Scott Standley is an Austin-born singer/songwriter and multi-instrumentalist, whose music has always been experimental and choral-focused. He grew up listening to Bonnie Raitt, Lyle Lovett, choral hymns and folk standards and you can definitely see these influences in his music as well as more modern acts like Bon Iver, Frank Ocean, Perfume Genius and Sufjan Stevens.
Standley has contributed to rock ground Jungleset and ChooChoo in the past. But with his solo material, Standley returns to his roots of playing lap dulcimer with his grandparents in Victoria, Texas, going on to infuse his new sound with modern touches. Standley is now back with his latest single, “Called By A Tone” where he wears his influences on his sleeves as well as bringing across a sound all his own. Right away, some overlapping vocals that had choral-like components came in. I was immediately reminded of artists like Bon Iver and Vampire Weekend. While that was true, I also think this sounded like nothing I’ve ever come across before. Standley’s unique sound really stood out for me. I loved the flavorful falsettos that were layered to give off a highly cinematic and ambient vibe that also reminded me of oldies music. The ‘50s and ‘60s absolutely came alive. In addition, the keys, guitars and percussion all worked together to give off a very inviting vibe. I enjoyed this uplifting track that had so much goodness in it. And I loved every second of this choral anthem that I think will be great for summer!
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Pragma is an experimental, progressive rock band from Charleston, West Virginia, and experimental is an understatement. If you want a trippy journey through a weird and wonderful sonic land, then listen to Pragma, the self-titled debut album from the band of the same name. "Synapsis-Existential" is a fascinating opener because it comes in segments.
The first part is a cacophony of beautiful, eerie sounds that overlap to create a psychedelic anthem. Then, unexpectedly, chugging electric guitar finds itself playing alone, creating a stark and intimate new segment. And when the vocals kick into the mix, they really boom with such a surprising energy. I wasn't ready for that. And as the rock instrumentation ascends towards large, arena-filling, catchy hooks, those vocals step up a notch. Pragma's lead singer can hit some impressive vocal highs; he can really hold them too. I was blown away by some of the elongated, powerful notes that he unleashed. Obviously, I found myself focusing on the complex rock instrumentation, but that powerful voice really took prominence when it burst into the mix. All in all, this six-minute track was such a journey of sounds that I couldn't believe I'd only listened to one song by the band when it finished. That's progressive rock; a band such as Pragma can cover an eclectic range of ideas in one track, rather than one album. "Edge of a Dream" was a wonderful curveball too. Given the Mastodon-esque progressive style of the intro, I wasn't ready for a different breed of complexity; clean guitar takes prominence on this track, and there's almost a Radiohead vibe to the dissonant, twisted arpeggios on this hauntingly beautiful song. I absolutely love the sonic landscape that Pragma crafts on this song. And, again, it's halfway into this six-minute song that the instrumental gives way to something new, essentially diving into what most bands would separate into a brand-new track. Soaring vocals screech atop classic hard-rock riffs that carry such an upbeat, yet ultra-heavy tone. There's something very Iron Maiden about this sudden switch-up, and I wouldn't have expected it from the first segment of the track. But I'm definitely a music listener who appreciates variety. It keeps me engaged, especially when moving through a track-list of six-minute progressive tunes on an 11-track album. And there are plenty of other surprising moments on the record, but I mean that in the best way. "Song of Orpheus" has a funky flavor to it that I never would've expected from Pragma. Some of the guitar licks and twangs in the verses carry such a feel-good flavor to them. It's clear that Terry McGee and Dennis Farrar are influenced by such a wide range of artists in a wide range of genres. On "Song of Orpheus" in particular, I really think they latched onto a catchy vocal hook. In the choruses, the harmonizing is so infectious. But that's not to say the band has completely deviated from the sound present on the rest of the album. The complexity of the instrumentation is still there, as is the rock vibe at the heart of the track. There are some wonderful solos on this song, and the lead guitar has a sizzling tone; the distortion really puts it above the rest of the instrumentation. There are some wonderful synth leads warbling in and out of the mix too. It's just one of many examples that demonstrate how wonderfully Pragma can deliver a top-notch song, no matter what genre they adapt. The closer, “Transmigration," has a darkly-melancholic electric guitar arpeggio and heartfelt, emotive vocals in the first segment. You never know what ground they're going to cover, but you know they'll cover it well. That's the perfect summary for this album.
Currently based in Los Angeles, California, NepCali is an international rock band comprised of Arpan Karki (vocals), Sunny Shrestha (guitar), Scott Collins (drums) and Joshua Buckley (bass) with members originally from of Kathmandu, Nepal, Southern California and Mexico. Musically, they create a unique sound from using multiple languages and dynamic tones. The band describes their music as “Touch of Himalayas mixed with the waves of Pacific Ocean” An underground following has emerged for the band within Southern California, Asia and Europe. NepCali released their self-titled debut album Nep Cali in April, 2021 and have recently re-released “No Regrets.”
The song starts with a melodic guitar riff, a steady bass line and a solid drum beat. I loved the urgency of the vocals on the verse which you can tell is building to something. One hook comes with aggression in the spirit of a band like Rage Against the Machine. The distortion comes through on the guitars, the drums hit harder and the vocals are explosive. It keeps building higher and higher. One thing I appreciated was how they got back into a melodic verse. This time around you get a guitar solo but it’s more in the spirit of classic rock. I was not expecting that type of guitar style but it works somehow. It reminded me of the song “Freebird.” The band get back into hardcore mode but aren’t done exploring possibilities yet. They end with an uprising of energy which gets you amped and your adrenaline pumping. This song for me was a little bit nostalgic. I was a teenager in the late ’90s and this music was delivered in a similar way. It’s visceral, raw and human. There’s also a good amount of frustration that seems to be released with this song which is something I think we can all use a bit more of these days. Great song and I look forward to hearing more of this band's output.
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Experimental electronica ensemble, Bubba Fontaine, is a constant revolving door of musicians, but no matter what, Bubba Fontanine will always remain the visionary backbone of it all. For this new album, Peppermint Chocolate, which is co-credited to UltraVolt, he and bassist Nate Gray have taken an hour-plus-long improvisational (and fully instrumental) jam and put it in album format. It’s the kind of music that relies heavily on abstract sounds and maybe even takes a musique concrete-like approach. Peppermint Chocolate was recorded, mixed and mastered at SquidKing Productions in Zionsville, IN.
Fontanine’s Bandcamp page features all sorts of genre tags, from “experimental” and “electronic music” to “noise ambient,” “psychedelic” and “synthwave.” Furthermore, his list of musical influences for the new album includes Amon Tobin, Coil and Throbbing Gristle. His tastes are quite diverse, and I believe that the improvisational feel to this record will reel certain people into the blissfully weird universe of Bubba Fontaine. “Goey on the Inside” marks the beginning of their improv jam session. It features ambient white noise alongside percussive instruments that ramp up in intensity as the track progresses. While I was hoping for something a bit more chaotic and industrial, I nonetheless found this to be a neat composition. Drum machines, synthesizers and samplers are utilized throughout the entirety of this LP, to be fair, but “Goey on the Inside” incorporates them to the best effect. “Broken Teeth” dances with electro flourishes and IDM-reminiscent crackles and pops, much like the experimental music duo, Matmos. Depending on where you’re at in this 11-minutes-long odyssey, it can be either unnerving or relaxing. By the time you get to “Fat Kid in a Pneumatic Tube,” synthesizers take on a more melodic form. The title seems quite fitting to me in that this song is like that personified-- you have the squelching “fat kid” synth being propelled by a smoother “pneumatic tube” beat. Words cannot do this number justice, but that’s sort of the feeling I get from it. The ending of Peppermint Chocolate may just be the most conventional of all. “The 29 Inch Chicken Has Arrived” dabbles in jazz and features electric guitar. I think this will be the instrumental that I’ll come back to most often. The way that the bass and guitar ride the funky drum groove is richer than everything prior. It also reminds me of Incubus. Make of that what you will. Improvisational jamming sessions are not usually my forte, I must admit. However, Bubba Fontaine livens it up a bit by subverting expectations. It’s experimental, electronically composed music that isn’t afraid to be too avant-garde. Recommended.
Peter Lawson, also known as Venus Loon, is a psychedelic space rocker from Manchester, England. As a former Mancunian (Manchester-dweller), I always appreciate the musical talent that pours out of that fantastic city. It's a part of England that has birthed so many incredible icons in art and culture, and even lesser-known, smaller artists, such as Peter Lawson, are full of creative talent.
This was evident to me from the early moments of “Pagus," the psychedelic, chaotic, space-rock intro to 10 of Swords, his newest album. The sharp, heavily-distorted, guitar riffs are electrifying. There's a metal twang to them, but Lawson seems predominantly focused on creating a soundscape, and that's where the sci-fi inspired psychedelia comes into play. This intro is a journey. That's what I love about progressive rock. It's about creating imagery in the listener's mind. And Lawson proves himself to be an expert at this, with his haunting, floating instrumentals. But there's more to this album than floaty musicality. On the self-titled track, “10 of Swords,” Lawson layers echoing, reverberating vocals atop his dreamy, surreal guitar riffs. The tone he achieves on his guitar is absolutely sublime. There's such a satisfying crispness to the mix, and that isn't always something psychedelic rock offers. Usually, washed-out instrumentation leads to soft, buried guitars, but each twanging, bent electric guitar note carries such weight to it. And yet, Lawson never deviates from the atmospheric vibe of the music. There's always a grandness to the mix of each track. On "10 of Swords,” in particular, the latter half of the track is a whirlwind trip. The descending sound effects swirl in such a haunting, unsettling way. There's a real sense that the listener might be lost in space with Lawson. A powerful track. Right off the bat "Cruentus" might be my favorite track on the album. That electric guitar riff hits the listener right in the face. Bam. Lawson is relentless when it comes to offering hard-hitting riffs. Yet again, he offers a dreamy, colorful soundscape, but he makes sure that the guitar is always front and center. I know I keep harping about it, but the tone of the guitar truly is so satisfying. I do love the deviation into folk/blues after the initial explosion of sound. It's a real switch-up that demonstrates Lawson's range as a musician, but it also gives the song variety; it keeps things engaging. And then, yet again, Lawson surprises the listener with a rare burst of vocals. That's another thing which always intrigues me about progressive rock; lengthy instrumentals can suddenly give way to bold, bright vocal passages. Lawson's vocals are really impressive. There's a raw power behind each word that he sings. It reminds me of the classics. Vocalists from bygone bands, such as Sabbath or Zeppelin. Honestly, I've only scratched the surface of this album's impressiveness, but I'll leave it there for the sake of brevity. Do you love introspective space rock? Listen to this album. You won't regret it.
Jim D'Angelo aka Don’t Blink has music in his blood. His comprehensive discography is more than impressive. His latest entitled From December reinforces his signature sound yet still showcases different sides to his songwriting.
The album begins with one of my favorite songs on the album entitled “Tears Of Mercy” which comes out of the gate with soft acoustic guitar patterns, a funky bass line, kinetic drums and more. I found the song tender and heartfelt. He sings “I feel you all around me, I feel you surround me, like a blanket of forgiveness, what our love is, how special our love is, how special our love is,” Overall, a great opener with a lot of emotion coming from multiple angles. Next up is “Our Next Distraction” which shimmers with loving sentiment. The guitar sounds especially good on this song and as if he is using a number of effects but could just be his unique playing style. The dynamics are inventive on this song. “If The Tin Man Screams” keeps the energy moving in the right direction. This is another bright song that feels joyful with just a hint of melancholy that lays underneath it. The melodies are quite catchy and the song morphs and phase shifts. It’s psychedelic and there are moments which really rock. Some of the timing is very technical and my ears needed to adjust. “The Wrong Side Of Darkness” is a beautiful melancholy song and is more subdued and grounded than the previous songs. I thought this was one of the most emotionally resonant vocal performances in the album. The song does pick up new energy as it progresses. Great stuff. I felt like D'Angelo was exploring the various aspects of the passage of time. He does this effectively with lyrics like “If the weather turns, I'll be with you, If the weather turns, I know our love will hold true, As these that slip by, in this place where dreams go to die, love must shine through, if the weather turns, I will be with you if the weather turns.” “The Ghost We Hide” and “I Catch The Rain” continue to capture the essence of the artist. Last up is the title track “From December” and I loved this one. It has a lot of emotion, some beautiful instrumental work and great lyrics. This is another album to put in the win column. I hope he continues this run he is currently on. Recommended.
Based in the UK and currently living in the town of Devon, Simon Hurst is a modern classical composer with plenty of experience making instrumentals under his belt. Prior to his newest full-length release, From Here To Here, Hurst has played for orchestras as well as bands ranging from progressive rock to post-punk. In addition to that, he has written songs and jingles. However, you won’t find any lyrics on this record, just instrumental jazz and progressive rock.
The genesis for this new effort, I feel, is definitely very captivating. Recorded in his home studio using Cubase Pro 11 and a number of VSTs, the core idea behind From Here To Here is variation. More specifically, after Hurst discovered a new sample library, he realized he had a song in his hands, and eventually, he had the idea to experiment with changing certain elements of the original song until he wound up with something completely different. This idea is truly fascinating; I love to think of it as a set of mutations that a virus would go through. I know that sounds morbid, but trust me, it’s an apt comparison. This record begins with “From Here …” and ends with “... To Here.” The first iteration of Hurst’s instrumental passage shows orchestral finesse. It has all sorts of horns, woodwinds and string sounds. This sort of lush overture really captured my attention and had me wondering: which of these seven different variations would I be enjoying the most? Let’s begin with the first variation “From Here …” With this one, the orchestral instruments are still there, but now I hear a pipe organ playing. It’s not too often I hear that instrument being played in an album, so I already think this is pretty cool. The second variation appears to be guided by keys and twinkly synthesizers. Whereas “Variation 1” had me feeling like I was listening to The Phantom of the Opera, this one sounds rather triumphant. Up next is the third variation. “Cosmic circus” seems to be an apt descriptor of this, except for the waves of guitar distortion in the beginning. I thought this variation’s middle section was the best. Those sparkling, twinkling sound effects were very impressive! “Variation 4” switches it up by adding some dense drum tones and a ‘60s rock-influenced rhythm. The energy of this Booker T-adjacent piece is unmatched, and it just so happens to be my favorite so far. Guitars rollick. Synths simmer. It’s an all-around great tune capped off by a Guitar Hero-worthy outro. The waltz-like “Variation 5” plays around with a ¾ time signature, whereas the sixth variation is the least memorable of the bunch. This one just blends in too much. Once I got to Hurst’s final destination, “... To Here,” I was reminded of when I was younger, watching that episode of Arthur where Arthur has to write a story for class and changes his original story so many times that it becomes astronomically different. His draft goes from a slice-of-life dog story to an out-of-this-world country song about a pet elephant. That’s exactly how I felt when listening to the last variation; it was pretty cool to see it progress into what it is now-- a soulful mid-tempo number drizzled in cosmic synths - but knowing what it was before makes me want to hear the simpler first draft more. That said, there were some very solid ideas on this latest project from Simon Hurst, and the eclectic but always experimental focus of it is a crucial selling point. For those who are very adventurous with the music they listen to, I’d definitely recommend listening to From Here To Here. It will take you on a journey for sure.
John Wroath is an English rocker who’s just released three new singles on all platforms: “Heading For Paradise,” “You Can Be a Star” and “This Is Rock and Roll.” Wroath’s stated goal is to be “as honest and authentic as possible with my music, telling stories of passion, pain, triumph and joy!”
Wroath began his first group in the spring of 1975 using the instantly recognizable name “Kashmir.” Wroath played electric bass and his band covered songs by The Beatles, The Stones and The Doobie Brothers, along with blues standards and various chart hits of the day. By 1976 under their new name Crazy Diamond the band started playing local pubs and clubs, while also seeing (and learning from) many live shows featuring acts like Black Sabbath, Wishbone Ash, Pink Floyd, Deep Purple, Camel, Budgie and James Brown. Finally in 1978 Wroath began writing his own songs for a post-punk band named Cigarettes who Wroath claims were “The Red Hot Chili Peppers BEFORE the Chili Peppers!” Wroath’s most lasting collaboration would happen in 1987 with a band called The Wayward Sons. For two decades they lived the rock dream with thousands of gigs, a hundred songs, several albums, EP’s, radio play and tours with some of the biggest names around. When that band finally ended, Wroath became a solo act, which is where we find him today. The first track “Heading For Paradise” is an uptempo folk rocker that telegraphs its intentions with the line “Speed along life’s highway at a thousand miles an hour.” I was immediately put in mind of the later Nesmith-centric Monkees. Wroath creates a backing track built from jangly acoustic guitars and piano, with his own English-accented vocals guiding us along. Though the song is mostly built around its straight-ahead choruses (“I’ve got you by my side / and we’re heading for paradise”) the chord schemes used for the verses are sophisticated without being mannered or pretentious. The synth horns do sound a bit artificial, in a home taper kind of way. Overall the song feels like it comes from a happy, enthusiastic place and that feeling is contagious. “You Can Be a Star” is more of a jaunty-tempo rocker with heavier electric guitars and a more realistic horn track. As with “Heading For Paradise” Wroath sings the verses alone, then overdubs multiple harmonies on the choruses, and he’s quite adept with that vocal mic. Whether it’s all him or he brought in some ringers, the quality of the singing is uniformly high. The lead guitar acts as a counter-melody and adds a lot of excitement. Wroath basically substitutes his enthusiasm for his lover in “Paradise” with the excitement of being a star. The final track “This is Rock And Roll” starts with an old trick: making the song sound like it’s coming from a radio (I’ve done it myself!). To his credit, Wroath jumps into the song proper almost immediately, and this may be his most solid groove yet, again built mainly on acoustics, piano and vocals. Electric guitar is saved for ornamentation on the choruses. Wroath is an artist of a certain age (as his bio makes abundantly clear) and this is the kind of song you’d expect to hear from one of the first bands you’d ever heard as a kid, like the Banana Splits or The Archies (and those bands had great songwriters, so no shame there!). What’s amazing is the elfin enthusiasm Wroath brings to the simple concept of what rock and roll means, which you’d think he’d be way beyond. I’m not sure how Wroath’s tracks would play in an album setting, where I assume he might leave some of his relentless enthusiasm with a touch of angst, but these three songs can’t help but put a lift in your step!
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James Faith is a UK singer/songwriter who split his time between the southwest beaches of Penzance (a town in London) and the south bank of London. His latest album is Maybe a mistake. Faith names some of his biggest influences as Radiohead’s Thom Yorke and Portishead’s Beth Gibbons and you can definitely sense some of their intimate vocal styles here. I also thought he sounded a lot like Bon Iver and Glen Hansard as well, since like these artists, I can definitely sense a whole lot of emotionality coming from the lyrics and vocals. Here, Faith at first gives listeners a seamless flow of music and then hits us with exploding acoustic. It is this quiet-loud dynamic that really speaks to me and I think he utilizes it well to flesh out a sound that is filled with both mood and feeling.
Maybe a mistake opens up with “In Semaphore,” where some soft yet melodious guitars come in. Once Faith’s vocals arrive, the music becomes more and more haunting. I liked this simple and sparse approach. Later on in the track, the acoustic guitars become more driven. The quiet-loud dynamic made for a great sound. Some upbeat fingerpicking on the acoustic guitar comes through for a revved sound on “Procrastination.” It had a smoldering appeal that I thought sounded great. There was an old-timey vibe to “Consolation” that reminded me of minstrel music back in medieval times. It had a soft and soothing sound that also sounded a lot like a lullaby. The vocals on “The Master” had a meandering approach. It had a somber and melancholy vibe. The vocals also sounded rather monotone which offered a change of pace from the other tracks. More soft renderings come from the acoustic guitar on “Safer Now.” The artist definitely packs tons of powerful emotions here. Half-way into this track, the song picks up for a more upbeat vibe. This proved to be a moving closer. I definitely recommend Maybe a mistake for people who are looking for some ambient music to buffer their mood. Faith makes the sort of music that I think would be a great fit for a coffee shop vibe and open mic night. It just fit that whole singer/songwriter spectrum really well. With that being said, if you’re looking for something great to relax to, this should be the perfect escape to unwind or just to feel better after a long day.
Mark Donovan (singer/songwriter/filmmaker/producer) is a new artist to me, but apparently not to everyone. He’s released over 80 songs on all the digital platforms (Spotify, iTunes, Amazon, etc) and north of 600 videos on his own YouTube channel, as well as appearing on many playlists and compilations. He calls his music “emotive acoustic.”
Donovan’s newest release is titled The Archive Tapes. He didn’t send any liner notes but this album sounds like a collection of demos or unplugged versions. Some songs feel more finished, some are quite bare, and most are way under two minutes, which I greatly admire (especially as the songs do not FEEL short or unfinished when heard all together). He grabbed me from the moment I saw his cover art, which is a beautiful collage of an old-school audio cassette resting on a portable 4-track recorder with paper flowers on top. “If All The World’s a Stage” introduces Donovan’s sound with a gentle, upbeat strummed acoustic playing a circular melody. Donovan’s voice has the sincerity of Elliott Smith combined with the unique pronunciation of someone like Paul Williams. His lyrics are seemingly simple but quite moving: “I want to take away your heavy pain, your pouring rain / If all the world’s a stage / We should take our places…” “Leave The Light On” is a slower, folky song that’s picked instead of strummed, with possibly a second guitar playing bass notes. This time Donovan augments his vocals with a long reverb trail that only adds to the sweetness of his tone (despite clearly audible room sound at the beginning and end). The song is constructed as a call and response between a man and a woman, with both saying they’ll “leave the light on all night long” for each other. For the first (and only) time, drums and keys are added to the mix, filling the track out nicely. “Nothing That I Wouldn’t Do” is another roomy demo-sounding track where Donovan lists all the things he’d do for his partner, before a very short chorus made up of the song title. Here’s one song that might have used a second set of verses, but in any case the track ends a bit early. “Crooked & Famous” is similarly short and to the point, but uses chunky acoustic riffs paired with a metallic reverb for Donovan’s voice. “To See Your Smilin’ Face Just Brings Me Down” is the longest track at almost three minutes. Constructed like a classic folk tale with ringing acoustic chords, Donovan purposely over-cranks the autotune for an unnatural but very cool effect on his singing, both lead and harmony. Easily one of the best-written songs. “All I’ve got is faith and a memory.” “The Wind Under My Wings” at first sounds like a well-worn metaphor, but the spooky sincerity Donovan brings to his singing soon won me over. “I feel the wind under my wings / Holy Ghost, are you there for me? / After all I’ve been through / And I still believe…” “Drunken Metaphor” is probably the most demo-like track, as its basically a single idea recorded near what sounds like a park fountain. “You Don’t Need Me, You Don’t Feign Me” returns to the serious tone of “Wind Under My Wings” where Donovan lets his singing soar like Glenn Hansard, calling out to someone he loves who “doesn’t need and doesn’t feign” him. The nicely titled “Love Is Not a Victory March” ends the collection with an almost churchly reverence. Slowly picked and dramatically sung, it’s the perfect end piece to a collection that mostly concerns itself with questions of love and need. Though I wish I had more of a clue what Donovan was going for with this project, I really enjoyed this album for exactly what it seemed to be: a group of songs that each made their point in exactly as much time as needed. |
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