release All Things Considered Vol 1. He sounds seasoned not only with music but life itself. I count that as a good thing especially as I get deeper into my fourth decade of life.
The album opens with “Can't Shake You” and I thought it was a highlight. It contains a mix of Americana folk rock and a bit of a ’90s alternative vibe. The instrumentation is great and Ripp knocks it out of the park with the vocals. Of course I’m going to like a song called “Dog N' Cat Blues.” The songs are rock and blues 101 but have top notch delivery and I love the blaring harmonica and lead guitar. They rock out and the song sounds like it would be a good time to live. “Robots” is sort of silly but also has a dusty dark southern gothic quality. The clean guitars and reverb-laced lead is on point. “My Father Was An American” contains creative picking patterns, emotionally resonant vocals and just great songwriting. “That Girl” is a catchy and infectious single worthy song. The song is somewhere between late ’60s classic rock and ’90s alternative. There’s an additional surprise with a female singer. The unnamed accompanist and Ripp sound great here whether they are solo or harmonizing. “Never Enough” contains a deep and heavy drum beat. I loved the groove on this song and how it leads to hooks. The hook is familiar sounding and I felt I knew it the first time I heard it. “Old Man Car” goes right down the center of the lane with a blue collar, classic rock flavor. “You Don't Owe Me Anything” is more of a tender ballad. Bill Callahan came to mind when listening to this song. “Out Of Mind” is a fun one. The keys sound great here and the vocals are as infectious as ever. There are some memorable lines as well. “Nothin' much to say / Doesn’t like to argue / No one home today / To press undue / Somethin's empty, somethin's full /Somethin’ in the push and pull” was some of my favorite lines and the spaghetti western instrumental section was one of the best moments on the album. Last up is “Large Of Heart” which is this phase-y sounding folk song. I thought this was a great album. Ripp can pull off different shades of emotion and he sounds authentic in whatever he does. That’s a major plus for me. |
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