Laura Glyda is a singer-songwriter from Chicago who crafts songs within the folk, pop, and Americana genres. Her latest album is titled The Heart Is A Machine. I am new to her music, but her talent and craftsmanship are evident in every track.
After trying out a few comparisons in my mind, Glyda most reminds me of Mary-Chapin Carpenter from her prolific 90s period, with that same sincere, beautiful vocal style and similar themes of soul-searching and troubled love. Glyda’s musical upbringing was steeped in the acoustically driven classics from the '70s along with '80s synth-pop. Her diverse influences include the introspective melodies of the Indigo Girls to the infectious hooks of Taylor Swift. She’s also shared the musical stage with artists like Melissa Etheridge, Colin Hay (Men at Work), and The Ballroom Thieves. Thematically, Glyda’s new album is said to be a deeply personal memoir that chronicles the end of her marriage while embracing “the transformative power of solitude.” Through her music, Glyda hopes to reflect on “the enduring power of belief, trust, and love, even in the face of adversity.” “A Beautiful Light” opens with the unmistakable sound of a live, acoustic piano. Glyda’s tentative melodies fall like raindrops. When she sings, it’s with that same hesitant, searching quality until she alights on what appears to be the truth: “Maybe you never loved me at all.” In that moment, the song proper begins, with a compelling arrangement of confident, lovely vocals, piano, strings, and drums. I don’t know where this was recorded, but it’s clearly a pro job. “After You” is our first song with a brisk folk-rock tempo and maybe the first to remind me of Mary-Chapin Carpenter or even Dolly Parton. It’s a gently rousing statement of belief within the fallout of a broken love: “There is only everything after you.” The introspective piano and classical guitar interplay that opens “Whatever We’ve Done” is positively baroque. Glyda sings more quietly for this mellow arrangement, but her voice loses none of its power. On this track, I’m feeling a bit of Nanci Griffith’s confessional harmonies from the “Flyer” era. “Take Only What You Need” is even closer to Nanci, in that there’s a bit of an Irish lilt in the sweet, soaring chorus vocals. This is maybe my favorite track thus far, simply due to the optimism and confidence of the lyrics and arrangement (“There is more ahead than all you leave behind / Take only what you need / There is salvation in the emptiness / And love within the loneliness…”). More exquisite strings follow this song through. “Bravery” has one of the best lyrical openings: “Can this be called bravery / Walking away from someone who can’t wait for me to leave / But they won’t hold the door?” This track has the polish of a folk-country radio hit, with an irresistible chorus and absolutely stellar singing throughout. “The Garden,” having a simpler acoustic opening, also draws attention to Glyda’s deceptively basic but evocative lyrics: “I said I loved you / Even though you said it first / Brought my kiss like water to your lips / You were dying there of thirst.” Glyda’s amazing voice, the acoustics, and the strings are a sublime combination. The final song is the title track “The Heart Is A Machine,” and Glyda really has constructed a beat that resembles a heartbeat machine. It starts a bit techno, but then kicks into a solid folk-rock groove with the vocals leading the way with (yes) heart and confidence. Whoever the studio players are, everyone is on point, and the production is stunning. Well, I certainly found myself impressed with Laura Glyda, and have no qualms recommending this album to one and al
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Fronted by sisters Caron and Michele Maso, Little Girls made waves in 1980s L.A. with their alternative radio hits "Earthquake Song" and "How To Pick Up Girls." Valley Songs serves as a comprehensive collection, spanning the group's musical journey from 1980 to 2020.
Described as New Wave Power Pop, Little Girls' sound draws comparisons to iconic acts like the Go-Go's, Josie Cotton, and the Bangles. Upon listening, it's clear why these parallels have been drawn. "Earthquake Song" kicks off the album with straightforward power pop infused with a hint of surf, boasting catchy vocals, power chords, and a driving 4/4 beat. However, it's "How To Pick Up Girls" that steals the spotlight with its dynamic energy and experimental flair, showcasing the band's versatility. Tracks like "Bandana" exude a classic rock attitude, while "Any Way You Want It" melds 1950s pop nostalgia with contemporary power pop sensibilities. As the album progresses, Little Girls consistently deliver solid tunes, with highlights including "Rich Girl" and "No Time To Say Goodbye." There are also anthems like "Upswing" which really shows the band leaning into a late 60's sound not too far off from The Byrds. The inclusion of demos provides a treat for hardcore fans and offers insight into the band's creative process. "Love Song," in particular, stands out as a surprise, channeling 1970s folk vibes with the sisters' vocals shining brightly. "Valley Songs" offers a deep dive into the multifaceted world of Little Girls, showcasing the band's diverse musical palette and unwavering commitment to their craft. With each track, they paint a vivid portrait of their evolution over the decades, leaving listeners hungry for more.
If you’re looking for a crash course in Clash Bowley from Boston, you can’t do much better than this website. Clash has released over 40 albums since 2019, and a majority of them have been reviewed right here (you can get lost just flipping through his cool album covers!).
The fun really starts on Bowley’s Bandcamp page, where he describes himself as “having been born, not yet died, thus anything he produces is worthless. Keep checking, he can’t last forever!” Bowley is a one-man creativity machine, playing, recording, and mixing his songs while creating all his own artwork. He says he “doesn’t play well with genres” but admits he loves all music including orchestral, swing jazz, new wave, and electronica. As a performer, Bowley is primarily a vocalist. He builds his songs from rhythms, then improvises chords or riffs, then finally adds random syllables that eventually become lyrics. This process takes just a few hours, which may be why he’s so incredibly prolific. The opening track “Oh, Delilah!” has a laid-back, finger-snapping rhythm with the sound dominated by phasing guitars. Bowley sings in a rangy tenor, with a tone that indicates he’s very serious about couplets like “Oh, Delilah! / All this excitement follows me… Several indictments can you see?” Ultimately it almost feels like outlaw blues, with a subtle increase in energy as it nears conclusion. “Utterly Lacking” features a similar backing arrangement, and I can see now that Bowley’s songs would appeal to listeners who prefer not to have instruments thrown back and forth in their faces. This one actually has the smooth jazz feel of a Bacharach tune. Short and sweet. “Ship To Neverland” adds more volume and energy to the Bowley template, approaching rock. Bowley’s vocals take on the grit of a Dr. John or even indie superstar Captain Chemical. The drum track features a tribal beat near the rim and that’s all that’s needed here. “I Am Your Servant” features a very similar arrangement though Bowley is daring to mix his fuzz guitar leads almost on par with his vocals. Bowley seems to be giving voice to the hidden person in all of us who has committed “immoral, poisoned, and diseased” actions that sometimes need doing. “Embrace the Strange” features guest Fritz Herold, I’m assuming on harmony vocals (or is it guitar?). I dig the factory machine-like rhythms here, grinding away while the two singers pretty much stick to one note. The instrumental break is one of the richest yet, featuring expansive synths and Fripp-like fuzz lead. “Confetti” has another busy, tumbling drum loop, though Bowley almost plays against it with mellow, jazzy, introspective lead playing. Returning to a theme, Bowley pays homage to the moments when “You just gotta be bad… you gotta fight fight fight.” “Devil’s Kisses” is basically Bowley’s retelling of the Crossroads legend, where he sells his soul for fame and acclaim. The lyrics have the clarity and simplicity of a Daniel Johnston tune (who often sang similar laments, now that I think about it). “Bangalore Torpedo” is a rare instrumental, in which it’s nice to hear Bowley’s guitars more up-front within a kind of ‘60s Bossa Nova beat (and the drums also sound clean and clear). I’d love to hear more like this in the future. “Child Redux” sees the return of Bowley’s hardscrabble blues-vocalist persona, though again bathed in phased, psychedelic guitars. The album concludes with a catchy track that vocally features variations of the song title “Kaiju Space” with lots of moaning and humming for good measure. You know it’s catchy because even Bowley snaps along! Like many indie artists, Bowley has a crusty view of his musical reach (“no one in the public will actually listen to these!”) which I believe is misplaced. He’s an interesting and unique artist and well worth checking out!
Band of Jays is the brainchild of multi-instrumentalist Julian Volpe of Charleston, South Carolina. He’s had a 30-year career as a musical sideman on dozens of studio and live projects nationwide, and has just released his third album titled Brand New Heirlooms. He calls it “a fusion of power, pop, and rock, with a huge love for harmonies.”
Volpe lists as influences Jason Falkner, the Posies, R.E.M., and “a subtle whisper of Motown” reflecting his own diverse musical output. Among Volpe’s many accomplishments was being awarded 2023’s Best Rock Artist by the Indie Music Channel. Each track on this album strives to fuse different genres and features soaring melodies, intricate guitars, and soulful harmonies. All recording took place at Volpe’s Jumping J home studio using Logic Pro. Mastering was by Steve Turnidge at UltraViolet Studios, Seattle. Both digital download and vinyl are available. “I’m Fine” starts in a familiar way (for some of us, at least!) with a needle being placed onto a vinyl record. The music has so much going on I barely know where to start! There’s jangly guitars, pop-style organ, bumblebee bass, and tight drums but most of all there’s absolutely sweet, layered harmonies. If you’re at all familiar with radio-friendly pop from the ‘60s and early ‘70s, this song truly is a “brand new heirloom” evoking that era. “You Knew It” features clean, driving guitars like Elliott Smith used to do. The song itself has the sheen of a really good Todd Rundgren track. The chorus vocals feature a neat trick of overlapping the ends of a verse over the start of the next one. As we proceed to “Nothing Will Be The Same,” it’s getting harder not to think of The Beatles, and this track especially sounds like Paul on bass and Ringo on drums from the Revolver era, though the guitars and vocal harmonies are maybe closer to Badfinger. Interestingly “Sun Shine” takes us forward into solo Paul McCartney territory, based on driving piano chords locked in with the bass and drum kit. There’s a cool electric piano solo, making this song mostly about the keys. Not to beat a dead horse, but “You Know” can’t help but evoke the majesty of the Fab’s “Golden Slumbers.” And who shows up for a weeping slide guitar solo? Someone very much like George Harrison! “Solo So Low” has a Klaatu grace and elegance (and you know who Klaatu were mistaken for, right?). In fact, I keep checking to see if I have the right submission sheet because I can’t hear any of the bands they listed as influences in their music. (R.E.M.?) “Again Again” has a cool trick where the rhythm guitars closely follow the vocal phrasing, and is not just a background for them. “We’ll Be Home” combines rapid Led Zeppelin power chords with lightweight, Simon and Garfunkel-like vocals. “I Will Remember” repeats the band’s cool trick of finishing one vocal line just as the second begins, back and forth. There’s lots of cool stuff in this track including “radio-distorted” vocals, crunchy electric keys, and a showcase guitar solo. I’ve rarely heard music so sweet and hard-rocking at the same time. Well, this album is a marvel. If you like retro power pop you need to check it out, and I mean now!
The Naked City Underground is a band that could only have come from Sin City: Las Vegas, Nevada. The band was formed when showman bartenders James (Jimbo) Sordahl and Phillip (Billy Drums) Zurisk joined forces with elite players from across Vegas to “unleash a sound that resonates straight from their souls.” Anticipating their upcoming full-length album Comic Book Heroes & Honky Tonk Zeroes (already on vinyl!), they’ve released three singles titled “Last Stop to Houston”, “Comic Book Hero” and “Coming to Me.”
The band’s music has been described as reaching from “the gritty depths of outlaw country to the sun-soaked vibes of Southern California surf punk, with a sprinkling of blues, jazz, and alternative rock.” Influences run from Waylon Jennings to Nirvana to Sublime. They assert that their songs “take the listener on a journey that could only be told through a lifetime of hard living, love, and heartbreak.” Our first track “Last Stop to Houston” is a song that’s very important to songwriter Sordahl. “Houston has a special place in my heart. I often have reunions with my Marine brothers in Houston or on the beach in Galveston, and this song was written about these trips.” The track begins with a very low-tuned acoustic and deep bass, then kicks into a fun, two-step country romp adorned with trilling guitars and slippery lap steel. Sordahl has a great Americana voice, with just enough grit and hints of good times several times over. The song itself has a basic I-IV-V structure, but the guys decorate this basic skeleton with all sorts of twangy adornments. The most excellent guest lead guitarist is Jerry Tomlin. “Comic Book Hero” is the upcoming album’s second release and certainly reflects the band’s amazing comic-style cover art. This is more of a retro rock track with a structure somewhat like “Wooly Bully.” Less twangy, this song features muted electric guitar chords and a faster one-two beat. Sordahl’s vocal is even more pinched and crunchy, making this almost a novelty track. The third song “Coming To Me” actually has a video so I’m reviewing from there. Basically, lead singer Sordahl starts up his big red truck and sings along to his own music while various band members cavort behind him. This song features percolating, funky guitar licks and jazzy sax punctuations. When Sordahl picks up a gorgeous blonde hitchhiker, the music seems to experience an adrenaline jolt (or maybe that was me!). Sordhal kindly loads up additional hitchhikers who happen to be the other band members. The good times continue until the surprise ending, but make no mistake: these guys make good time music, and to quibble would be churlish. Three great singles from what looks to be a fun and exciting album! |
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